Peter Pan

Jeremy Raison’s Peter Pan is a charming production filled with surprises.

Rather than presenting a classic restaging, Raison has modernised the play, choosing to set the production in the present. Most of J M Barrie’s archaic dialogue has been replaced with contemporary Scots accents and phrases, and the action has been slimmed down to less than two hours.

Chief among the changes is the elimination of some principal characters. Gone are the Indians, and the number of Lost Boys has been halved. The most prominent change, however, is that only two of the Darling children are present: Middle brother John has been cut, and the role of Michael is far more extensive.

Performance-wise, there is much to be praised. Robbie Towns offers a slightly older, physical and energetic Peter – it’s a brave performance that succeeds. Braver still is Helen Mallon’s Wendy. Usually performed as a mature, thoughtful young woman, this Wendy is just a young girl caught up in game playing. It’s a touching performance that’s striking in its originality, and it makes the end much more bittersweet because it feels as if we are actually watching someone grow up.

Andrew Clark, serving the traditional double casting of Mr. Darling and Hook, is strong in both roles. His Mr Darling isn’t the usual authority-figure patriarch found in past productions, but a hard-working man striving to impress family and work colleagues alike. His Hook is rather underplayed, neither too forced nor camp.

The supporting cast are equally effective. Noteworthy performances include David Rennie-Fitzgerald’ wide-eyed interpretation of Michael and Finn Den Hertog, who doubles as one of the Lost Boys, as the Darling’s faithful dog Nana. The rest of the cast, made up of pirates and Lost Boys, all fit perfectly into the action, and the ensemble work is consistently solid.

The real heroes of this production are designers Jason Southgate (set) and Peter Higton (lights). To give away many of the clever uses of design, such as how Tinkerbell is effectively staged, and the nursery’s repeated use as a motif, would mean denying audiences some of the wonder their work creates. Also effective is the use of shadow projection, showing such things as the flight to Neverland (over the Glaswegian skyline, of course) and the threatening attack of the pirates. There are a few weak elements (the crocodile is a bit of a let-down), but the overwhelming strength of the design make the weaknesses almost moot points.

By no means a perfect production, Peter Pan is still a very entertaining experience. Audience members expecting a rehash of the films or past theatrical interpretations will find many things to complain about. Those looking for a fresh, family-friendly alternative to panto will find much to enjoy.