Tag Archives: Adam Meggido

Peter Pan Goes Wrong


Theatre Royal Brighton & UK Tour

Peter Pan Goes WrongPeter Pan Goes Wrong

Theatre Royal Brighton

Reviewed – 19th November 2019



“Simon Scullion has designed a set that seems to be always on the verge of killing someone, yet manages not to”


Glorious slapstick, wonderful cheeky humour, and a completely mad ‘plot.’ Peter Pan Goes Wrong has everything you could possibly want from a hilarious evening at the theatre.

Once again I had my nine year old sidekick, Manu, with me to help with the review. He loved it, I loved it, clearly the whole audience loved it. Manu’s favourite bits were the most outrageous physical ‘mishaps’; the collapsing sets, the appearance on stage of the crew, trying to fix things with a chain saw and various other alarming tools. But the fun began even before the show did. Cast and crew moved through the audience, getting in the way, running wires, looking for lost equipment and chatting with people in their personas as amateur actors on their way to perform. Patrick Warner the narrator, who also plays the Cecco, the Italian pirate, made Manu a balloon dog and Ciaran Kellgren who plays Peter Pan came along, playing the star. ‘You know who I am,’ he informed Manu, and luckily he did, because he’d been reading the programme. ‘You’re my biggest fan’ crowed Kellgren and signed his programme. One very happy boy, even before the play officially began.

Another thing that Manu loved was the number of characters some of the cast played. Phoebe Ellabani executed some lightning changes right at the beginning, transforming from Mary Darling to Lisa the maid in seconds. Several times. Later she became both Tiger Lily and Tinkerbell. Peter Pan’s flying was incredibly skilful. He made it look shambolic, dangerous and very, very funny. I don’t want to give too much away, but when the ‘stage hands’ came on to wire up the Darling children for their flight to Neverland they didn’t exactly manage to do it right. You’ll have to go and see it if you want to know what happens! It’s hard to convey the sense of breathtaking chaos. Nothing goes right, and everything is perfectly judged.

Romayne Andrews, as John Darling wearing headphones that ‘fed him his lines,’ had some fabulous moments when he unknowingly tuned into the shipping forecast, or the ‘backstage chat,’ repeating everything verbatim. Tom Babbage’s Michael Darling/crocodile combo won the hearts of us all, when his secret passion was revealed, his charm and vulnerability turning him from a geeky kid to the audience favourite. Connor Crawford’s outrageous and exasperated Captain Hook was determined that the play was NOT a pantomime, but nothing was going to stop the audience taking up the traditional ‘oh yes it is! Oh no it isn’t!’ call.

Everyone in the cast deserves mention, as they were all superb. Katy Daghorn was a Wendy holding it together with Sarah Bernhardt aplomb, Oliver Senton bumbled and growled as Starkey, woofed his way across the stage as Nana the dog and was determined that he was the Co-Director, not merely the assistant. Georgia Bradley was a sweet Tootles, injured and stuttering but finally triumphant and Ethan Moorhouse’s Trevor the Stage Manager was the epitome of incompetent frustration, trying to fix everything as it collapsed around him. Although the collapse was probably his fault in the first place, his team of Assistant Stage Managers, Eboni Dixon, Christian James, Soroosh Lavasani and Ava Pickett ‘helped’ with startling uselessness.

Just when it seems impossible for things to fall apart even more spectacularly the finale happens. And it seems to happen to the cast, rather than be created by them. The revolving stage revolves, everything seems on the edge of total implosion and somehow the characters arrive at something approaching the expected end.

Simon Scullion has designed a set that seems to be always on the verge of killing someone, yet manages not to. The lighting and sound design add beautifully to the explosions and mishaps. And it’s all shaped into a tight, crazy farce by Adam Meggido, who expects a lot from his cast and absolutely gets it.

The whole thing is a superb romp that anyone from nine to ninety will love, acted and directed with whip smart skill. Manu and I both say ‘go and see it!’ You won’t regret it, although your ribs may be sore from laughing.


Reviewed by Katre

Photography by Alastair Muir


Peter Pan Goes Wrong

Peter Pan Goes Wrong

Theatre Royal Brighton until 24th November then UK tour continues


Previously reviewed at this venue:
This is Elvis | ★★★ | July 2018
Salad Days | ★★★ | September 2018
Rocky Horror Show | ★★★★ | December 2018
Benidorm Live! | ★★★★ | February 2019
Noughts And Crosses | ★★ | March 2019
Rotterdam | ★★★★ | April 2019
The Girl on the Train | ★★ | June 2019
Hair The Musical | ★★★ | July 2019


Click here to see our most recent reviews


The Good The Bad and The Fifty

The Good, The Bad and the Fifty

Wilton’s Music Hall

The Good The Bad and The Fifty

The Good The Bad and the Fifty

Wilton’s Music Hall

Reviewed – 15th February 2019



“The cast is strong, verbally agile and crucially – so, so crucially for a show like this – seem to be having a good time”


Improvised comedy can be nerve-shredding. For casts, certainly, but for audiences too. Jokes teeter on the brink of finding their target or falling flat. Repartee must hustle along at a relentless pace. Everything is but seconds away from an awkward pause or a fluffed line. Thank God, then, that the stellar cast of the London Improvathon keep it all on the hilarious side of panic.

The theme for this year is all things Wild West, and the series of character introductions demonstrates immediately what territory we’re in (literally). You’ve got your classic hellfire-preaching pastor and chaste daughter, your gunslinging sheriff, your out-of-towner and your town drunk (the likeable character of Dirk Gundersson, with some laugh-out-loud delivery). On the subject of those character introductions, this cast is so huge that running through each character in this way actually risks an early slackening of pace – and hey, isn’t it cheating to use your improv time for beefy prepared intros?

No matter. Once we’re into the meat of the show, the true improvisation, the fun really begins. The model is slick; an excellent compère/director works alongside a remarkably adaptable pair of musicians and a lighting crew to set up each scene, at which point selected actors are bundled in and, without so much as a ‘howdy pard’ner’, the freestyling begins. Naturally some scenes are stronger than others, and, at least in the first of the 25 two-hour chapters, a sense of a meaningful through narrative is hard to find. But the need for one slips away as we’re lured into the peculiar world of ‘Wilton’s Creek’ one vignette at a time. The cast is strong, verbally agile and crucially – so, so crucially for a show like this – seem to be having a good time.

As is perhaps so often the way with improv, standout moments come when things start to get away from our players. It’s quickly clear that we’re in capable hands, with some actors always displaying a clear mastery over their craft (the character of Colonel Sanders, for example, is uniformly a joy to watch). Feeling secure, the audience enjoy the occasional verbal cul-de-sac confident that it will be turned to humour. The Colonel’s spelling out of ‘perspicacity’, visibly instantly regretted, is a great example of this, as is Pastor John breaking character to address an audience member and warn that God will text him their name.

The night isn’t perfect. It’s rotten luck for the less confident cast members to sit among such an accomplished ensemble, as less than whip-smart performances become all the more obvious. And it was notable to me that, at least in the chapter I saw, this cast of approaching twenty people were all white.

This is a blissfully adroit cast though (one might say perspicacious), and it’s hard to begrudge a moment of the very apparent fun being had on stage. And yee ha! It’s delicious silliness for audiences too.


Reviewed by Abi Davies

Photography by Claire Bilyard


The Good The Bad and the Fifty

Wilton’s Music Hall


Previously reviewed at this venue:
Songs For Nobodies | ★★★★ | March 2018
A Midsummer Night’s Dream | ★★★½ | June 2018
Sancho – An act of Remembrance | ★★★★★ | June 2018
Twelfth Night | ★★★ | September 2018
Dietrich – Natural Duty | ★★★★ | November 2018
The Box of Delights | ★★★★ | December 2018
Dad’s Army Radio Hour | ★★★★ | January 2019


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