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JM Barrie’s classic story is given fresh wonder and relevance in Chris Owen’s 21st century adaptation at Storyhouse.
Brought to life by director Martin Constadine, this version of Peter Pan is defined by its thoroughly modern interpretation, its innovative set design, and its genuinely magical feel.
The eponymous hero (James Phoon) is as cocky as ever with a quiff that could take your eye out and constant declarations of being ‘the best boy in the world!’ Tinker Bell, meanwhile, is released from her Disney-imposed silence and seems to be making up for lost time with Carlie Enoch’s brilliantly Welsh and gobby ‘Literal. Magic. Fairy’. The duo is introduced suspended on celestial swings, arguing about what to do today. (They‘ve already flown to the sun, which was rubbish, because it‘s turned off at night - obviously.) Despite Tink‘s reservations, they decide to visit the real world, landing outside a giant neon window to the Darlings‘ bedroom. Here we meet Mum-in-training, Wendy (a sparkling debut from Georgia Jackson), John (trainee actor George Bellamy) and Mikey. There’s love here, but an austerity too: the grey thrust stage is stark and Mum is burned out from her care job where they ‘pay her the minimum they’re legally allowed’- Owen’s social commentary peeking through - and it’s this overworking-fuelled absence that leaves the Darlings on their own one night. Cue Peter and Tinker Bell’s boasts of Neverland, and the Darling children don’t take much convincing. We’re off - the only way possible. Flying, of course!
Here the play really comes into its own as we see the cast use bungee counter balancing to propel them skywards with the expert skills of the Wired Aerial Theatre artists, always visible clambering up towers flanking the stage. Conversely, the magic is heightened in this way - forget hidden actors and invisible wires - no illusion is needed when this display of human brilliance shines in full view.
In Neverland, April Dalton’s set quite literally opens before our eyes, built as if with children’s building blocks: floors are lifted to reveal ball pits, rope ladders are hoisted, hammocks descend from the ceiling, and slides are pushed to the forefront. This playground wonderland (and its community ensemble of children) brings a sense of fun and imagination categorised by this adaptation. The theme continues with Mr and Mrs Darling (Imogen Slaughter and Neal Craig) doubling as Captain Hook and pirate, Noodler - almost like parents cast in their kids’ games.
Other familiar characters are altered to streamline the story: the mermaids are transformed into a sparkly, glam-rock band which provide an upbeat soundscape, while Tiger Lily (Charlotte Gosling) is given a feminist make-over as a cunning heroine with a band of female ‘hunters’ - tactfully rewriting JM Barrie’s problematic, original ‘Indians’. Another fresh invention is the island’s velociraptor (random but worth it): a huge glowing puppet which is by far the show’s most breath-taking moment. The crocodile makes an appearance too, but its true terror is created by the audience, who are urged to click out its ticking with their tongues, terrifying Captain Hook. It’s an effective device and the audience participation continues with witty rhetorical questions and a giant snowball fight to close…and to tack on the Christmas theme.
The final act of the play sees Mum push open the sealed window for the Darling children to return home. Peter is aghast and questions Tinker Bell – didn’t she magic it shut?!
“I did!” she complains.
Pause.
“She had something stronger...”
It’s love, of course. And this adaptation has both forces in equal measure. It’s funny, creative and current, with warmth and soul. And plenty of (‘biodegradable’!) pixie dust.
Peter Pan runs until 12th January.
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