One of three
Peter Pans in First Family
Entertainment’s empire of pantomimes across Britain this season, this
is the all-too-familiar vapid, visually rich but invention-starved
light entertainment broth that has so polluted notions of panto over
the past couple of decades. Some moderately famous names, some
gratuitous musical numbers Sellotaped on top of the story (I ask you:
Captain Hook
sprechgesanging
Michael Jackson’s “Bad”?), an industrial approach to the product which
loses all sensitivity to the story of the little boy who never grew up,
the ethos of pantomime or any remotely conventional values of fun.
Bonnie Langford was born to play Peter Pan, but perhaps not for quite
this long. At 44 years of age her thighs are beginning to thicken
beyond optimum shape for filling a principal boy’s tights, and although
she continues to cavort with inexhaustible energy, she at times seems
more mumsy than Samantha Giffard’s Wendy, who has been cruelly forced
into a frilly frock and mass of ringlets that make her resemble
Langford aged 12 as Violet Elizabeth Bott in the TV series
Just William rather than any
surrogate mother for the Lost Boys of Neverland. Simon Callow would
seem a fine fit for the role of Captain Hook, but his dedication
sometimes skitters off the edge of the role so that what we see is not
the pirate leader but an exuberant Simon Callow in a Restoration
peruke. The production also features a CGI Tinkerbell (although the
larger video projections suffered from horizontal lines whenever the
orchestra blared), and the least canine, most bloke-in-a-costume Nana
the dog I have ever seen. (The crocodile isn’t much better.)
All this simply makes the production weakish. The doomsday device is
Tony Rudd as Hook’s sidekick Smee. Rudd is an end-of-the-pier comedian
of the non-risqué type, all hollow bonhomie and out-of-date
telly gags. During the second of his entirely unintegrated,
excruciatingly prolonged Act Two front-curtain routines, I found myself
so unable to bear any more of his drivel that I discreetly began
listening to my iPod. As I left the theatre after the show (oh, how I
wish it had been earlier), I thought I saw The Verve’s vocalist Richard
Ashcroft. Well, the previous two and a half hours had been ample proof
that indeed, the drugs don’t work.
Written for the Financial
Times.