Peter Pan

Audiences never seem to tire of going to ‘Neverland’and Queensland Ballet’s restaging of Trey McIntyre’s version of Peter Pan still enchants. Since the production last flew into Brisbane two years ago McIntyre has edited and tightened his vision, and although story-wise it’s a bit muddy in the second act, the work is still a spirited telling of J.M. Barrie’s beloved Edwardian tale of the boy who never grew up.

After delighting us as the Widow Simone in La Fille mal Gardee earlier in the year, Queensland Ballet star-in-the-making Rian Thompson is back, this time in flying harness, and doing some amazing aerial triple spins and back somersaults which stun. Thompson, who’s essaying the role for a second time, is probably better than he was in the 2015 production. His bold style of dance is the perfect fit for Peter Pan. He’s boisterous, cheeky, and flies as gracefully as any Cirque du Soleil performer.

Wendy Green was limpidly lovely as Wendy, bringing technical finesse to the role and a touch of pathos in the finale when she’s matured to a grown woman with her own child. It was a beautifully realised and touching performance.

Joel Woellner and Yanela Pinera were outstanding as the parents whose pas de deux work astonished. Camilo Ramos and Lina Kim bubbled with fun as John and Michael, Neneka Yoshida was a glittering Tinkerbell spreading fairy-dust with abandon, however Victor Estevez’s body-language could have done with more menace as the nefarious Captain Hook.

The corps de ballet were in fine form as pirates, redskins, and lost boys with special kudos to the fairies who charmed with their precision and grace.

With an abundance of primary colours, Thomas Boyd’s sets were picture-book gaudy from a stylised flower glade to Hook’s infamous pirate ship, whilst Jeanne Button’s costumes captured the Edwardian era perfectly, especially the Nannies and their prams, in striking black wigs and long dresses in the opening.

Edward Elgar’s stitched-together score (arranged by Neil DePonte) worked well for the material and was sensitively played the Queensland Symphony Orchestra under Nigel Gaynor’s baton.

The piece de resistance however was the crocodile. It stole the show and even at its final appearance drew belly laughs. Peter Pan wouldn’t be Peter Pan without it!

Peter Pinne     

Photographer: David Kelly