Pantomime season on the Isle of Wight is officially underway, and I could think of no better show to kick things off than First Act’s exuberant staging of Peter Pan. The familiar tale of pixies, pirates and child abduction was brought to life with equal parts professionalism and pizzazz – with the First Act team expertly tackling the panto conundrum of presenting a tired old story in yet another fresh and engaging way.

The stars of any show are inevitably going to be those performing on stage, though I would be remiss not to highlight the impressive creative inputs of the wider production team. The musical directors are to be commended for their eclectic score, interweaving traditional ditties with contemporary pop anthems – all while playing to the strengths of the performer’s individual vocal ranges. Accompanying this soundscape was ambitious choreography that ranged from downright adorable solo routines to dazzling group numbers (I found the reprisal of the gang’s secret handshake routine in the finale to be particularly heartwarming). 

Our storytellers for the evening opened the show with an air of confidence, with Aaron Danvers Jukes and Sarah Louise McEvoy complimenting each other’s performances wonderfully. Aaron possessed a seemingly effortless ability for both characterisation and comedic timing, while Sarah’s fantastic diction and delivery made her the perfect “straight man” to Aaron’s tomfoolery. Speaking of delivery, the entire amateur dramatics scene on the Island could learn a few things about projection from First Act – the cast’s volume in both speaking and singing parts was notably strong throughout the show.

Kayleigh France exuded charisma as the eponymous Peter, so much so that she seemingly uplifted the entire cast with a renewed energy whenever she arrived on the scene. Alongside Wendy Todd, Christopher Ayers and Marie Smith (playing Wendy, John and Michaela respectively) our merry band of protagonists displayed an impressive command of the stage, acting as a glue that held the entire show together. Wendy Todd gave an especially noteworthy performance, capturing the heroic spirit of the character and avoiding the trap of playing Wendy as some damsel in distress. Opposing our heroes was a ragtag pirate horde, led by James Soley as a spectacularly camp Captain Hook. Between his hilarious delivery and mannerisms, Soley had the crowd eating out of the palm of his hand in no time at all – whether in uproarious laughter or with a litany of boos. If I had any criticism for Soley, it would be that he was perhaps too endearing – I felt almost bad for the poor villain during his inevitable murder-by-crocodile. 

Alongside their principal characters, Peter Pan’s supporting cast each managed to grasp a moment or two each to shine. Carl Harvey just about stole the show as both Nana the dog and the aforementioned Croc, bringing a flair of unbridled cheekiness to the stage. Tinks & Bell, portrayed by Lisa Carter and Maggie Murthwaite, were a truly dynamic duo – working together to bring a fresh take on the character of Tinkerbell – presenting her fiery and adorable sides as two different entities. Ashleigh Jones’ Smee came into his own during the musical numbers, boasting fabulous bass vocals that really shone amongst an overall strong chorus. Other highlights in the singing department included Aaron and Sarah’s storytellers, who introduced both acts with beautiful harmonies; as well as Peter Pan themself – Kayleigh France more than held her own through numerous solos.  

While First Act is a group that features performers with additional needs, it would be disingenuous of me to judge this production by any sort of alternative standards. The performances of everyone involved stand up to even the most scathing of critique on their own merits, and both Director Rowan Lathey and the entire team behind Peter Pan should be incredibly proud of what they have achieved. There were members of staff present (and splendidly costumed) on stage during much of the show, but aside from the occasional timely prompt, they were left figuratively twiddling their thumbs – the cast seeming perfectly able to navigate the stage independently.

Ultimately, contemplating the various intricacies of stagecraft feels like missing the point when it comes to pantomime. As a medium of theatre, one should really rate panto on how it makes you feel; and with the level of enthusiasm and energy exuding from the stage of Shanklin Theatre during this production, it being a resounding success is simply undeniable. I would implore anyone and everyone to check out First Act’s next outing, when they return with “MONSTER MAYHEM” on March 25^th-27^th 2024.