The script of Peter and the Starcatcher — the high-seas coming-of-age prequel to Peter Pan — left much to be desired. But the Arsht Center's production was as inventive as the story was overplotted, conceiving an imaginative land of danger and wonder. Its witty lighting and transportive sound design had a lot to do with the play's atmospheric vision, but at the center of it all stood the mammoth set by Yoshinori Tanokura, which actor Nicholas Richberg compared to "a big jungle gym playground." With its twin balconies and elevated breezeway, its many ropes and stepladders and nautical props, Tanokura's vision for the deck of a rickety cargo ship was infused with an architect's visionary quirks as well as a mariner's splendor. More important, it was as functional as it was ruggedly attractive, because it required the actors to scamper around it at all times. The Arsht was the first regional theater in the nation to produce Peter and the Starcatcher, and future companies would be wise to follow Tanokura's example.