Review of ‘Pan! Peter Comes Out To Play’: “Good faith and trust, but not that much of the last”

Theatre Peckham welcomes back this modernized adaptation of James M. Barrie’s ageless story, combining amateur and professional performers through original songs and a contemporary South London setting. Guillermo Nazara shares his views on the show, to let us know if this retelling of the beloved classic turns out to be a darling one.

When James M. Barrie came up with the idea of a rebellious preteen with the ability to fly and feed freshly cut pirate hands to crocodiles, he could not have even conceived the level of hype his by-then little creation would go on to enjoy for the forthcoming years. Even over a century later, Peter Pan continues to captivate audiences of all kinds and generations – making its way across the wings now more than ever, with an almost unending list of old and new narratives about the adventurous Neverlander who couldn’t ripen, nor did he want to. But unlike their playful hero, not of all them are able to grasp the same level of immortality.

This Christmas, the Theatre Peckham brings back its South-Londonized version of Barrie’s soaring story. Renamed as Pan! Peter Comes Out To Play, this reimagined, modernized retelling of the turn-of-the-century classic doesn’t take that much of a twist when it comes to the core themes. Sure, it’s no longer an Edwardian “oh dear”-speaking upper class family dealing with the struggles of being super posh – but the dysfunctional family aspect (though somehow toned down) as well as its other key topics exploring the fear of adulthood, maternal love and the power of imagination, continue to be its main drivers.

Yet, we can’t help but feel that, despite the premise landing on a solid ground, the fact that the rest of its delivery is still requires some thorough tinkering comes almost as clear as a bell, most unfortunately. Featuring songs by Jordan Xavier (music) and Geoffrey Aymer (lyrics and book), its calypso-reggae based musical numbers manage to give the performance some sort of offbeat rizz, but they fail at providing any more substance in relation to character arc, introspection and, on too many occasions, even entertainment quality.

As a result, we are left with a slightly insipid enactment which, though enjoyable at some points, still feels a bit unprepared to be put onstage. There’s just not enough content of its own to make of it a memorable experience – and when we remind ourselves of the thrills and wonders the original kept regaling us with, the shortages this one is, most sadly, blemished by genuinely come forward.

On the other hand, though the production does an incredible job at giving amateur performers the chance of being seen on a professional stage, their lead counterparts (most of them, with major musical theatre credits) strive to fill the void – showing very little stamina in their renditions as well as next to no chemistry, while also displaying some issues in their vocals regarding both pitch and projection. The only exception comes from Billy Lynch in the double role of Greg and Captain Hook, playing both personages with infectious energy while flaunting perfectly timed comedic skills all throughout.

With a jolly-roger good dose of intentions, but second-starring itself but not finding the pixie dust to elevate itself and keep its audience hooked, Pan! Peter Comes Out To Play sets up the fundamentals for what could be a fun, feel-good and potentially mind-blowing theatrical jaunt. However, there’s some real work to be done before the fantasy starts to materialize – with the entire piece in need of some additional maturing to properly deal with the story of the boy who wouldn’t grow up; and convey something that we can also grow fond of.

Pan! Peter Comes Out To Play plays at London’s Theatre Peckham until 23rd December. Tickets are available on the following link.

By Guillermo Nazara