Review of ‘Pan’: “Strong efforts, but a few lost ones”

James M. Barrie’s ageless fairy tale flies to the Chickenshed Theatre’s stage in this new adaptation bringing song, dance, and inclusivity to the Christmas season. Guillermo Nazara shares his views on the show, to let us know if in this new take on the family classic is actually in need of some tinkering.

All the world is made of faith, and trust, and pixie dust… It’s been that artists are those intelligent enough to grow up – eager to see the world with the same innocence and fascination that turns every corner of reality into a blast of magic. Perhaps that was actually what James M. Barrie was going after when he conceived the idea of Peter Pan – not  just the concept of never getting old, but of preserving art in its purest form.

As the holiday season approaches (not that it will make any difference by now anyway…), the thought of being a child again doesn’t seem that far-fetched anymore. And as Mariah Carey summons the Christmas spirit to the awe of many and the horrors of a few Grinch-raised Debbie Downers, the London scene buzzes with the glitz and wonder of heart-touching fantasy.

The Chickenshed Theatre has not, by any means, ignored the trend of the moment – and as they continue their endeavour of bringing art and entertainment to and from people of every kind and background, their latest accomplishment has gathered the massive number (to keep it skeptical) of 800 performers into their latest family-oriented production.

Directed by Michael Bossisess and Louise Perry, Pan revives James M. Barrie’s 120-year-old plot about the boy who wouldn’t grow up. A tale that has mirrored the fate of its fierce protagonist, staying young forever as it continues to appeal to generation after generation, this new musical adaptation keeps its loyalty to the source material by following the original storyline with overall faithfulness – while enhancing the spectacle side of the piece through song, dance and a jolly good, and rather hooking, stage design.

Featuring sets and lighting by Andrew Caddies, the montage’s visuals are, without a doubt, the strongest asset in the whole performance. Intricately devised and absolutely eye-catching, their colourful, imaginative and somehow dreamlike looks make of our journey to Neverland a shining star higher above the second one to the right – underlining the whimsical tone of the narrative while also providing a vibe of pompousness and grandeur.

The same, though, can’t be expressed about its writing, most sadly. As soon as we put Barrie’s creative inputs apart, no new element in this version provides any standout bit that allows for this take to make an impression on its own. There’s enjoyable music (and the fact that it’s played by such a rich-sounding orchestra is an utmost treat – especially in today’s climate), but unfortunately most of the numbers lack development in structure, while they also feel too derivative. In addition, the lyrics show little to no attention to detail – easy to be perceived as if penned with insufficient care, inspiration, and most importantly, understanding of their purpose.

In any case, there’s always praise to be given to those who bring accessibility to the theatre – and in that regard, Pan can be fairly considered a total triumph. While the script requires work and reshaping to a major degree, and the vocals could benefit from some thorough polishing, the sense of community this production breathes is honestly rejuvenating (no pun intended). You may not come to watch a life-changing rendition in terms of technique, but the inspiration it so committedly projects seems quite enough to keep the charm in the air.

Production pictures credit to Daniel Beacock and Caz Dyer.

Pan plays at London’s Chickenshed Theatre until 11 January. Tickets are available on the following link.

By Guillermo Nazara