Written by Henry Lewis, Jonathan Sayer and Henry Shields

Directed by Adam Meggido

Tickets from £13.00

After ten years with multiple tours and a schtick which, when seen once, reveals the biggest gags of the show, one would expect that the gig becomes a touch stale for repeat viewers. But staggeringly, Mischief Comedy’s second eldest child, Peter Pan Goes Wrong (after the genre-defining Play That Goes Wrong), feels nothing if not entirely fresh, played with the same level of chaos and farce which captures the laughter and hearts of so many in the room. 

After ten years of this enormous success, to see them still adding in tweaks and routines and enabling the performers the opportunity to lean into the roles a little harder, this newest touring version of the show firmly reminds audiences why Mischief is the best at what they do: even in such a large venue as the Edinburgh Playhouse, which ditches the big-budget musicals for a solid piece of excellent physical comedy.  

A familiar set-up, Cornely Drama Society has now graduated into the realms of university funding (hence the nice new shiny set), but their ambitions continue to prove folly as they attempt to stage a full-blown pantomime production of JM Barrie’s fantastical high-flying adventure, Peter Pan. Armed with extra funding from one of the performers’ wealthy uncles and plagued with a few initial tech issues, drawing in the Playhouse audience to help reach the one plug socket right at the back of the stalls,

For any unaccustomed to the goings on of the Mischief crew – the premise is in the title: a production of Peter Pan, where if it can go wrong, it will. And more than you initially suspect. It’s a simple premise, the script relies more on big performances and gusto to carry its drama and trajectory as audiences take a hectic fly-by of Neverland in a way they’ve never seen before. But fear not, as the Cornely Drama Society has only the best in the biz for their newest production, including a Wendy who hams it up, a self-idolising and adulterous Peter Pan, a host of line-forgetting ensemble roles, and a director with a touch of anger issues over their precious, and serious production.

Lights flickering, a fully rotational set, and a few early gags which stretch into the audience, Adam Meggido’s direction does a spiffing job at maintaining momentum, and just as it appears that some of the performers have given it their all and are running on fumes – there’s always sone final clutch of energy in the tank which makes Peter Pan Goes Wrong worth every moment of the night. For as much as Henry Lewis, Herny Shields, and Jonathan Sayer’s script stands up, it’s reliant on a strong cast to carry it through to those in the room who have already seen the production – eager to see more. Lucky across the board, the dedication and talent on-show is near perfect this evening, with just a couple of mistimes with the humour. 

Heading up cast and crew as Cornley’s director and (self-appointed) co-director, Michael Stacy’s Chris and Matthew Howell’s Robert have all the bluster and ego one would expect from someone grasping at grassroots theatre power. While Howell’s physical routines as Nana the dog or Pan’s shadow lead to strong moments, the highlight of the evening comes from Stacy’s ad-libbing with the audience, tired of our shrieks and panto-cries despite his assertion it is anything but a pantomime. 

Showboating to the extreme, Gareth Tempest’s narcissistic Pan is initially a match for their behind-the-scenes romance with Ciara Morris’ Sandra, playing an overly enthusiastic Wendy. The pair bring an element of scandal and layer of connection between the characters off-stage, which aids in the audiences’ sympathies for the remainder of the struggling cast – Morris getting in some redemptive moments later on, reacting well to Clark Devlin’s luckless Dennis, who is fed their lines through a headset – unsurprisingly leading to some crossed communications.

Not all wrong’uns, Theo Toksvig-Stewart’s Max, the nephew of the production generous donator, find themselves at the mercy and jest of much of the other cast as they take to the stage as the snap, snap, snapping Crocodile which ‘nobody likes’. Played with a genuine earnestness, fast earning the audience’s sympathy, it’s a warming role in an otherwise farcical overload. Less sentimental, but faster in other respects, Jamie Birkett undertakes a host of quick costume changes as Mrs Darling, the Darling’s housekeeper Liza, and a hip-thrusting and fairy-light-clad Tinkerbell. Living their best life, with mountains of glitter and a blushing rendition of Cabaret, Jean-Luke Worrell’s narration of the story is just enthusiastic enough to work a treat, and balance out Rosemarie Akwafo’s more reserved terror as Lucy, Robert’s terrified niece, who often ends up the victim of everyone’s bad luck.

Hurtling around the stage, ensuring Simon Scullion’s fab rotating set works (an absolute treat, leading to a still impressive finale) and ensuring everyone is breathing, Jake Burgum is the perfectly cast stage manager who’s tired of this luvvie lot, but getting in on the action just as heartedly. Often accompanied by the remainder of the understudies and stage crew, there’s a very touching and deserving inclusion of the entirety of the Goes Wrong team at the curtain call.

For all of the updates, character swaps, and additional elements which keep the production fresh (even for those on their fourth viewing), the bones of what makes Peter Pan Goes Wrong one of Mischief’s most successful productions. Reliable and full of guaranteed laughs, if this is the first time you’re seeing one of the group ‘Goes Wrong’ series of productions, don’t worry about first-aiders, sparking sockets, liability release and additional fire extinguishers: it’s worth the risk.

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