Ella Hickson’s “rollicking” adaptation of J.M. Barrie’s tale is “lavish family entertainment”, said Nick Curtis in London’s The Standard. As well as capturing the “adventure and enchantment” of the original, the playwright delves into its “psychological depths”.
In this “fascinating, feminist riff on a classic”, Wendy (Hannah Saxby) is “suspicious” when she spots Peter Pan (Daniel Krikler) “lurking outside her bedroom”, said Alice Saville in The Independent. And when he whisks her away to Neverland “she’s not enchanted – she’s enlisted into a life she didn’t ask for, forced to mother and feed its lost boys”.
Instead of being painted as an “escape from the real world”, Neverland becomes a “dark echo of it”. Hickson isn’t afraid to kill off characters and at times the production feels “more suited to misty-eyed adults than actual kids”. Still, it’s an “intelligent, contemporary” take on the story.
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The production is most “confident” when it enters “classic ‘Peter Pan’ territory of swashbuckling swordfights and dastardly pirates”. Toby Stephens is “delightfully jovial” as Wendy’s father, Mr Darling, and brings all the “cut-glass accented camp villainy you could hope for” to the role of Captain Hook.
Colin Richmond’s set designs are the “brightest stars of the show”, said Julia Rank in London Theatre. And the choreography provides a “constant whirl of activity and adventure” complete with “spectacular flying sequences”.
Adults are given “plenty to mull over”, said Clive Davis in The Times, but I’m not sure Jonathan Munby’s production will “win over every child”. While it delivers some “handsome spectacle”, Hickson throws in “too many tweaks and distractions” and it “advances at a fitful pace” .
Still, the “heavy” plot changes are handled “lightly”, said Curtis in The Standard. And the thrilling aerial and combat scenes are beautifully put together. “On balance, magic.”
Until 22 November at The Barbican, londontheatredirect.com
