Review: PETER PAN, Reading Rep Theatre

The story of the boy who wouldn't grow up is both very familiar to modern audiences and incredibly demanding in its need to include flying, fairies and ticking crocodiles, making it a particular challenge to realise on stage. This new production, adapted and directed by Chris Cuming, rises ably to the task. It's a fast-moving performance full of clever touches, but it occasionally loses its way; the show is advertised as suitable for those aged four and above, but its complex stagecraft may be better suited to slightly older children.

Cuming's adaptation is an economic and dynamic retelling of J. M. Barrie's story, using a small cast, clever set and numerous costume changes (both designed by Libby Todd) to move between the different parts of Neverland. The fast-paced nature of the show is well-supported by Jack Weir's lighting and Sam Glossop's sound designs. As the production moves rapidly between different fanciful locations, these technical elements bring Neverland to life with colour and energy. The script itself is not as engaging as the action on stage; some scenes feel a little longer than they need to be, and the jokes do not always land (perhaps partly because much of the audience is made up of young children). However, the production itself is enough of a spectacle that the less engaging moments in the story may be readily forgiven.

The cast is superb: six leading actors supported by younger performers from within the Reading community, all of whom are onstage for most of the show. They are an effective ensemble, all moving quickly between scenes and costume changes to bring the many colourful characters of the story to life. Holly Burns is outstanding as Wendy, portraying a likeable heroine for her young audience and commanding much of the action on stage. Marley Lockhart is excellent in the title role and Amy Ambrose pitches her villainous Captain Hook at just the right level of wickedness for a family show. Jak Ford Lane, Eugene Evans and Joe Swift are hilarious as Hook's motley crew of inept pirates, though it is a little trickier to buy into their portrayal of the Darling family, and particularly in two grown men with facial hair as little John and Michael.

Todd's set and costume designs bring the essential childish qualities of the story to life. The stage is gorgeous, decked out with wood and rope to create something between a pirate ship and a treehouse, and Todd makes creative use of different levels and moving parts to create different spaces within Neverland. The costumes are charming and, in the spirit of make-believe, resemble the clothes worn by a group of children: a familiar combination of plaid shirts, striped jumpers, comfy sneakers and ankle socks.

There are plenty of clever moments to enjoy throughout the show; as Movement Director, Cuming's use of physical theatre is masterful and brings moments of magic, particularly to the flying sequences. The story of Peter Pan naturally calls for incredible elements, and some of these are brought to life with such skill that the audience can only gasp with delight: the presence of Tinkerbell and the construction of the Lost Boys' Wendy house are both particularly charming. However, J. M. Barrie's tale also promises other wonders like mermaids and crocodiles, and it is mildly frustrating for the audience to hear these creatures talked about but never quite realised on stage.

This is a beautiful and detailed production which not only celebrates all that is good about local theatre, but tells a classic story with a spirit of playfulness and fun. It might be a little confusing and elaborate for young children, but this show is nonetheless engaging, colourful and truly magical.

Peter Pan plays at Reading Rep Theatre until 29 April

Photo Credit: Harry Elletson

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