Peter Pan

Grand Theatre, Leeds 

3/5

THERE’S a truly magical moment in David Nixon’s production of Peter Pan when the titular hero travels over the sea to Neverland through a starry night sky. 

Flying high into the Grand’s vertical stage space, amid blinking fairy lights, Jeremy Curnier’s seemingly effortless flight is perfectly timed with that of Antoinette Brooks-Daw’s Wendy, Sebastian Loe’s John and Filippo Di Vilio’s Michael. 

The scene distills all that works about this highly theatrical Northern Ballet revival. Apart from the impressive aerial acrobatics, there are scene-stealing designs by Peter Mumford, Stephen Warbeck’s twinklingly efficient score and a cosy family orientation that includes the lolloping pantomime humour of the pet dog Nana and the giant crocodile. 

Yet there are weaknesses — the designs and costumes are all too often more memorable than the individual characterisations, with many dancers lacking real nuance although Peter is a believable combination of strutting yet boyish bravado, equally comfortable dancing with his own shadow as he is leading his gang of Lost Boys. 

This is in sharp contrast with his nemesis Captain Hook (Javier Torres), who never really comes to life. Neither flamboyant nor cartoonish enough to make a good villain, the weakness of characterisation is especially telling during the key fight scenes. He walks the plank with the limpness of a stick of celery, having dodged swords that are already clearly out of reach. 

But the heartwarming key scenes more or less redeem this production, making it an engaging alternative to the usual family pantomime.

SUSAN DARLINGTON