Review of ‘Wendy & Peter Pan’ (2025 Barbican): “Promising start doesn’t grow into anything memorable”

James M. Barrie’s ageless classic returns to the stage in a new adaptation by Ella Hickson under Jonathan Munby’s direction. Guillermo Nazara shares his views on the show to let us know if it still flaunts the magic, adventure, and humour of the original or if, instead, they never land.

There’s no question of the popularity that Barrie’s fiendish hero has endured since it soared into our hearts over 120 years ago. Its universal success isn’t difficult to understand. It’s a fantastic tale with a bit of something for everyone — fairies, pirates, mermaids, characters I should omit if I don’t want to be cancelled, and even a man-eating crocodile whose catchphrase is the ticking of a swallowed clock. And above all, it provides us with the same escape route that the author himself devised as a coping mechanism for his brother’s death.

Playwright Ella Hickson makes a clear reference to Barrie’s personal inspiration in this retelling of the boy who wouldn’t grow up. A sudden tragedy strikes at the Darlings’ house when a terrible illness takes one of their adopted children away. One year later, his siblings hear about the distant land where he’s been carried to, and they are determined to bring him back. Little do they know that a sorrowful lesson is to be learned — and although they will embark on the most wondrous adventure, some wishes just can’t mix with reality.

Hickson founds a compelling premise by providing the plot’s subtext with a more mature tone. That exploration of loss and grievance permeates the narrative — or at least that’s how it should come across. Unfortunately, that effect is rarely accomplished.

The script may convey its core message quite explicitly. And yet, it leaves us with the annoying sensation of saying virtually nothing. The opportunities for a deep arc dealing with the idea of ‘letting go’ brim from the very beginning. However, all that Hickson’s dull writing delivers is a shallow, sluggish, and hardly entertaining rehash whose existence is constantly questioned — especially when comparing it to the source material.

Despite its many attempts to generate pathos, there’s no emotional connection with any of the roles, all of which feel too one-dimensional and uninspired. Hickson’s text doesn’t present anything new, and when it does, it’s not often too appetizing. Although the dialogue flows adequately, its comedic ineptitude still makes it a hard listen. It’s simply not funny, no matter how it pushes through either extremely predictable punchlines or sophomoric wordplay. And in the end, the only salvageable elements are the ones stemming directly from Barrie’s genius.

The same issues apply to the production, whose promising first scene sets a standard too high for the tawdriness that later follows. An intricately decorated bedroom welcomes audiences into the auditorium. Wooden arches crowned with seagull-shaped puppets delineate the space, which is packed with toys and other curious artifacts. Behind, a massive bow window looks out at the foggy 1900s London, which stands majestically under the second star on the right.

Wistfully, the staging is incapable of going any further, with the modest exception of Captain Hook’s ship. Although more than half of the story takes place in Neverland, the only transformation the set experiences is the inclusion of a small tree descending from the rafters, accompanied by sketchy projections and lighting changes. Except for the four beds, the rest of the props in the first scene stay for the remainder of the performance, compromising the illusion of traveling to another universe.

Admittedly, one could argue that this impression is deliberate, hinting at a duality between truth and make-believe. Nonetheless, that explanation comes off as an excuse, as there’s no imaginative use of the room’s items to build this new world of marvel. Its insipid flying passages don’t help buy that logic either — all of which look shoddy and stagnant, offering no other inputs than actors on suspension cords moving the bare minimum throughout completely unfurnished sequences, reinforcing the suspicion that the budget ran out after the prologue.

The company tries to bring vibrancy and dynamism to its portrayals. Yet, only half of them flourish in that effort — at least, in terms of credibility. Toby Stephens’s Mr. Darling and Hook shine thanks to his satisfying range, staggering timing, and organic campness. So does Scott Karim through his sassy interpretation of the Captain’s right-hand (no pun intended) man — whose abusive, unrequited romance could have earned him the name of Waylon Smee-thers.

However, Daniel Krikler’s Peter Pan is excruciatingly flat, devoid of the playful charm that supposedly defines the role. Instead, his interpretation turns Pan into a full-fledged man-child who, apart from not being able to act his own age, behaves in the most obnoxious way possible. Hannah Saxby does a more gratifying job as Wendy Darling. Unfortunately, though, her performance’s shortcomings are prominent — ultimately, feeling like pretense and struggling to transmit any sense of nuance or genuineness.

Tinker Bell’s rough accent and bold attitude fail to contribute to the show’s humour. In fact, they achieve quite the opposite — perceived, ultimately, as a formulaic device that ticks what-has-worked-before boxes instead of coming up with something fresh and intuitive. The same goes for the crocodile’s disappointing characterization, depicted as a steampunk rogue whose only resemblance to the reptile is his plain green cape.

Those who put their faith and trust into watching Wendy & Peter Pan will probably discover that much of its pixie dust is missing. Although the show might entice us with its astounding opening visuals, its inability to spread its wings further swipes away any additional hooks — and consequently, prevents it from ever taking off. To some, it may be a decent option for the pre-holiday season, nonetheless. Still, I can’t imagine how many could think of it as a little jolly. Roger that?

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All pictures credit to Manuel Harlan.

Wendy & Peter Pan plays at London’s Barbican Theatre until 22 November. Tickets are available on the following link.

By Guillermo Nazara