A local teen flies high in a transporting 'Peter Pan'

From left: Andrew Barbato as Peter, Jacob Brandt as John Darling, Jeffrey Sewell as Michael Darling, and Taylor Mobley as Nibs in the Wheelock Family Theatre's "Peter Pan." (CG Baldwin)

When the Wheelock Family Theatre puts on its annual musical, it's not surprising to find the corps filled out with dozens of talented local kids. This time, though, I was sure the company had brought in a New York pro to play Peter Pan (here cast, counter to theatrical tradition, as the male he was meant to be). But no: Andrew Barbato is a senior at Stoneham High, and if his performance as J.M. Barrie's title character is any indication, Broadway could definitely loom in his future.

Meanwhile, we get to revel in his antic take on the boy who not only steadfastly refuses to grow up but glories in the now - in the sheer delight of having hands and feet and limbs (not to mention a shadow), and seeing what they can be induced to do. Even when earthbound, Barbato is in constant motion, testing the limits of his equilibrium, and in his rendering, the song "I've Got to Crow," so often delivered as a braggart's showpiece, becomes an anthem for the irrepressibly hyperactive. Barbato's depiction of young boyhood and its boisterous obliviousness is not some hand-me-down version of the way we think children behave, but seems the product of close, firsthand observation, or perhaps very vivid memory.

Oddly enough, Jennifer Beth Glick, the show's "Wendy Moira Angela Darling," is a full-fledged adult - an attorney, in fact - but you'd never guess there's an age disparity. Her carriage and voice are young (and her English accent superb). She nicely underplays Wendy's domesticative tendencies, and under Wheelock founder Jane Staab's direction, there's none of that romantic subtext mucking up the works. This Wendy seems to accept Peter on his own terms. While she does appreciate a tidy household (designer James H. Williston's depiction of the "Lost Children's" root-bound underground lair is captivating, as are the climbable Amazonian trees above), she doesn't seem intent on molding Peter into a proper spouse.

Which leaves the young audience free to focus on the "adventures." Trust Wheelock, with its 27-year tradition of multiculturalism, to PC-ify "Peter Pan." As a note in the program explains, the company consulted with a local Wampanoag tribe on costuming, gestures, and wording. Thus, though Tiger Lily (Kerri Nichole Wilson) and cohorts are still identified as "Indians," a song titled "Aquine" ("Peace") replaces the offensive "Ugg-a-wugg." Thankfully, the compelling rhythms remain; indeed, as acrobatically choreographed by Laurel Stachowicz, it's a snazzy showstopper.

It's harder to make pirates palatable - except, perhaps, in the case of the adorable Smee (Gary Thomas Ng). A certain amount of audience attrition among the very young can be expected when Captain Hook first makes his appearance (right on cue, a couple of caterwaulers had to be ushered out). Appendage aside, though, Scott H. Severance's Hook isn't all that scary. He comes across as rather ponderous, which drags in the realm of Never Never Land.

At two hours, the production is a touch long for restive young ones, and even their elders. The aerial ballet executed by the Darlings' housemaid Liza (Jenna Lea Scott) - she flits, loudly giggling, about the forest - seems especially superfluous. (Are we meant to infer some subliminal message about class - i.e., young servants are entitled to fantasy, too?)

Still, these are minor complaints, given a show that delivers on every level. First-time theatergoers, especially, couldn't ask for a more transporting experience.