‘Peter Pan and Wendy’
Pitlochry Festival Theatre - 24/11/22
On a wet and cold afternoon in the Highlands, driving down the A9 over the Drumochter Pass, what could be better than a visit to Pitlochry Festival Theatre to enjoy a traditional Christmas production of Peter Pan and Wendy. Sadly, this show did not take off as anticipated. Whether it was a small house or perhaps the production had not yet bedded in, the audience left with a subdued air. Not that the performers didn’t give their all. The show was slickly produced but there was a feeling that the show didn’t yet quite achieve what it set out to do.
With clear staging, including a ‘revolve’, a large truss with ladders for climbing, with various scenic pieces flown in, this is a modern reworking of the traditional classic tale. Eschewing a Victorian setting the opening act finds the children tucked beneath a large duvet on a bare stage. This serves at various time to be the lost boy’s underground den, with a large hammock, a pirate ship with sails and the ocean using slash curtains indicating where the mermaids live. No Victorian setting in sight, even the window through which Peter flies and the children return, was mimed. I am not sure children in the audience understood this key moment and got the image. The idea was creatively interesting but was let down on some occasions. The flying presents the biggest challenge to the story and somehow the magic was lost. The actors took it in turns to attach the wires in full site on centre stage. Almost like being at a climbing wall. When they were not flying, they took it in turns to operate the counterweights visible in the wings. Where are the worthy stagehands in the wings pulling on the ropes from my day? Sound-wise the ticking of the crocodile’s clock was missing, again a key part of the narrative. All the actors have strong voices but if you were expecting Disney then the songs are not for you. Slightly depressing at the outset and at odds with the Salvation Army house music. Lighting design was terrific creating a different world throughout the show with haze and dry ice. Costuming reflected the modern look with Tinkerbell in a fetching glittery concoction played with a lively performance from Patricia Panther which I am sure all the little girls in the audience loved. Poor Wendy, a standout performance by Fiona Wood, was stuck with a rather unflattering blouse, track bottoms and tutu, but again appreciated by small girls. Captain Hook. played by Colin McCredie, when not looking smart as Mr Darling, was stuck with a large camp pantomime dames’ wig with a pirate ship on top. Great fun but it hampered his performance particularly in the pirate fights. Despite this he was dutifully booed when throwing himself in to the crocodile’s jaws as they appeared from offstage and is a popular favourite with Pitlochry audiences. Peter Pan himself was enthusiastically played by newcomer Robbie Scott. I see from his CV that he performed in Kipps when at Arts Ed, aspiring successfully to be the new Charlie Stemp. Supporting roles were again full of life with Stephanie Payne as an enthusiastic Michael and Ruairidh McDonald as timid John. A big shout out to Euan Bennet, doubling as Tootles and Nanna and various disparate Pirates, and Dehme Thomas as Slightly and again various pirates. They were a great double act veering from Welsh to Italian and getting the biggest laughs of the afternoon. The wonderful Dierdre Davis made an elegant Mrs Darling and a fabulous Pirate. The cast coped well with climbing up ladders, sitting on platforms above the audience and of course flying, plus operating the weights. A tricky job when you know your colleague is up there. This is a very good adaptation of the well-known story, choosing as most do now, to leave out Tiger Lily. The story takes you to so many magical places which are difficult to create on stage without a big budget. This production almost achieves it with solid performances and slick timing. Pitlochry created a terrific modern take on ‘Christmas Carol’ a few years ago but I am not sure if this production works as well. I am influenced by having experienced multiple productions from the early days at the Scala with Margert Lockwood, the Barbican with Joss Ackland, the National with Ian McKellen, and a commercial production at the Cliffs with Michaela Stratton. BUT a baby in the front row was mesmerised throughout so the proof is in the young audience’s reaction to this innovative show. It will play to packed houses. Well done to the Festival Theatre for an innovative modern approach and for bringing some festive cheer in these troubled times.
This production runs until 23rd December.
