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ace-anderson · 10 months
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Peter Pan (Derby) 2019
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In December of 2019 I had the pleasure of attending an afternoon performance of Peter Pan, at the Derby Arena or Velodrome on Pride Park, in Derby. It was the first time I had visited this multipurpose facility and unusual for such venues, its atmosphere was somewhat less 'empty' than others. It is both fashionable and convenient for councils today, to build multipurpose public buildings, rather than purpose built venues such as theatres. This is not always a success as many venues are big empty spaces, lacking in ambiance.
 The velodrome, a rather unusual looking building on the outside, was rather more welcoming in design and convenience than I expected. Inside the temporary seating was laid out in a sensible manner, with an easily accessible raised area to complement the stalls. All very much an improvement on the cramped seating of the now defunct Derby Assembly Rooms. A building that due to fire damage still remains closed, years after the original incident.
 Pantomime for those unfamiliar with the term, is not a mime. It is not a silent art-form and pitched in particular at the younger audience, is often a loud raucous affair. The precise origins of pantomime are unclear. Did they originate as Medieval mummers plays or as more comedic alternatives to the Passion Plays? Are they pre or post Shakespeare and Marlowe? The 'Panto' to use the short colloquial form, does have heritage and tradition. The Pantomime is rich in both. It is an important part of the cultural and theatrical tradition of Britain, yet sadly it is often dismissed as something lesser.
 The 'Panto' tradition is often puzzling, the juvenile lead or principle boy, is often portrayed by a female performing as a male. This character in many stories marries the female lead and they live happily ever after. This has nothing at all to do with sexual orientation in any modern environment. The origins lie back in the times when women could not perform in the theatre.
 The origins of the Dame, a man acting the part of a woman, are very likely to be similar if not identical. They are both part of the 'cross dressing' tradition found within British theatrical entertainment. This includes transvestite performers manifesting as Widow Twanky in Aladdin, Arthur Lucan's famous Old Mother Riley and in such famous plays as Charlie's Aunt. In more recent years we have seen the same phenomenon in the theatre and on film in 'Hairspray.'
 Peter Pan as a Pantomime is a fairly recent addition to the traditional repertoire of the thespian. This creation of  J.M Barrie first appeared in a short story published in 1902 and the character was expanded further in a series of works over the next decade. In 1929 Barrie left the royalties in perpetuity to Great Ormond Street (Children's) Hospital in London. An act of enormous generosity and benefit.
 The majority of Pantomimes are based on traditional stories, legends and folktales. These include Sleeping Beauty, Cinderella and the famous Dick Whittington. Peter Pan originating as a short story in Edwardian times is younger even than Treasure Island, originally based on a serialised story published in 1881. What this illustrates quite profoundly, is that the Pantomime is not a static phenomenon but an ever changing performance art.
 This new adaption of Peter Pan was the brain child of Morgan Brind; who also played Aunt Hilda, the Dame of the show. The production directed by Tim Ford, included characters familiar to the audience but also a few new additions. Captain Hook was played with joyful menace by Bill Ward, a well known television name. Having grown a beard for the part, he made an excellent villain and clearly relished every scene.
 Another television name is Katrina Bryan who successfully captured the emotional overload of the fairy-folk, playing Tinker Bell as a being of reaction and jealously. The children were played with style. They were led by the charming Rebecca Brierley as Wendy, ably complemented by Thomas Grant; who as a male and in a break from 'tradition' portrayed Peter Pan. Nana the Dog should of course not be ignored as it was an outstanding performance, played by an actor clearly destined for greater roles. Possibly with the RSC.
 Two new characters are worthy of note. Mary Darling and Marilyn the Mermaid were performed by the delightful Abigail Finlay. Playing two roles gave this actress the opportunity to show her grasp of the Northern Accent and display the most remarkable Mermaid wiggle. Quick Draw Macraw, a parrot belonging to Hook but whose real loyalty lay with Pan, was played with outstanding charm by Richard Brindley.
 Brindly and Brind as Quick Draw Macraw and the Panto Dame, formed the primary double act of the show. Engaging in assorted jokes, antics and slapstick, these two fine performers proved themselves to be ideally suited to their partnership. They skilfully complemented the rest of the cast, the plot and the musical numbers with a studied performance.
 The only fly in the ointment were the political jokes aimed at the adult members of the audience. Coming so soon after the General Election these jokes were never going to please everyone and they did not. They actually fell so flat that they pleased no one. The audience was clearly a divided one, half may have voted Conservative and half Labour. Half may have voted Remain and half Leave. A joke at the expense of one half of the audience would solicit some embarrassed laughter but also equal groans. People had come to be entertained, we were in search of escapism. The political comment was unwelcome and was perhaps inappropriate.
 Truthfully Peter Pan was something of a spectacle. Not at all over the top, Pantomimes can easily drift that way but instead pitched just about right. It was well written, it was well directed and very well performed. Every actor and importantly every dancer in the chorus, knew their parts and played as part of a team. My final thoughts are very simple. This adaption and performance of J.M. Barrie's Peter Pan, was the best Pantomime I have ever seen.
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ace-anderson · 10 months
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