Peter Pan is a visual delight, packed with special effects and mythical beings, and a light and dark narrative which keeps the many ages here enthralled for well over two hours.
The first major collaboration with the Nightsong Theatre Company and Auckland Theatre Company.
Adapted by Carl Bland (from the original J.M. Barrie novels and plays) who co-directs along with Ben Crowder. Both artistic directors of Nightsong
Peter Pan first appeared in the Little White Bird (1902) by Scottish writer Barrie. Then evolved through The Boy Who Wouldn’t Grow Up (1904) theatre production, to the definitive novel Peter and Wendy (1911).
My childhood induction was through Walt Disney and then the novel. To see it tonight was to be spinning back in time, and to realise how much of it has become part of the Id, the Subconscious as delineated by Freud.
The story dwells in the Bardo, the intermediate journey between death and rebirth. The idea that Peter Pan is a betwixt-and-between boy (Barrie).
The big stage of the ASB Waterfront Theatre expands out of its boundaries. The centre is occupied by a large children’s bedroom, which doubles as the mysterious Never-Never Land Island draped in mist.
A large river at the front where mermaids frolic and characters swim. Ships rigging on the side balconies.
Right of stage is space for two musicians providing a live score, Jessica Hix and Calla Knudson.
Harnesses enable performers to fly. Several puppets, the most stunning is a huge crocodile with massive jaws. Set designer John Verryt I remember from last year’s King Lear.
This adapted version starts in the bedroom of Wendy Darling (Nova Moala-Knox) and younger brother John (Angus Stevens). They are getting ready for bed, very reluctantly, but demand a bedtime story.
Mrs Darling (Tupe Lualua) starts to read them the story of Cinderella. It becomes a deeper psychological narrative, as it threads through the production.
I don’t recall that from my childhood Disney experience. Many childhood fairy stories have dark underlying themes. That is why they endure, to reveal forbidden narratives.
It is not a spoiler to reveal that third son Michael has died in a drowning, as it is part of the introductory narrative.
Barrie had a younger brother who drowned whilst ice-skating.
The first supernatural occurrence is the appearance of Shadow. Of course it turns out to be Peter Pan (Theo Shakes), who has become separated from his Ka, the body double component of the ancient Egyptian soul.
His debut appearance for Nightsong, and he brings youthful energy to the performance.
We also meet Tinkerbell (Junghwi Jo), also a debutante, who plays it like a flying ninja. Spreads the fairy dust and she is the heart component of Peter Pans soul.
Since the eternal boy doesn’t have a memory and continually lives in the Glorious Present, where regret and sorrow don’t exist.
To die would be an awfully big adventure, Barrie has him saying in one the original works.
The largest presence on stage is Captain Hook (Jennifer Ludlam), also doubling as Mr Darling, and a veteran of Nightsong Theatre.
Plays the villain with a Shakespearian relish and dominates every scene she appears in. Mercurial, narcissistic and satirical in the same sense as a Doctor Evil.
Hook is the most complex character. He is a strong masculine father figure (why the character is paired with Mr Darling) and his animosity and rage is the flipside to eternal youth.
Peter is petulant, takes his most fervent protector Tinkerbell for granted and can’t express his love, and relishes ruling over his band of Lost Boys.
Always looking for an adventure, where he is the leader. Matches himself with pirates, and he got the best of Hook in a swordfight and cut off his hand.
Big Croc (Jaws that can walk), with his swallowed ticking clock signal, is the equal abyss for both.
It is Wendy, as the feminine anima spirit, who provides the mother-nurturing role to the Lost Boys, and ultimately leads Peter Pan to decide whether to leave Never-Never Land or not.
Special mention to TigerLily (Tess Sullivan), who is a wolf spirit in this version and brings a Sandman (Neil Gaiman) totem mystique to the production
Anika Moa is present throughout as the Mermaid Queen. She is basking in the water stage right for the whole show, but she is given little else to do except play occasional ukulele and backing vocals.
There are myriad special effects and puppetry on this journey. Huge mermaid tales, a duck that eats poison, fairies shot by bow and arrow. Culminating in a well-choreographed multiple fight scene.
Peter Pan is a genuine thrill for all ages. It plays at the ASB Waterfront Theatre until 3 November 2024.
Rev. Orange Peel
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