PAN
Celebrating their 50th birthday, Chickenshed present a timeless classic, with a famously large and wonderfully diverse chorus. This production has been reimagined by yet another generation, demonstrating that, when storytellers come together, new beginnings are born and old endings are cherished.
Bethany Hamlin’s choreography, whilst not technically flawless, is beautifully devised to showcase a variety of genres (and, in turn, an array of differing talent and abilities). This sums up what the company stands for at their core - that there is something for everyone, and everything can be for someone.
The only criticism of this element would be that it didn't particularly fit with the soundtrack behind it. The songs* weren't very upbeat or catchy - a contrast to the dancers using it as stimuli, and there was a distinct lack of imaginative composition. This general reduction in standards from previous years was unfortunately evident across the board, although it is unclear why this may be. *Multiple writers credited
Courtney Dayes' physical execution of any movement is breath-taking, and it is a struggle to keep your eyes off her anytime she graces the stage. The same can be said for Robin Shillinglaw primarily through use of sign language, however he is one of the many mature performers who felt underutilized. In fact, the highlights of this production came almost entirely in the form of its cast members. As the ensemble work in rotation, it is important to note that we were treated to the joys of the Green Group.
The young girl portraying Tiger Lily’s BSL interpreter shone throughout, and it is clear she has an incredible career ahead of her. If there was an award for ‘best up and coming performer’ both her and her regular scene partner would be nominated. This list may be more extensive should the direction (by Michael Bossisse & Louise Perry) single out more individuals, however many of the young people simply get lost in such huge crowds. On this note, it is likely due to the artistic instruction (more so than character choice) that Demar Lambert struggled to really take off in the titular role.
The technical team is unfortunately where this show fails to fly. The lighting design is especially disjointed with most scenes appearing too dark, overly saturated, or in shadow. With Chickenshed’s signature provisions to accommodate a multitude of audiences integrated into the blocking, it is imperative that these are visible at all times.
Phil Haines’ sound design fell short in its attempt to amplify the already disappointing vocal arrangements. It is as if no stage microphones were present to pick up featured lines from unnamed characters, and even in group numbers it was hard to unpick or understand the lyrics. For those who had radio mics, the volume was simply not strong enough to compete against the brilliant live musicians.
Creatively, the show absolutely soared. The scenic design by Andrew Caddies was the standout aspect, filling the space with wit and wonder. Our seats also offered a close up view of the costumes by Emma Gale and team, which were as fun and flamboyant up close as they were from afar - is a real testament to their quality. The WHAM department met the same standard in a true feat due to the sheer quantitative demand in this respect.
The story of Peter, Wendy, The Lost Boys and Captain Hook borders on a pantomime/ amateur dramatic line, but holds the same familiar warmth as the original novel we all know and love so well.
This show was reviewed on the 27th November 2024 at Chickenshed, London where it runs until the 11th January 2025. Tickets available here: PAN - Chickenshed
Review written by Katie Anna McConnell
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