Peter Pan

This might just be the most frustrating and upsetting evening I have spent at the theatre. George Stiles, Anthony Drewe and Willis Hall’s musical version of Peter Pan received a sensational concert premiere at the Royal Festival Hall last year, where the strength of the material made for a superb evening of musical storytelling. But its current incarnation at the very same venue is a case study in how a brilliant piece of writing can be completely and utterly murdered in the hands of the wrong creative team.

To begin with, the design concept is so misguided it beggars belief. Will Bowen‘s drab set is a cluttered collection of flats with sketched-out 2D black and white drawings. It gives the effect of a dull and old-fashioned picture book, devoid of any colour and life, and entirely unsuccessful in conjuring up the magical atmosphere required. Laurence Llewelyn-Bowen‘s ghastly, overly-flamboyant costumes continue the monochrome theme, but look more like a selection from the TV presenter’s personal wardrobe than anything remotely linked to the story’s characters. Add to this Durham Menghi’s messy lighting and you have a shockingly bad look for the show.

For a story that relies heavily on special effects, this production does not deliver. Tinkerbell (shown by a wandering green dot of light) appears to be joined by her siblings, with up to three different “Tinks” darting around the stage at one point. The lack of a proper crocodile (only a pathetic attempt to project two blinking eyes above the stage) leaves the performing space in darkness on a couple of occasions, which is two too many. And since when does someone go overboard ship by running up a flight of stairs, banging a door behind them as they go?

The direction (by Ian Talbot) and choreography (by Gillian Gregory) was disgracefully amateur – in fact, I’ve seen far better on the amateur circuit. Too often actors stand around, uncomfortably idle, not least Narrator Susannah York during the opening number. The cast cope admirably under the circumstances, but how the powers-that-be could ruin everything so spectacularly is absolutely unforgivable.

Despite this dreadful production, a second viewing of the musical confirms my feelings on the show’s writing. Stiles and Drewe have composed an outstanding set of musical numbers – ranging in style from the soaring ‘Never Land’ to the punchy ‘The Lost Boys Gang’ and featuring lyrics packed with charm and terrific wordplay – which give JM Barrie’s story a refreshingly modern musical voice. Willis Hall’s book is succinct and straight to the point, but could do with a touch more humour to keep the attention of younger audience members.

There’s no pleasure in reporting on a wonderful show ruined – in this case, I’m not only upset but angry. The audience and the musical’s authors deserve so much better.

– Tim Connor