Peter Pan

Powered Flight

Peter Pan

By Piers Chater-Robinson, based on the novel by J.  M.  Barrie

The Edmundians, Cheray Hall, Whitton until 26^th January

Review by Mark Aspen

In the words of Captain Hook, “Split me infinitives!” … treading the boards AND walking the plank!

Peter Pan has been tweaked, turned and twisted many times since its first performance just after Christmas 1904, but The Edmundian Players marked the play’s centenary with the Edwardian enchantment of Barrie’s original fairy story, enhanced by Chater-Robinson’s music. 

The first song, The Darlings, introduced the family:  Michael, the youngest, appropriately played by Michael Young; John (Adam Collier) and Wendy, whose innocent flirtatiousness was demurely portrayed by Ailish Coghlan.  Matt Power and Jackie Howting, as Mr and Mrs Darling, complemented each other well in singing and acting.  Meanwhile, in their crisply symmetrical bedroom, the children were tucked up with canine care by Nana, the nurse, played with quadrupedal agility by Georgina Seabrook. 

Everyone awaited Peter Pan “the little boy who never grew up”, whose entrance, flown in from the wings, was the first of three well-executed flying effects.  Sarah Brown followed the cross-dressing tradition of the part with principal boy gusto and a lively variety of songs. 

The pirates burst on the stage with rumbustious richness, dressed in the red of robbed rubies and spilt blood.  In the middle was Smee, lovable in spite of many scarlet sins, played with much relished humour by Sue Miller, and of course the arch-villain, Captain Hook.  With attack in both the theatrical and piratical senses, Matt Power devoured this role and had the young audience booing (but safely from under the seats).  Rich Damp Cake robustly showed the ensemble singing skills of this crew. 

The Lost Boys (half of whom were lost girls) did look a little lost, but exemplified how fellowship can overcome vulnerability.  Their chirpy We’re Going Home had real nostalgia. 

The company used their resources with great ingenuity to create some imaginative special effects.  The scenic artistry of Peter Hogan’s sets, particular the forest and lagoon backdrops, was outstanding.  The lighting, although sometimes out of balance, was used imaginatively to produce some inspired ideas including black-light effects.  Dave Young, the lighting designer, had created Tinkerbell, the fairy, as an elusive illusory image in a follow-spot.  Although Loraine Muir’s richly coordinated costumes were gorgeous, it was a little disappointing that they followed the clichéd look of Disney’s (now discredited) film rather than the overall Edwardian approach of the production. 

Roger Swift, modestly described in the programme as Musician, kept continuity throughout the show with the seemingly effortless expertise, bringing out the charm of Piers Chater-Robinson’s score and interweaving subtle musical comment. 

Eschewing the current trend for overlaying Peter Pan with dark psychology, director Rosemary Parsons has taken us back to the play’s origins as a captivating piece of family entertainment, and given us a show of star-dust magic. 

Mark Aspen, January 2005

Photography by Enzo Dobbie