Review: The Pantomime Adventures of Peter Pan

The ~~King’s~~ Pantomime returns, The Pantomime Adventures of Peter Pan playing at the Festival Theatre, whilst repairs and upgrades continue at The Grand Old Lady of Leven Street. A sequel, rather than a replay, this panto follows Wendy (Robyn Whyte) returning to Neverland, summoned by Tink (Rebecca Stenhouse) in light of a magic dust drought. Magic is running out, the most visible sign being a grounded Peter Pan (Kieran Lynch).

The panto divides into two streams early doors, one a Peter Pan-based musical, the other a comedy cabaret headlined by King’s stalwarts, Allan Stewart, Grant Stott, Jordan Young, and Claire Gray. The two intertwine just about enough to hold The Pantomime Adventures of Peter Pan together, the theatrical adventure playing a noble second fiddle to the all-singing, all-dancing, comedy vignettes. The result is an endlessly entertaining, pacey, and risk-taking, Peter Pan-themed stage spectacular.

Those hoping for a traditional panto complete with ‘it’s behind you’ and any other form of mass audience participation other than boos and cheers, will continue to go unsatisfied by the Crossroads panto model. However, there’s an undeniable charm, and comical joy to the show which more than compensates this time around.

Stalwart crooner Stewart is at home as the show’s Dame, Mrs.McSmee as ever, his patter rarely straining the PG limits, but still bringing a touch of needed ribaldry to proceedings. Stott preens as well as any Captain Hook, stoking the Hibs/Hearts rivalry with every second breath, and when allowed, offers glimmers of a pirate villain worth reckoning with. Young, the show’s nominated jester loves every moment, delighting in every single cry of ‘Hiya Pals!, with the ‘Hiya Smee‘ thundering back from the stalls. Gray continues to establish herself as the 4th horseman of the Edinburgh panto apocalypse, offering abundant sass, and strong comic timing as Hook’s right-hand pirate.

Two aspects of the show elevate it above the usual this year. First, there’s Stenhouse’s unmistakable musical credentials – she commands the stage with a big, big, versatile voice and practiced confidence. The (thin) Peter Pan adventure is played out with enthusiasm and admirable investment by all three returning Edinburgh natives, but it’s Stenhouse who glitters with stardust.

The show’s other main strength isn’t just a combination of well-written, well-executed wit and silliness, but also a willingness to take risks. There are multiple built-in, unscripted audience interactions which are integral to the show’s success. Will the children plucked from the stalls talk? Will Stewart understand their names? Will the guy in the front row give the show’s comedy AI-assistant voiceover enough to work with?

The veteran hands on stage take it all in their stride, and the schtick built around these unpredictable contributions pays off every time. Bravo in particular to whoever has the job of writing the AI’s lines somewhere in the shadows off-stage, as the panto happens!

The-Pantomime-Adventures-of-Peter-Pan-Review-at-theQR.co_.uk-Photo-Credit-Douglas-Robertson — **Robyn Whyte**, **Rebecca Stenhouse**, **Kieran Lynch**, and **Jordan Young © Douglas Robertson**

**Robyn Whyte**, **Rebecca Stenhouse**, **Kieran Lynch**, and **Jordan Young © Douglas Robertson**

Stewart, Stott, Young, and Gray continue to demonstrate a mastery of the comedy song, skit and monologue, enriched by a well-worn familiarity, and an abundance of chemistry. There’s no lack of lines to chuckle at, or cleverly re-worked pop songs to clap along to. Their ‘4 Stooges’ routines are an absolute hoot when they go right, and even funnier when they fall apart.

This brings us to Flawless, Britain’s Got Talent finalists who bring their sharply coordinated and energised street dance to the role of Hook’s Pirate crew. Their heavier beats and athletic choreographies change up the panto’s energy with a touch of wow factor. They are a quality booking, consistent with the show’s high production values, strong visuals, and excellent technical design.

It’s interesting to note that the localised patter is notably less political than in past years. There are a few ‘Nicola’ namechecks, but the comedy of The Pantomime Adventures of Peter Pan is mostly a traditional combination of observation, silliness, and witty repartee. You could put Stanley Baxter back on stage, or summon Ricky Fulton from the beyond, put them on stage, and the show would miss a beat. If it weren’t so well written, or if the performers weren’t so deft with the material, it could seem stale – but worry not, and expect to laugh – a lot!

theQR must also note the strong female presence on stage in this year’s panto. There’s far, far less sense here that women are playing third fiddle to the male veterans, and it does change the energy of proceedings for the better. You don’t go to the pantomime for nuanced, fully-rounded characters, but representation does matter. Sending wee girls out of the theatre dreaming of days as a pirate, fairy or lost boy is a wonderful thing.

Daring, funny, and bursting at the seams with talent, The Pantomime Adventures of Peter Pan is a fine entry in the continuing King’s Panto anthology.

The Pantomime Adventures of Peter Pan is produced by the world’s biggest pantomime producer, Crossroads Pantomimes.