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Peter Pan Goes Wrong
The Alexandra Theatre
*****
Mischief
Theatre found national fame with
The Play that Goes Wrong
and since then they have created a substantial catalogue of wrong-goings
and have found success internationally, across stage and screen. With
all that in mind, the fly-gallery bars have been set dangerously high
for their current tour of
Peter Pan Goes Wrong.
Yet from the moment the auditorium opens there is
an atmosphere of joyful fun and manic chaos as the company make their
last-minute alterations to the theatre. Any sense of scepticism that
this format has been done and done again lifts so quickly that it could
be one of Peter Pan’s exits.
Mischief do well to ensure us that we’re in
(un)safe hands for the next few hours, preparing us for the Cornley
Polytechnic Drama Society’s retelling of the well-loved tale.
George Haynes brings us the power hungry,
dictator-director, Chris Bean, who casts himself as the authoritative
Mr. Darling and Captain Hook; getting ever so stroppy when things are
not taken seriously.
Oliver Senton treads the boards with an ego (and
hair style) that fills the auditorium as Robert; the company’s co – or
is it assistant – director who is, in his mind. wasted in amateur
theatre. A career of Shakespeare and Pinter await him, and he will take
on any role in case it gives him his break.
We are introduced to Katy Daghorn’s spoilt
Sandra, who plays Wendy; and probably every other leading lady in amdram
history. Every articulation is joined with a hip swinging, arm raising,
hair flicking gesture.
Tom Babbage is totally endearing as Max, who
performs mainly as Michael. The pure innocence of Max’s character is
encapsulated by every little look to the audience. All he wants is
validation, and it is impossible not to give it to him.
Then we have Romayne Andrews who gives us the
utterly hopeless Dennis, who completes the Darling trio. Dennis’
ineptitude is played so particularly that it is only ever funny. It’s
only ever the company that ever get frustrated with him.
The eponymous boy from Neverland is played by the
company’s Jonathan, who is brought to life with arrogance, but plenty of
charm, by James Marlowe. Marlowe clearly has a head for heights and
achieves some real gymnastic feats that genuinely gains sympathy as he
is flung unwillingly around the stage.
Phoebe Ellabani plays Annie, a marvel when it
comes to costume changes. Annie is tasked with four characters and – for
the most part – keeps up with them too. Ellabani brings a clumsy and
boisterous performance when it comes to Tinkerbell; a new interpretation
of the dainty, mischievous fairy.
Patrick Warner is Francis, who narrates the story
with such showbiz splendour, and hilarity ensues as he desperately wants
the show to succeed. Every twitch of his face says a whole sentence as
he gradually loses faith in his peers.
Accompanying them is Georgia Bradley who is the
stage frightened Lucy with such pity that every situation she finds
herself in is equally heart-wrenching, and hilarious . . . if that’s
possible. As well as Ethan Moorhouse as the brawny but never brainy
stage manager, Trevor, who [is put through his paces when he is roped
in, cluelessly and reluctantly, to join the cast.
Simon Scullion’s set is full of childish
wonderment and truly belongs in a picture book. Whilst on the surface
it’s a simple setup; it has been constructed with many hidden secrets,
and just about everything can and will break. Occasionally the clutter
makes the stage too busy for all of the gags to be seen; and creates
some tight spots for the actors here and there.
The technical achievements, stunts, and
choreography of this piece are where those awe-inspiring moments
originate from. Everything that does go wrong is done in such a slick,
precise way, that only induces humour. Although the fictional company
may seem in danger, the cast and crew are performing a whole arsenal of
magic tricks and often in quick succession.
Another token of praise needs to be handed to
director Adam Meggido who has clearly disciplined his cast to enjoy the
madness onstage, but never to over-indulge. The recurring jokes only get
better, with each punchline paying off bigger than before. A masterclass
in comedy performance.
Sincerely, Peter Pan Goes Wrong is fun
for all of the family, which seems a cliché but is undoubtedly the case.
There are moments of childish silliness, clever dialogue for the
thinkers, but above all there is plenty of heart.
Mischief Theatre will be desperately trying to
get it right until 22-02-20!
Richard Scott
18-02-20
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