PETER PAN                                                                          

KENSINGTON GARDENS

A new effects laden production of Peter Pan in Kensington Gardens, the original place where the story began, sounds like the perfect scenario for this much loved 1904 tale to return home. But on it’s journey it has lost it’s heart and soul in a messy plundering of J.M Barrie’s original concept.

Presented in a 1,100-seat circus–like arena by designer Bill Dudley, it is the world’s first fully 360-degree movie backdrop for live theatre. Computer generated images projected on to a cyclorama that runs right round the tent, provide stunning panoramas as Pan, Tinkerbell and the Darling children take flight. With superb flying skills they zoom over a dazzling three-dimensional CGI set of Edwardian London, and eventually arrive in an equally striking Neverland. Perfectly complimented by a soaring soundtrack by Benjamin Wallfisch, it feels as if we are flying with them.

Sue Buckmaster’s highly effective puppet creations add to the magic. Operated by War Horse-style puppeteer Mohsen Nouri, they include Nana the dog, the Neverbird and a wonderful skeletal crocodile.

There are adaptations to the original story by Tanya Ronder that work. In this day of high profile child disappearances, Mr.and Mrs Darling do not leave the children home alone, but are entertaining guests downstairs when their youngsters disappear. Tinkerbell is no longer just a ball of twinkling light but is a punky fairy with attitude. But there are other differences that are not so successful. When Tinkerbell swallows poison the audience are asked not to clap but told to whisper ‘I believe in fairies,’ to save her life. It is almost apologetic and seems to sum up the whole mood of the production. Indeed there seems to be an unwillingness to adhere to any commitment that might give the play emotional truth. Consequently it fails to move, resulting in a production that is ultimately shallow. The energy of the show seems to reflect this, and despite my attendance at only the second press night, it already felt tired.

Abbey Ford as Wendy is uninspiring and too old for the role, and there are little age differences (actual or performance wise), with the actors playing her brothers. Supporting actors in the Lost Boys and Pirates are far more convincing; and in the leads Jonathan Hyde is excellent as the wanna-be-loved Hook, Ciaran Kellgren dynamic as Pan and Itxasco Moreno riveting as naughty fairy Tinkerbell.

Of course I am reviewing this version of Peter Pan from an adult’s viewpoint. The children watching were not so critical, and although they only counted for only about ten percent of the audience they seemed to love it. Perhaps their voice should reflect any   future successes of the show much louder than that of a critic who has broken Pan’s rules and grown up.