‘Peter Pan’ or ‘The Boy Who Wouldn’t Grow Up’ was dreamed up by Scottish author, J M Barrie and released in 1904 as a play, and then later written as the novel ‘Peter and Wendy’. The story about the much-loved mischievous boy who did not grow up, was turned into a magical children’s Disney favourite in 1953, which was based upon the play. The new script has been a labour of love for director Jonathan Mundy, and writer Ella Hickson, re-imagining this classic story into a modernised view of equal roles for women, with Wendy taking on a more vocal role dealing with the loss of her brother, and becoming the healer of wounds in Neverland, and at home with her parents.
Since the Disney movie was produced, the role of the woman has changed in society, with many more women being leading lights in the world of business, and less likely to be at home darning her husband’s socks. Not that sock darning is not a worthy past-time, but that is a choice, too!
Now, if you have never watched the movie or read the book, here is a quick summary. The Darling family are made up of Mr Darling (Toby Stephens), Mrs Darling (Lolita Chakrabarti), and children, John Darling (Fred Woodley Evans), Michael Darling (Kwaku Mills), Wendy Darling (Hannah Saxby), and Tom Darling (Alexander Molony). In the event of the death of Tom, the family is struggling to move on, and this is observed by Peter Pan (Daniel Krikler), who comes into the children’s life. Pan takes the Darling children to the world of Neverland, where children never grow up and spend their days playing, but it is also inhabited by the bad pirate Captain Hook (a role taken on by Toby Stephens who is adept at playing the villain), his crew, and not forgetting the crocodile imaginatively played by Harrison Claxton. Pan and Hook are enemies, due to Hook’s envy of Pan’s youthfulness and not growing old, another theme that is an epidemic in today’s society.
From the beginning of this wonderful production, the stage is fully utilised, with action happening in the air with flying children, but also hiding in cupboards, inside and on top of wardrobes, and making full use of this creative staging designed by Colin Richmond. The fun and playfulness of this production have been captured in the lighting (Oliver Fenwick), sound (Christopher Shutt), and fight scenes which were adeptly choreographed by Terry King and Lucy Hind. Most of the performers are adults playing children, so convincing the audience that they are children is the challenge, but this production excelled at this, with such funny moments from the lost boys bringing out my inner child.
In the early part of the play, the boys treated Wendy as a silly girl who should take on the role of their mother, cooking and looking after them. But these scenes slowly developed Wendy into something more than their carer, she was helping them to evolve into boys who saw girls as their equal, as Wendy stepped forward to heal divisions between the separate groups. Wendy finally got her chance to become a swashbuckler, and to encourage young girls everywhere to not let the boys have all the fun!
The cast did an excellent job, bringing J M Barrie’s story to a modern audience, this play is a joy from beginning to end, with brilliant directing, design, and performance. Parents and children alike, can enjoy a production that is not just fun to watch, but also assists in dealing with themes such as the loss of beloved family members, female empowerment, growing old, and of course, to never smile at a crocodile!
Do go along to see this production which is running at the Barbican Centre until the 22nd November 2025, it is charming. To book tickets go to – https://www.rsc.org.uk/wendy-and-peter-pan/
Reviewer: Caroline Worswick
Reviewed: 29th October 2025
North West End UK Rating: