Never land that’s the secret of flying. Never land, nothing equals the thrill.

I’m always harping on about the secret to success in amateur theatre. Well, Bilston Operatic Company certainly had that in Styles and Drewe’s Peter Pan. Three Ps: The right Product in the right Place with the right Publicity. Another couple of Ps with Peter Pan, there’s added family appeal. Parents bring their kids to shows like Peter Pan, enjoying the experience so much, they do return.

Peter Pan: A Musical Adventure is a 1996 reimagining of J.M Barrie’s original 1904 play. With music and lyrics from George Styles and Anthony Drewe plus a book by Willis Hall which is still faithful to the original, I need no explanation of plot. Really … who doesn’t know Peter Pan?

I really like this version and the main reason is the score. Styles and Drewe are epic, probably the best musical theatre song writing collaborations in recent times. Catchy tunes with emotion and depth. However, I do think Willis Hall’s book needs bringing up to date with 21^st century attitudes. Make Peter Pan less egotistical and Wendy certainly more feminist as opposed to her lot in life being there to cook and clean for males.

Peter Pan, is of course, a magical story, whatever format it takes, and in this show you had the perfect opener with a full chorus and There’s Something in the Air Tonight. Talk about goosebumps, but nothing you would not expect from Styles and Drewe. Even so, this song needs to be done right and with swirling fog and ethereal mystery, Bilston’s voices were magnificent.

Leading the way as the boy who never grew up was Fergus Edwards, and no surprise to find he is a student at the prestigious Birmingham Ormiston Academy. The performance was out of this world; a fine singing voice up there with the professionals. The same for Maddy Evans who captured the character and innocence of Wendy Darling perfectly. The duets in The Cleverness of Me and One Big Adventure were wonderful, and Neverland is just a magical number. The latter also included 12-year-old Joseph Dowen as John and Jett Austin-Richards at an amazing 7 years old playing Michael. Such confidence and stage presence from ones so young. Amazing.

Narrating we had Amy Frost as the storyteller, eventually revealed to be grown-up Wendy who duetted lovely with Lydia Hackett as Mary Darling in Just Home. Hackett also set the scene early on with Just Beyond the Stars which was tremendous. Supporting also as George Darling was Jon Dempsey who portrayed well the consequences of his children’s disappearance, inducing what was basically a personal breakdown.

And then there be pirates … Ahhh! Captain Hook is such an iconic role; one I had fortune to play once upon a time, and Dan Smith had the voice, the presence, and overall charisma to make you believe he was Hook. When I Kill Peter Pan was especially good, mixing humour with menace at the end of Act One. But you can’t have Hook without Smee, and I have to say Zachary Hollinshead is up there with the best and made himself the audiences’ favourite. Yes, it’s in the character as written but you need talent to complete the task and Hollinshead had that in abundance. A Pirate with a Conscience with Hook and Rose-Tinted Eyepatch which included all the pirates were top-drawer on the night. The same could be said for Good Old Captain Hook – a rousing ensemble number which showed good characters and chemistry. We also had excellent dancers in the indigenous inhabitants of Neverland (Natives, Mermaids and Wolves) led wonderfully by Issy Checketts (Tiger Lily) during Crocodile and Tiger Lily/Siren Song.

Now, I’m a great advocate of kids in shows, for they are the future, and the audiences love them. Fortunately, in Peter Pan, there are so many opportunities for these to shine. The Lost Boys were magnificent and even included a couple of girls in their number. This is great for inclusivity as in the past I have despaired when shows like this and Oliver have restricted the junior numbers to male only, just because an original script says so.

Peter Pan was produced and choreographed by Laura Canadine with assistance from Amy Evans while an eight-piece orchestra delivered an auditorium of sound with musical direction in the hands of Gareth Howard.

Wow! I’ve gone way more than my usual 500-word reviews which reflects how much positivity I have to say about this production. It did look expensive with no cost spared and while the cynic may think the company have endless money thrown at them, I disagree. Although the programme had a page filled with patrons and financial support, this is simply good business for which Bilston Chair, Brenda Arnold can be proud.

So, an enormous success which looks to be repeated next year in Chitty Chitty Bang Bang. Family show, lots of kids, and well-known songs. Bilston surely have that succesful formula nailed and I for one can’t wait.

Cheers.

Antony N Britt

• Some photos blatantly stolen from Bilston Operatic Society’s Instagram page.