Doors open to a purple-lit pirate bar, 3 figures slumped over wooden cable spools. As the play opens, the figures are revealed to be Hook, Tinkerbell and Smee, trapped in the Never. As if in a mixed instrument jazz trio, the script allows each to establish their timbre and tempo, their guilts and fears and dreams unfulfillled. Smee, somewhat worse for wear due to a dust habit, keeps referring to the return of Peter Pan and Mother Wendy. Hook and Tinkerbell don't think much of this. Until the chimes ring out and Peter arrives. Peter the no longer child, metamorhosed into a esponsible adult. And he's here to persuade his old friends to join him and achieve their dreams by giving them up. Yeah, no. So Peter becomes the new timbre and tempo, engaging the other three separately and together until his timbre is dominant and one by one the others drop away and Peter is free to explain why. As evocative and more troubling than Who's Afriad of Winnie The Pooh, The Peter Pan Cometh is a paen to the importance of dreams. Do you believe in fairies?