I might have mentioned in a previous post that Chickenshed has turned 50 this year (congratulations again!) and that means that their winter show had to be something pretty special. So they ran a poll to choose which show from previous years to revive and tonight we saw the result – a new version of Peter Pan that felt at once both nostalgic and modern.
The same can be said for the story itself….even though it’s a long-told tale, there are themes in it that are still very relevant today. The pain of growing up and changing, the desire to escape the humdrum life for something more exciting and the need for a mother figure in all our lives. On the bus there, I was showing Roo an Instagram post about a seal called Biscuits, who had been rejected by his mother and was looking for a new nurturing connection. I couldn’t help but think of poor Biscuits when watching the Lost Ones welcoming Wendy to be mother to them all. And then I promised Roo that I would never abandon him in the sea to starve.
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There are some more modern sensibilities to the characters here too – Wendy is more assertive and self-sufficient than she has been portrayed in previous versions. Some of the more problematic aspects of the previous versions have also not been included in this production, which is probably for the best. But in other ways, the aesthetic is very much vintage. The opening number says that this story could be set anywhere – and the gathering of storytellers gives it an international flavour – but the set for the Darlings’ house is a very familiar world.
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While I think about it, I should mention that the sets are incredible. The Darlings’ house is almost life size and has both interior and exterior versions of the window. The world of Never-Neverland is brought to life with a large-scale pirate ship and a den that fits all 45 of the Lost Ones cast. I believe that we saw the blue cast, with Alexia Alexandrou as Wendy, Nico Pulizzi-Brown as John, Lewis Marriott as Michael and Cicily Ford-Simpson as Tigerlily/The Storyteller. There are five casts in total and a number of adult roles, some of which rotate as well. We saw Tristan Manzi as Peter and Lucy-Mae Beacock as Tinkerbell….and now I’ve got some of the informative bits out of the way, let me see if I can convey the magic of the 50th anniversary “Pan” to you.
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Because this is a production that has fairydust sprinkled all over it. Peter could truly be from another world as he appears to move with ethereal elegance, landing backflips without a sound. Tinkerbell is suitably grouchy, expressing her indignation through glittery-sounding squeaks, but she and her troupe of fairies can’t help but be a little bit charming, even when they’re inciting sabotage. The child leads have a sense of wonder about everything that’s happening around them and the flying scenes are pulled off with dreamy grace.
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The huge cast move seamlessly as one, with the usual BSL interpreters woven into the narrative throughout. It’s a beautiful production, with even simple scenes like Wendy and Peter being stranded on the rock presented with atmospheric smoke to represent the water. It’s the detail in the staging that makes the world of “Pan” so engaging.
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And then there are the comedy elements, which are abundant too, especially in the scenes with the pirates. Jonny Morton as Hook is suitably creepy and made Roo jump when he appeared right next to him on the stairs. I think I described him as “sinister” in the “Carmen” review so it seems like Chickenshed have landed well on their go-to bad guy. Ashley Driver revels in his role as the hapless Smee – though the addition of a second Smea (Jimmy Adamou) suggests that Ashley Driver might have competition for the comedy roles in the future.
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Familiar Chickenshed faces like Bethany Hamlin, Courtney Daye, Will Laurence and Cara McInanny pop up in supporting roles, including doing some of the signing, but there is lots of new talent on display as well. It’s one of the things I love about Chickenshed – that the established actors are taking the younger ones literally by the hand to build their confidence and lead them into bigger roles.
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There were some very tiny children in this production but they all seemed to know exactly what they were doing and while some children obviously had adults assigned to help them through the routines, it was all integrated so well that it just added to the overall effect. As someone who is terrible at childwrangling on any kind of scale, I am always amazed and impressed by how Chickenshed manages these massive casts.
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Talking of the massive casts, the most impressive scenes are always when one of the large groups is on stage at the same time. There is so much power in people dancing and singing together and both groups – the pirates and the Lost Ones – really re-enforce the notion of finding family wherever you can. They may be large and squabbling families but both of these groups are families in a way. It’s a theme that runs throughout the show and I’m sure there were a few tears shed around the audience when the Darling family finally reunites at the end.
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The age recommendation for this show is 5+ and I think that’s about right. There are some intense moments, such as when the pirates come right to the front of the stage and shout directly into the audience. There is real jeopardy and the plot is complex enough that it’s satisfying for older audiences but the whole show might be a bit long for tiny kids. I had the gangly GCSE Drama student in tow and he enjoyed it, particularly the comedy scenes so I think it’s good for that age group as well as children who aren’t taller than me. It’s a slightly darker version than some others I’ve seen but it never gets too scary so 5+ feels like a good guideline.
One special mention for the adorable puppet of Nana – I know we’re biased as we do love dogs here but that puppet was an extremely Good Girl. I wonder if some of the performances might have a meet and greet option for kids (and adults) who might want to pet the dog…maybe an idea for later in the run though, in case the puppet gets damaged through overenthusiastic petting.
Talking of meet and greets though, I did spot the stars in the cafe area just after the show so I got a chance to tell them how much we’d enjoyed it and how Hook had managed to unnerve the teen. And that’s what you want from a panto, isn’t it? Some good songs, a visual spectacle, a few laughs and being scared by the villain. “Pan” definitely delivers on all of that…it’s a must-see family show for this festive season.
“Pan” runs until 11th January. For tickets and more info, click here
Disclaimer: I received free tickets in exchange for a review. All opinions remain honest and my own.
