Peter Pan

Phoenix Theatre • 9th, 10th, 16th, 23rd, 24th Dec and 6th January 2025

Panto season is upon us once again, (“Oh yes it is!!”), and with ticket sales reportedly returning to pre-pandemic levels for this distinctly British theatrical tradition, I was definitely one of those looking forward to ending 2024 in much the same way I ended 2023, with Tuckshop’s take on a traditional pantomime, this year’s production being their somewhat irreverent version of Peter Pan. For those unfamiliar with Tuckshop’s oeuvre, their all-drag panto’s (now in its fourth year) are just about as far removed from the usual family-friendly entertainment as it is possible to get. This is a strictly ‘adults only’ affair, baring just about as much resemblance to the original Peter Pan as a deconstructed lemon meringue pie from “Masterchef-The Professionals” has to anything your mother might have made. That being said, both are exceedingly good in their own way, and many of the more familiar panto ‘ingredients’ are actually all still here, they have just been marinated overnight in the rich sauce of innuendo first. Needless to say, it takes the audience no time at all to get on board with the high octane and high camp frivolities, the gags coming thick and fast to the delight of a very appreciative crowd.

Returning after Tuckshop’s 2023 production of Sleeping Beauty are RuPaul’s Drag Race alumni, Kitty Scott Claus, (Wendy) and Kate Butch, (John) who are joined this year by equally popular ‘Racers’, Ginger Johnson, (Hook), and Cheryl Hole, (Michael). Other queens returning for more of the same are Yshee Black, (Smee) and Ophelia Love, (seemingly forever destined to play Villager No. 4 in Tuckshop panto’s from now until the end of time!). The cast is completed by Mahatma Khandi, (Mermaid) and Drag King Richard Energy, (Peter). It’s a veritable ‘who’s who’ of drag that extends all the way down to the writing credits, this year’s production having been penned by Gareth Joyner, no doubt more familiar to some as the equally hilarious Myra Dubois. Although sadly not appearing on stage in character herself, this sharp and gag-heavy script certainly warrants it’s place on the West End stage. (Even if there are only 7 opportunities to enjoy the show during its limited run between Dec 9th and Jan 6th). Whilst some of Joyner’s references might be lost on any younger members of the audience, (Mary Whitehouse… Ethal Merman… anyone?) these are vastly outnumbered to by the nods to contemporary culture and viral moments from the last year and, despite last year’s panto being written by Miss Moppe, there are also some thoughtful throwbacks to that production which makes those in the know feel part of a special club… (and by the sound of the laughter I was certainly not alone in noticing the occasional Easter Egg).

With all of that being said, it's just unfortunate that the stage they find themselves on is being shared by the rather longer running Stranger Things at The Phoenix Theatre, meaning options for a more dedicated set-design are painfully limited. Whilst the few bits that did exist were nicely crafted and inventively used, the more lavish and colourful sets that Panto has become synonymous with in more recent years, was noticeable only by its absence, and it was hard not to be aware that behind the few pieces of movable set there was little more than a large black backcloth.

That’s not to say that their wasn’t a lot of colour on stage… this is a ‘drag’ panto after all and, along with the costumes, a few glorious moments of choreographed lighting meant there was still some inventive production value to be enjoyed, but if the lack of set was to be the show’s Achilles heal, then at least you can always rely on a drag queen to stick their own metaphorical high-heal right through it and maximise every moment for comic effect… which they do here in spades. In fact the cast often deliver wry asides to highlight the shows own shortcomings instead of trying to hide them, even appearing to barely try to cover for any number of the hilarious mistakes that occur, although I have a sneaking suspicion all is not as ‘under-rehearsed’ as it might at first appear, Christopher Clegg’s pacey direction quite possibly paying a nod to The Play That Goes Wrong’s for inspiration. But to think so deeply on such things is to really miss the point. This is just damn good fun that has the audience laughing uncontrollably throughout its duration. We’ve thankfully come a very long way since the likes of Jim Davidson were stamping their own particular brand of ‘humour’ on Adult Panto’s, but with drag’s long association with pantomime through the ever-present pantomime dame, the two are natural bedfellows which, for this reviewer, has now become the perfect way to officially start the festive season. In the spirit of the season, may I suggest you do the same.

★★★★

review: Simon J. Webb

photographs: Mark Senior