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Breathtaking special effects give Barrie's play a new dimension
Any youngster who doesn't get to Pan (Capitol Theatre) will be deprived of one of the most spectacular theatrical experiences seen here -- or probably anywhere else, for that matter.
In terms of staging and technical achievement it reaches new standards with animatronics, illusion and audio-visual effects augmenting the live acting action.
Visually, it is an absolute joy to behold -- like a giant colour picture book, opening page after breathtaking page.
When combined with the many special effects, it had children and adults alike gasping audibly at last Sunday's premiere.
In fact, applause for the staging and effects punctuated the entire performance -- and that was just the grown-ups!
The large proportion of children were immersed and involved from the opening scene -- no small achievement in the vast 2000-capacity Capitol.
It was a delight to realise that television and computer games haven't extinguished the values of 40 or 50 years ago; that the youngsters still recognise the "goodies'' and "baddies'' and enthusiastically join the booing and hissing of Captain Hook (a masterful performance here by Philip Quast, hamming it up exquisitely).
It another life, it could have been the old Neutral Bay Music Hall!
What we get is still essentially a children's production, following closely the J.M. Barrie book.
But while the smaller ones will be captured by the fairy tale, the mums, dads and grandparents are just as likely to be caught up in the production values and the clever Frank Gauntlett lines, with asides pitched at the adult audience a la the Muppet movies. Corny but funny.
Pan is not a musical (the music is pre-recorded).
It is a play embellished with all the aforementioned accoutrements, not least endearing Jim Henson creations like Grocer Bird and Sheldon the Snurtle, as well as the Squassums, Fribbits and Honkers -- and the crocodile (all frightening 5m of him).
J.M. Barrie (played by Bill Kerr) introduces the classic tale, which has Wendy and her two brothers literally flying out of their comfortable, happy London home with Peter Pan to the fabled Neverland.
There they meet the rag-tag lost boys and find themselves in adventures with the pirates and Captain Hook, as well as a posse of old-fashioned Indians.
Quast is a stand-out, but Troy Woodcroft is a thoroughly engaging, energetic Peter Pan.
Raelee Hill makes the transition from television's Water Rats to a charming, feminine Wendy look easy.
Others to shine include Daniel Mitchell as Hook's offsider, Mr Smee, and Stuart Wagstaff, featured all too briefly as Old Cookson, the pirate who's past it.
The work of the 30-plus ensemble (director John Banas) is lively and effective and there were no discernable first night technical hitches (worthy of mention in this instance because of the sheer scale and potential for such a happening). The visual impact does, however, disguise a couple of sluggish spots in each act. Tightening of the two hour, 40 minute production (including interval) would not go astray. But it's a real pleasure to report that Pan is as good as the hype.
The $8 million production tag may or may not be accurate but it more than measures up to the much over-used term "spectacular''. It deserves a long, long run.
Panscript: It is hard to imagine any theatre in the world (and we've sat in a few) being more appropriate for this show than the Capitol.
The elaborate auditorium, with its twinkling star-studded ceiling, the exceptionally wide proscenium and capacious stage could have been made for this production.
The youngsters are in fairyland even before the curtain rises. Another reason to see it.
