The story of “”Peter Pan and Wendy”” is one that is an integral part of many childhoods, but never before has it become as real or magical as this new production at the La Jolla Playhouse.

For many of us, the story is a familiar one through movies, plays and musicals. This new play, although light enough for younger children, explores the very mature themes that are presented in J.M. Barrie’s play, “”Peter Pan,”” and novel “”Peter and Wendy,”” which include growing, love and loss.

With a cast of talented puppeteers trained in the Japanese Bunraku-style, a Celtic ensemble band and Karen Kandel playing the voices of all 25 characters, the play seems like it would be odd and artsy. It turns out that the play is very odd and artsy, but at the same time incredibly engaging and stirring.

Impossible, you say, that one woman could successfully perform the voices of all 25 characters? The critically acclaimed and honored Kandel thrives as each character. Opening the play as the adult Wendy narrating the story that changed her life, Kandel effectively carries out the identity of the young, growing and then mature Wendy throughout the play. Along the way, though, she also manages to become distinct as the charming mother, controlling father, protective Nana, obsessive Captain Hook and of course, the bewitching and innocent Peter Pan. Each character has a distinguishing accent and manner, and Kandel pulls them all off consistently and convincingly.

Amazingly, Kandel can also morph herself from a trembling, hunched, bitter old woman to a floating young girl, innocent and cheerful as she twirls around with her eyes toward the starry sky. Her facial expressions, her mannerisms and her voices make the play.

In addition, the puppets themselves were awe-inspiring. Not high-tech and flashy like in many new productions, but simple and highly effective. Several characters like Peter and Captain Hook are elaborate puppets controlled by three puppeteers at a time. Others, like John and Michael, are simply nightshirts that fly, sit up and even hug their mother. One of the most amazing puppets is Nana, the pet dog/nanny, who is merely a collection of brown fabric, but she is maneuvered like a real dog, and then later becomes a seductive and dangerous crocodile as well.

Besides the actual puppets, the puppeteers themselves have an intriguing presence throughout the play. In their white Edwardian dress, they are obviously there, but are somehow invisible against the simplistic white setting. Besides maneuvering the actual puppets, they also use their own bodies in innovative manners and become the pirate boats or the crocodile. Unlike the traditional Bunraku puppeteers, who are invisible in their black garments, these world-renowned puppeteers are also incredible actors with their bodies.

The enchanting Celtic score of the play is especially sentimental and does wonders for the play. The songs range from incredibly sad to playful and innocent. Each one perfectly coordinates with the feelings in the play at respective moments and help to evoke further emotions from the audience. But the music for this play isn’t merely meant to be listened to. At one part in the play it is demanded that the audience participate and sing to help bring a beloved fairy back to life. Sad ballads, seductive tangos, percussion and sound effects all give this play a unique and touching feel.

Every aspect of this play, from the actress and the puppeteers to the music and simple scenery, allow much room for the imagination, but give enough that everything that is related seems convincing. At the end, when the children in the audience are bright-eyed with stories of flying and far off places, the adults will be pushing back tears with lumps in their throats with the final lines: “”… and thus it will go on, so long as children are gay and innocent and heartless.””

Peter and Wendy

Featuring Karen Kandel

Playing at La Jolla Playhouse

Runs until Nov. 10