Neverland on the Firth of Forth

It’s not Christmas and it’s certainly not pantomime. In a bold new version by David Greig, under the award winning direction of John Tiffany, Peter Pan is told as the best of fairy tales should be told – with hints at underlying darkness, a feeling of psychological complexity, and a strong whiff of the supernatural. This is yet another triumph for the National Theatre of Scotland – now four years old and getting stronger every year. Peter Pan has reclaimed its Scottish roots, with Laura Hopkin’s stunning set of the unfinished Forth Rail Bridge setting the time and place and giving a structure that can become a pirate ship and the strange looming landscape of Neverland. Equally important to the production is the vast range of music assembled by Davey Anderson, a haunting collection of Gaelic laments, sea shanties, work songs, and traditional airs which carry and vary the mood throughout the play.
In this version Peter (Kevin Guthrie) is much more like Pan – the faun, the nymph, the satyr. And what is it with adolescent girls and dangerous boys ? Just as in the popular “Twilight” series by Stephanie Meyer where the attraction is vampire love, so Wendy (Kirsty Mackay), poised on the verge of womanhood, is lured to the exciting Neverland by a feral Peter, an emotionally unresponsive runaway who cannot be touched and cannot remember. At the end of the play, Peter, having no sense of time, has let 20 years elapse and comes back doomed to replay his childhood yet again.
Time and death are subtly considered in this play. The tick tock of the crocodile is given added poignancy by Captain Hook (Cal MacAnich) in a dark little speech where he talks of the moment when, having been pursued for years by the crocodile, the sound of time suddenly stops.
With great originality Tigerlily becomes a twosome, as does Nana the dog – all good myths have doppelganger. The best effect of all, however, is Tinkerbell, an amazing ball of fire which can zoom effortlessly through the air – no wires visible. With subtle but stunning lighting , lots of action, and some great flying sequences, this is a Scottish version of a Scottish play that Scotland can be proud of.

Edinburgh Festival Theatre until 12th June
His Majesty’s Theatre Aberdeen 15th – 19th June