The Theatre Royal Nottingham’s festive production of Peter Pan is a vibrant and entertaining pantomime that offers plenty of laughs and visual spectacle. Though it veers away from the original story, presenting more of a sequel than a traditional retelling, this show is still a delight.
A remarkable highlight of the evening was the last-minute performance by Alan Burkitt, the show’s director, who stepped into the role of the Magical Merman due to Gok Wan’s indisposition. Despite holding the script in hand, Burkitt delivered a performance that was delightfully camp and utterly charming. His ability to balance the comedic demands of panto with the professionalism required in such an unexpected situation was truly impressive, and his enthusiasm was infectious. The audience responded warmly, and his performance will likely be remembered as a testament to the spirit of live theatre.
Paul Chuckle, beloved for his decades as part of the Chuckle Brothers, played Starkey with a mix of humour and nostalgia that was a clear hit with the audience. The love and affection in the room for Chuckle were palpable, and his comedic timing—still as sharp as ever—brought smiles to all generations. This blend of familiarity and fun added a layer of warmth to the show.
Steve Hewlett, as Smee, brought his own brand of comedy to the production. His skills as a ventriloquist were evident, but it was his ability to improvise and interact with the audience that truly shone. Hewlett’s quick wit and natural comedic flair created some of the show’s most memorable moments, ensuring that even minor hiccups were turned into hilarious opportunities.
The decision to present a story that diverges from the original Peter Pan was a bold one. While it allowed for fresh comedic and narrative opportunities, it also made the production feel a little sparse in places. There was a sense that the storyline lacked the cohesion it could have had. Additionally, the absence of a traditional Panto Dame—a staple of British pantomime—left a noticeable gap. A Dame would have added another dimension to the humour and brought an extra layer of flamboyance and charm to the production, which could have enriched the overall experience.
Despite these narrative shortcomings, the production excelled in its visual and technical elements. The ensemble cast worked tirelessly, delivering energetic dance routines and managing frequent costume changes with ease. Their hard work was evident and added vibrancy to the show. The costumes were particularly noteworthy, with the attire for the Magical Merman standing out as a spectacular visual highlight. These stunning costumes, coupled with impressive special effects, created a magical atmosphere that was perfect for the festive season.
Richard Winsor brought gravitas and charisma to the role of Captain Hook, delivering a villainous performance that balanced humour with dramatic flair. His presence anchored the production, providing a strong counterpoint to the comedic antics of the other characters. The performances of Kate Stewart as Tinker Bell, Molly Farmer as Wendy, and Aiden Carson as Peter Pan were also commendable, contributing to the ensemble’s charm and cohesiveness.
Overall, Peter Pan at the Theatre Royal Nottingham is a joyous and entertaining production that captures the festive spirit and offers something for all the family. While it could benefit from a stronger narrative focus and the inclusion of a Panto Dame, the humour, nostalgia, and visual spectacle make it a worthwhile outing. Alan Burkitt’s last-minute heroics, coupled with the warmth and skill of the cast, ensure that audiences leave with smiles on their faces and the magic of Neverland in their hearts. This production, running until 12 January 2025, is a delightful addition to the Christmas season.
Photography throughout from Whitefoot Photography.
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