Review: Peter Pan, Greenwich Theatre

Opening in a carwash (yeah!) you may be forgiven for thinking you’ve wandered into the wrong show as Peter Pan: A New Pantomime Adventure begins. However, the audience is soon whisked away with Wendy to a story loosely about being as young as (the person?) you feel. Seriously though, it enters into the spirit and magic of theatre, asking us to suspend disbelief for an evening with friends and family, leaving any troubles at the door. The script by Anthony Spargo – who also stars as Hook – is a triumph. It and his cast are the cornerstones of the show’s success. As a performer/writer he knows how to get the best out of his characters, keep the action twinkling along, while sprinkling jokes throughout.

The production benefits from Greenwich’s revolving stage which allows for slick, quick set-shifting between Neverland and Hook’s ship, with the two main sets back-to-back in the traditional style. This means in the first act in particular the energy is consistently high, with short punchy scenes that switch between the two locations, ensuring it very rarely ever drags. The plot is largely irrelevant (secret amulets and fountains of youth don’t hold much water) and is cursorily meted out, but somehow between songs, set-piece gags and excellent performances – complete with two live musicians who occasionally also join the crew – it’s just wave after wave of great panto feeling. There is a deft balance between hitting all of the panto beats, but with it being so well-knitted together the flow isn’t broken when it does stop to do a ‘bit’.

It’s a very talented cast; Spargo does certainly star, but Louise Cielecki as Smee brings huge energy and operatic skill. Samuel Bailey as Peter is a great singer and commits to being somewhat the straight-guy among such large characters, and so is a little weaker (in comparison to others) in the acting department – it’s all dramatic pointing, jutting elbows and hands on hips. Meanwhile, Tink (Olivia Williamson) is a sardonic Gen Z fairy, Wendy (Nikita Johal) slightly outshines Peter, and Starkey (Tom Murphy), who is in the shadow of his shipmate Smee, all still bring big performances, making it six key lead performances that know their role and never fight each other for oxygen. It just feels like a happy cast and that translates into the end product. Spargo, often camping it up in the absence of your classic dame, teases the cast and audience just the right amount – like he’s having fun but able to do so by executing with skill. He can take a boo (and one excellent heckle) in his stride, and all the audience interactions are clearly signposted so you know when you can get stuck in and when to let the performance go.

The songs are fine, they are very well performed (with a refreshingly good sound mix) but don’t do a huge amount in isolation. The gags however flow freely and include a 25-strong string of fish puns. Cod you believe it? There’s some mimework with a parrot which is not technically very good, but it is quite fun watching Spargo do it poorly! Cultural references range from a ‘6,7’ TikTok moment, the bizarre appearance of Yoda, and a Dad’s Army skit, providing something for the whole family.

The spectacle is impressive. In a poorer production there would be more to say about the colourful and detailed set and costume design by Emily Bestow, but as with the cast, it plays its part strongly in concert with the overall effect. But Spargo captains his ship expertly and plunders the headlines as a killer writer and panto performer.

Written by Anthony Spargo
Directed by James Haddrell
Musical Direction by ‘Uncle’ Steve Markwick
Designed by Emily Bestow
Lighting Design by Henry Slater
Sound Design by Aidan Good
Video Designer by Hannah Schlenker

Peter Pan plays at Greenwich Theatre until Sunday 11 January