Stoneybrook schools go all out to put on a "musical extravaganza" of Peter Pan, and of course, the BSC gets caught up in the action. They stress out over the auditions, the rehearsals and the performances while taking notes about the play's progress for Jessi to write a newspaper article.
Things I remember from reading this as a kid:
I remember a lot of this book, since I loved it as a kid, and read it multiple times. I was very into theater when I was young, so I thought this was the most exciting Super Special of all, and as a kid it captured a lot of what I loved about performing: the ability to bring joy to an audience, the excitement and anticipation of a performance, the emotions that are brought up, even the anxiety that comes from waiting for these moments.
I remember Mallory being so scared of measuring high school boys for their costumes. I completely sympathized since nine-year old me would NEVER have had the nerve to even approach high school age boys, much less put my arms around their waist.
I learned what a "soapbox" was from reading this book when Logan mentions that Dawn was on her women's lib soapbox. I had no idea what that meant, and I couldn't find the term in my little dictionary, so I had to ask my mom what it meant. I also learned the word "mutiny" which I assumed must be a bad word of some kind, based on everyone's reaction when Logan says it. I could not understand why shouting "Mutiny!" would get you kicked off a play. It was so stupid to me. Also, I figured if I didn't know the word, then other elementary aged kids wouldn't know it, and therefore would not be shocked by Logan's so called bad example.
Cokie using the janitor's closet for a dressing room, which grossed me out. Why would you want to change your clothes in the same room where dirty mops and rags are kept?
Things I've considered since reading this as an adult:
As a kid Jessi's attitude bothered me because I was used to her always being awesome, and using her talents to help others be awesome too. However, as an adult, it's nice to see Jessi fail spectacularly. She's sure that since she's such a great dancer that acting and singing will come naturally to her, and even if they don't, well, her amazing dancing makes up for all that, right? She's too arrogant to even be called a prima donna. She's just a stupid preteen who's gotten everything so easily due to her dancing talent that she assumes she will never have to work for any part she wants. To go from confidently auditioning for the lead role of Peter Pan, to be cast as a random pirate? Ouch. The theater/dance nerd in me could hardly look fictional Jessi in the eye over that one. I understood why she turned down the pirate part then, and I understand it now. When I was sixteen I auditioned for a part in a huge play that I was completely, totally desperate for. I cried every night for weeks when I didn't get the lead I wanted, but a small role that was over in the first half of the play. I didn't really enjoy the experience (much like Jessi) because I was so upset, but today I'm proud that I contributed in a small way to the overall play (again much like Jessi realizes in the end). As an adult I think Jessi acted perfectly in character. She assumes the role of Peter Pan is hers, and when it's given to her good friend instead (one who has never showed any proclivity to performing at all) she sulks and has a terrible attitude for weeks. Jessi gets every freaking ballet role she auditions for, no matter that she can't be THAT strong a dancer (she's only eleven years old for god's sake!). She even gets to be a correspondent for The SMS Express, even though we've never heard a word about her writing ability. (That's supposed to be Mallory's thing! Why isn't she interested in this?) How does Jessi handle her disappointment when it comes to auditioning for something she really wants? Not well since she's never had to deal with it before. Of course she acts like a hot mess of diva. It was a little ridiculous that at the end of the book she ends up with the animal roles (which is a twist given away by anyone who saw the cover of this book, i.e. everyone who bought it). Jessi asks why can't one of the understudies do it (who were these mysterious understudies anyway, besides Jason Henderson?) and the director tells her that they're happy with the dinky pirate parts they've been given. Yeah . . . then why bother with understudies in the first place if all you're going to do is give parts to the assistant choreographer?
As an adult I think the baby sitters getting all the leads is completely stupid. Supposedly they have "raw talent", and are better than all the other students that tried out for the same roles. I don't buy it. While there's a lot written about the emotional highs and lows of performing a play, there's very little about the actual work and experiences of acting. Everyone seems to skate along, and then it's opening night, and the baby sitters are emotional, and then everything is over. The hardest things that are dealt with during the rehearsal process are short tempers, and Kristy's difficulty with memorizing her lines. Ann M Martin clearly knows and cares nothing about acting. Acting is more than memorizing lines. Rehearsing for a play is about more than reading from scripts and stressing out over little things. Finding raw talent is about more than the baby sitters being better at acting and singing than they thought they were. I would have liked to see inside some of the minor regular characters of the series more. Cokie being cast as Tiger Lily is a good example of this, as is Jackie Rodowsky's role as Michael Darling. We get tiny little glimmers of who these characters, usually designated to the background of the BSC canon, truly are, and how they came to their unexpectedly major roles. But then the door is slammed shut and these one dimensional characters are left in the dark again. Jackie goes back to being a klutz, and his obvious joy at being cast in a big play, and his charisma onstage is never mentioned again. Cokie goes back to being mean and haughty, and we never again hear about her singing and dancing talents, or if she had Broadway aspirations. It's a missed opportunity, and while I get that putting out so many books in this series meant that the quality had to suffer, I'm still a little sad about it.
The auditions, the rehearsals, and the play itself is held at the auditorium in SMS. Is their auditorium better than the one at the high school? It seems unlikely. However, in Dawn Saves the Planet much is made about the fact that SMS is so centrally located that it's within walking distance to most neighborhoods in Stoneybrook. So I'm choosing to say that's why they decided to hold the play there. Also, when I was a kid I assumed this was an all-out public school affair, with the elementary, middle school, and high school participating. Reading this as an adult, I realize that very, very few roles went to high school and elementary school kids. It looks like the only high schoolers in the play are Lucas Danver, who plays Captain Hook, Sam Thomas who plays Mr Darling, and Sam's random friend Brian, who does god knows what. And I'm guessing only about 15 or 20 elementary school kids were cast as Indians and Lost Boys. I don't understand why they bothered opening up auditions to high school and elementary school, if they were going to give the majority of the parts to middle school kids. Why not just cast middle school kids in the parts for Captain Hook, et al. Also, why did so many of the roles to go kids from the private schools of Stoneybrook? The Kormans, the Papadakisis, and Karen Brewer go to Stoneybrook Day School, and Stoneybrook Academy, expensive private schools, with their own activities going on. Why are they allowed to audition for this play? And Matt Braddock, who goes to special school in Stanford tries out also? I guess it's nice that everyone just accepts him, no questions asked, and that presumably, his parents and teachers are fine with him leaving school early for rehearsals, and performances. But it seems odd. It also seems mean that Karen throws a tantrum about wanting to be Tinker Bell and then gets the part, even though she doesn't go to Stoneybrook Elementary. I don't know why adults always give into Karen. No wonder she's a spoiled brat. Also, why did students from the private elementary schools of Stoneybrook nab all the parts for little kids, but Bart Taylor or Shannon Kilbourne didn't participate because they "don't go to SMS" as Kristy says?
I don't understand why Kristy was OK with taking a month off baby sitting so that the BSC could do a play. She throws fits all the time about the baby sitters making enough time for baby sitting. I sort of get that Dawn and Kristy are really the only ones who probably couldn't take on any baby sitting because their parts in the play are big, but the others could be available to pick up the slack . . . until Mary Anne agrees to be a "backstage baby sitter" and Mallory and Logan decide to hang around at every single rehearsal even though they're clearly not needed.
I love how immature Sam is in this book. As a kid, this went right over my head of course, but as an adult I just love how Sam is such a fifteen year old boy. It's so perfectly done. He has no idea how to handle his friends teasing him about dating eighth grade Stacey. He asks his older brother Charlie for advice, and Charlie gives perfectly sensible advice: show your friends that you have fun with Stacey even if she is younger than you. Duh. Of course, Charlie, being only a marginally less clueless teenage boy than Sam is, neglects to spell it out for him: JUST BE NORMAL ABOUT IT. It doesn't require Sam to go out of his way to make a fool of himself, but of course he does, which makes Stacey feel uncomfortable. So she tells him to cut it out, and his sensitive feelings are hurt. When he finally tells her that his friends have been making fun of him for dating an eighth grader Stacey is completely annoyed. She realizes that Sam's friends are just giving him a hard time like friends sometimes do, but that they are still his friends, and they don't really care if he goes out with Stacey or not. Of course a girl who is only thirteen is so much more mature than a fifteen year old boy. Of course she had to be the one to set him straight. I could almost envision the lightbulb going on in Sam's head.
While I completely understand Dawn's frustration with the sexism of the play, I didn't really like that the racism of the play is never addressed. I wouldn't have wanted a song and dance about it, since the writers and editors of the BSC books are clearly idiots when it comes to racial sensitivity, but a small mention would have been nice. Something like someone saying, "Hey, this play also portrays Native people really, really offensively. That's not cool either." Dawn clearly doesn't feel this way since she's dying to try out for the part of Tiger Lily, and sing the Ugg-a-Wugg song, but someone could have said just one quick thing about it. I feel like a lot of schools stay away from performing this musical exactly because its extreme views of roles of women and Indigenous people are considered in bad taste today. Mary Anne bothers me when she says, ". . . so what if they play's sexist? . . . everyone loves it and the story's a lot of fun." Yeah, the story's fun for white people who get to lord their power over a badly portrayed Native tribe. Or for white men to use as a weapon against women. So I kind of liked that Dawn thought about changing the play a little to recognize how the roles of women have changed in society since 1904. As she points out, Peter Pan wants someone to be his maid, not his mother. I was a little annoyed that everyone was so dismissive of this, when really all it would have taken was to change a few of the lines, or maybe take them out. Of course Dawn, who prides herself on being such an individual decides to go along with the crowd and say, "Fine, I won't change the play." She thinks that it's not her job to teach the children in the audience a lesson, hoping that they will learn somewhere else, and instead be soothed by the familiarity of the story. This is becoming a consistent problem with Dawn, who gets on her high horse about things like helping Zuni Pueblo rebuild their school, or wanting to show that women don't have to be relegated to the house while men go off on adventures. When it comes down to it though she chooses not to fight, or not to understand that her voice means something. She is simply another passive white person, who decides to leave the greater fight for someone else. It's her prerogative to raise money to save Native people who don't need (and didn't ask for) her help, but not to stand up to the Lowells when they treat her friends badly. It's her issue to kick and scream about women's roles in Peter Pan, but to say nothing about the racism of the play, or to really make a meaningful stand against the sexism. "I had to hope they would enjoy the magic . . . and learn from some other story that boys can cook and sew as well as girls, and that girls can have adventures as exciting as boys." And not one mention of the horrible, offensive portrayal of Native people, or the horrible, offensive portrayal of female rivalry. Typical, privileged white person: not my fight, there's not really a problem here.
I love it when Claudia says, "Carob is just not necessary. If you want to enjoy the flavor of chocolate, then EAT CHOCOLATE." Yay, Claudia! Take that, Dawn!
Reading parts of this book brought back some of magic I felt when performing in dances or plays as a kid. I really enjoyed dancing and acting when I was little, and I think what I liked so much about the book was that it talked about performing in a very rote way. As I got older, and kept trying to keep acting and dancing in my life I realized that most kids take these pursuits very seriously as they get older. It's not really a hobby for them, or even something they do just for fun, so they "go deeper" into their characters, and the roteness goes away. I stopped dancing when I wasn't willing to spend all my time in grueling classes, and I stopped acting when I didn't care about writing long papers discussing the motivations and decisions of my characters. I think acting and dancing become so serious and intense for teens, because it could encourage a "career" or at least extracurriculars for a college application. The kids who are interested in it just for fun (like me) get shunted off to the side because we aren't passionate about it. Because no one encourages us, we get bored, and leave. Which is not the end of the world (it didn't hurt my life in any way) but reading this book made me nostalgic for the joy and fun I used to have dancing and acting. Even as an adult I thoroughly enjoyed reading about the performance itself, how nervous everyone is, how upset Dawn and Kristy are that their fathers won't be there to see them in this unexpectedly big moment of their lives, how they realize how transformative acting can be. This is exactly what I loved about performing -- the rush of getting onstage, the thrill of doing something you had practiced to perfection, the way people saw you in whole new way, and the way you could see yourself in a whole new way too.
This book is dedicated to "Brian Selznick, a rising star". Brian Selznick would go on to write The Invention of Hugo Cabret, and illustrate some of the Dolls series that Ann M Martin wrote.