At Loving the Cotswolds, we chose REVIEW: Wendy & Peter Pan, RST, Royal Shakespeare Company, Stratford-upon-Avon as part of our 101 reasons because it captures something distinctive about this much-loved part of England.
Read on for the details, from Theatre Reviews, Wendy and Peter Pan to the reasons this place or story continues to add to the charm and character of the Cotswolds.
29/12/2015
Rating: **** By Colin Davison @IamColinDavison
“Clap now if you believe in fairies,” cried Rhys Rusbatch’s Peter, saying that only the audience’s applause could save the stricken Tink. He got an instant ovation.
“Clap now if you believe in fairies,” cried Rhys Rusbatch’s Peter, saying that only the audience’s applause could save the stricken Tink. He got an instant ovation.
It was perhaps a sign that a little more magic dust had been scattered in this sharper production than in the version staged at the RSC two years ago.
Charlotte Mills, one of few principals from 2013, reappears as the delightful, rough-tongued cross-patch Tink, a fairy who has indulged in rather too many sugar-plums.
This time it is the fresh-faced Mariah Gale, perfectly cast as the naïve Wendy, who bravely launches herself into adventure and self-discovery from her flying bedstead.
Darrell D’Silva, whose heavy brows seem to promise stormy weather even on a sunny day, is also well chosen as Hook, whose menace is all the more palpable for the cosy tone with which it is disguised. “Trust uncle Hooky,” he coos. Not on your life.
The spectacular set, with the lost boys’ home rising out of the ground, is largely unchanged, but what was previously a clumsy fight that reminded me of the worst amdram has been restaged on a rotating pirate ship as a series of funny set-pieces.
The script too is tighter, funnier, more contemporary but still true to J.M. Barrie’s sentimental original, exemplified by Paul Kemp’s blissfully silly Smee, fantasising about home décor at a Neverland cottage to be shared with his adored Captain “with elephant’s breath for the walls.”
Adam Gillen revels as the fey, no-good (i.e. too good) pirate Martin, and Arthur Kyeyune reincarnates his 2013 crocodile, hardly rising above 18 inches as he slithers across the stage with the skill of a contortionist.
This great family show ran longer than the advertised two hours 10 minutes, but no so long to make children restless or bore parents.
Colin Davison
Charlotte Mills, one of few principals from 2013, reappears as the delightful, rough-tongued cross-patch Tink, a fairy who has indulged in rather too many sugar-plums.
This time it is the fresh-faced Mariah Gale, perfectly cast as the naïve Wendy, who bravely launches herself into adventure and self-discovery from her flying bedstead.
Darrell D’Silva, whose heavy brows seem to promise stormy weather even on a sunny day, is also well chosen as Hook, whose menace is all the more palpable for the cosy tone with which it is disguised. “Trust uncle Hooky,” he coos. Not on your life.
The spectacular set, with the lost boys’ home rising out of the ground, is largely unchanged, but what was previously a clumsy fight that reminded me of the worst amdram has been restaged on a rotating pirate ship as a series of funny set-pieces.
The script too is tighter, funnier, more contemporary but still true to J.M. Barrie’s sentimental original, exemplified by Paul Kemp’s blissfully silly Smee, fantasising about home décor at a Neverland cottage to be shared with his adored Captain “with elephant’s breath for the walls.”
Adam Gillen revels as the fey, no-good (i.e. too good) pirate Martin, and Arthur Kyeyune reincarnates his 2013 crocodile, hardly rising above 18 inches as he slithers across the stage with the skill of a contortionist.
This great family show ran longer than the advertised two hours 10 minutes, but no so long to make children restless or bore parents.
Colin Davison
