Wendy and Peter Pan - Barbican Centre: A magical production to reignite the child within

Hannah Saxby and Daniel Krikler as Wendy and Peter, in Wendy and Peter Pan. Image by: Manuel Harlan.

⭑⭑⭑⭑⭑ - 95% • 4 minutes 4 seconds read time

There is a kind of theatre that speaks straight to the child in the room and the child still tucked somewhere inside every adult. Wendy and Peter Pan at the Barbican Centre is that sort of production, capturing a sense of wide eyed wonder that children feel freely, and adults don’t allow ourselves nearly enough. If this had been my first ever trip to the theatre as a child, I would have fallen in love so deeply and so instantly, you’d have been hard pressed to break us up for life. It is magic, created with such care for young imaginations that it sweeps everyone along with it.

The atmosphere inside the auditorium made that clear. I was surrounded by children who were totally absorbed from the opening scene, their gasps and whispered excitement perfectly echoing a production shaped to spark wonder. Every creative decision leans into that childlike sense of possibility, and the effect is enchanting.

A major reason for that is the extraordinary set design by Colin Richmond, who also takes on costume design. The result is a visual feast, the magnificence of which I actually cannot overstate. It manages to honour the iconic imagery familiar to anyone who has seen the animated Disney film, while also building its own distinct and imaginative world. The nursery’s huge window, the twisting and sprawling lost boys lair, and most of all the breathtaking reveal of Hook’s Jolly Roger create an experience that feels both nostalgic and refreshingly original. The more you look, the more details appear, tucked into corners or built into shapes that suggest new stories. Even at 28, I found myself swept up in the sheer joy of seeing how Neverland had been realised.

Movement and choreography add even more layers to the production’s artistry. Peter and his Shadows glide and sweep across the stage with a lyrical quality that brings a sense of fluid magic to their scenes. It feels as though Peter’s spirit is mirrored in the elegant, almost dreamlike way they move. Tink’s depiction in her miniature form is also especially clever, again incorporating lyricism of movement in a way that takes something simple and makes it exciting, and highlights her mischievous energy. And of course, a Peter Pan story must include flying. Here it is more than simple wire work, there’s also a sense of choreography and almost gymnast skills that blend acrobatic lifts and spirals that give the sensation of true airborne freedom.

The cast rise beautifully to meet the production’s scale. Scott Karim’s Smee brings well judged comedy that clearly hits the mark for the adults in the audience as much as it does for the children. Toby Stephens takes on both Hook and Mr Darling with impressive versatility, and he shifts between the roles with such clarity that it was a genuine surprise to discover they were played by the same actor.

This version really leans into the lore that Peter and his lost boys are children who have died, turning Neverland into a place where they get to be free and fun forever. It gives the adventure a slightly more poignant flavour without pulling focus from the joy of the story. There is also an added sibling that audiences will not recognise from earlier versions: Tom Darling. It is a lovely bit of Peter Pan universe crossover that he is played by Alexander Molony, who was Peter himself in the 2023 live action Disney remake. He is quite darling - pun not intended - as Tom, bringing a gentle spark that fits beautifully into this retelling.

At first, the decision to cast adults as Wendy, John and Michael seems unusual, but the performances quickly silence any doubt. Hannah Saxby’s Wendy is a beautifully drawn portrait of a girl poised on the threshold between responsibility and play, and she anchors the story with feeling and clarity. Kwaku Mills as Michael is a standout, with comedic timing and physical comedy that had large sections of the audience in stitches.

And of course, Daniel Krikler as Peter. At the very end of last year I saw him in Natasha, Pierre and the Great Comet of 1812 as Dolokhov, then he moved into playing Perchik in Fiddler on the Roof at the Barbican, and now he finishes the year as one of the most captivating and interesting versions of Peter Pan I have ever seen. I say all this because to have received universal praise for all three roles - roles worlds apart from each other - makes clear that his range is unbelievable. He brings such a distinctive energy to Peter, full of spirit and mischief but with real emotional texture running underneath. A lost boy in the truest sense of the words. If you love theatre, storytelling and watching great actors present those stories - but you have not yet discovered Daniel’s work? Start paying attention. He is a really exciting talent, and he shines in this.

There are a handful of moments that dip slightly too far into pantomime territory for me. They seem intended to appeal to, or draw the attention of younger audience members, but the production is already so engaging that these touches feel unnecessary. Even so, they do little to dent the overall achievement. This is a triumph, rich with heart, imagination and craft.

It is a real shame that the run is so short, as it would have made a perfect festive outing for families over the Christmas season. The production closes on Saturday 22 November, and if you can catch it before then, bring your kids along or maybe just your inner one and enjoy a few hours of true escapism. It is good to be reminded sometimes just how joyful it can be to get completely swept away!