It’s the panto season, and Theatre Royal Nottingham has once again delivered a sparkling production of Peter Pan – though with a twist.
This year’s festive offering has had more than its fair share of hurdles, but with a bit of theatrical magic and plenty of good old-fashioned improvisation, it’s a performance that will still have you smiling from ear to ear.
The first big surprise for the audience came before the show even started: Gok Wan, the much-anticipated star of the show, was ill and unable to perform, just a day after opening night, and on press night.
Now, in most situations, that would be a complete disaster, but where there’s a will, there’s a way – and the show must go on. Enter Alan Burkitt, the show’s director and choreographer, who stepped in at the eleventh hour to take over Gok’s role as the Magical Merman. That’s right – Alan Burkitt, clipboard in hand with lines at times, played Gok Wan playing a Merman.
It was as unique as it sounds and, in a bizarre way, it worked! Dressed in Gok’s signature thick-rimmed glasses, Burkitt threw himself into the role with infectious enthusiasm. The result was a performance that, despite the chaos behind the scenes, was thoroughly entertaining.
Sure, there were moments where Burkitt had to glance down at his script, but that just added to the pantomime madness and charm of the whole thing. As a last-minute replacement, Burkitt showed why he’s a pro, having been a leading performer in the West End – and it was a delightful testament to the spirit of panto.
Unfortunately, Gok wasn’t the only casualty. Denise Welch, who was set to play a key role, had to drop out due to illness, leaving even more room for the rest of the cast to shine. But luckily, veteran entertainer Paul Chuckle was on hand to steer the ship, having previously appeared at the theatre in panto.
Alongside him was Steve Hewlett, the comedy ventriloquist, playing Smee. Hewlett, didn’t disappoint, bringing the laughs with his trusty sidekick Arthur, his mischievous puppet. The pairing of Chuckle and Hewlett worked brilliantly, and their individual routines provided some of the evening’s highlights. Chuckle’s comic timing was on point, and Hewlett’s ability to make you forget he’s the one talking (and not Arthur) was a real testament to his skill.
As if the casting drama wasn’t enough, the role of Captain Hook was taken over by Casualty’s Richard Winsor. This is a man who clearly knows how to ham it up, and he was absolutely in his element as the over-the-top villain. His portrayal of Hook was a delicious blend of theatrical menace and comic absurdity, and his chemistry with the rest of the cast, particularly Chuckle and Hewlett, made for some wonderful comic set pieces.
While it’s easy to focus on the behind-the-scenes chaos, it’s important to mention the core of the production: the central characters. Aiden Carson was a stellar Peter Pan, full of energy and charm, though, sadly, he didn’t get as much stage time as you’d expect. Molly Farmer was an equally fantastic Wendy, bringing heart to the role. Their scenes together were tender, though again, they felt a bit sparse. Meanwhile, Young Harley Butler, playing Michael, brought a lot of enthusiasm and charm to his role. His enthusiasm was infectious, and he undoubtedly stole the show in moments where the action needed a burst of youthful energy.
Now, onto the set and effects. It wouldn’t be Peter Pan without a giant crocodile, and yes, we got one – along with the requisite flying. There were moments of visual wonder, though, in some respects, the show seemed to lack the big, glittering song-and-dance numbers we might have hoped for. This could be attributed to the absence of a star vocalist in the cast, which perhaps limited the production’s musical impact.
But don’t fret, there’s still plenty of comedy to keep both kids and adults entertained. The innuendos were plentiful, and though some of the joke routines perhaps went on a bit longer than necessary, the kids in the audience seemed to appreciate the slapstick, while the grown-ups had a chuckle over the cheekier references.
If I had to point out a few small criticisms, I’d say that the story felt a little thin at times. The pacing occasionally lagged, and some comedy routines went on just a tad too long. However, it’s only early in the run, and I’m confident these moments will be fine-tuned as the show progresses.
The production may not have gone off without a hitch, but it was an absolute hoot all the same. The cast stepped up in a big way, delivering a performance full of heart, humour, and a dash of chaos.
And while it may not have been a perfectly polished show, it’s the kind of production that reminds you why we love pantomime – it’s about fun, laughter, and the ability to laugh at yourself, no matter what.
Review by Tanya Louise
Editor – NottinghamLIVE
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