Review: Peter Pan – Press Night at The Gladstone Theatre | Sun 7 December 2025

There's a particular kind of magic that only pantomime can summon,  the kind that tugs you gently out of adulthood and returns you, just for a moment, to a place of child-like wonderment. On Sunday evening, The Gladstone Theatre’s production of Peter Pan, staged by Dreamworld Entertainments, did exactly that. It wasn’t simply a performance; it was a warm, spirited gathering, full of community, laughter, and that rare theatre alchemy where the audience becomes part of the story. I attended with a good friend of mine and we absolutely loved it. It was Press night and we were right at the heart of the action and were privileged enough to be a few rows from the front. What a treat!

From the very first scene  a beautifully staged opening featuring young ballet dancers, confident teen performers, and talented singers from the Pink Production Company,  the show announced its heart. The sea of pink tutus against the soft stage lighting created a kind of innocence and hope that set the tone for everything that ensued.

Lewis Pryor’s Peter Pan brought mischievous charm and a fresh, modern edge to the role. He had the children completely on side from the moment he bounded onstage, flossing, dancing, and cheekily mocking the "6–7 age gap" in a way that had both kids and adults laughing. His invitation to Wendy to fly away to Neverland felt spontaneous and delightful. I watched Lewis in many performances now and was not disappointed by his stage presence and dynamic energy.

Darcey Blake’s Wendy Darling lived fully in her name; the production leaned into the “Darling” motif, weaving it into props, jokes, and even a little “Darling Tower” moment that gave the audience a knowing smile. She was warm, expressive, and utterly believable as the heart of the family.

Then there was Tink - played with spark and flair by Tasha Rowson. One of the standout interactive moments of the night came when she fluttered onto the stage and declared, “Every time a fairy tells the truth, they grow a little bigger.” She cued the audience to call “Bell!” every time she said “Tinker” and the room erupted with playful participation. It was joyful, chaotic, and exactly what pantomime is meant to be.

Ellie Clayton’s Tiger Lily delivered some of the strongest vocals of the night, commanding the stage with confidence and a gorgeous tone. Her musical numbers were among the production's highlights,  polished, powerful, and full of presence. I had goosebumps whenever she sang. Truly exceptional.

Photo credit: Dreamworld Entertainments.

The choreography throughout was tight, thoughtful, and full of energy, thanks to the creative expression and genius of Jamie-Leigh Christian whose movement direction kept the ensemble feeling cohesive and lively.

Mr Smee was played by the incredible Michael Alan Bailey who was endearing and full of character, his interaction with the audience was high-energy and contributed richly to the flow of the show.

Speaking of comedy, Michael Chapman’s Dame Tootles was an absolute riot. The timing, the physicality, the wild costume changes… she stole scenes without ever stealing focus from the story. One of the funniest moments came when cast members lost their composure and burst into laughter on stage; a genuine pantomime treasure that had the whole theatre laughing along.

Photo credit: Dreamworld Entertainments.

Darren John Langford’s Captain Hook was deliciously theatrical, sweeping, flamboyant, and equal parts villain and diva. His recurring “Don’t you just love me?” line became a running joke that the audience leaned into more and more as the evening went on.

Photo credit: Dreamworld Entertainments.

The production was also notably more theatrical than many pantos, with stronger acting across the cast and a more cohesive story flow. The staging and props were beautifully done, from the Darling nursery at the Darling residence to the Neverland scenes, creating a world that felt lovingly crafted rather than thrown together.

Local references threaded the performance together, characters named Thingwall and Hooton, jokes that only a Wirral audience would catch, and just the right amount of cheek and innuendo. One attempted call-and-response (“Tick, tock, big fat crock!”) didn’t quite land with the audience, but Smee handled it with humour, and it became a joke in itself.

By the final number, the crowd were fully in it; loud, warm, and generous in their applause. The bows were exuberant, heartfelt, and a fitting close to a production that clearly meant something to everyone involved.

Photo credit: Dreamworld Entertainments.

The Gladstone Theatre has delivered a pantomime full of charm, humour, community spirit, and craft.

From the costumes to the vocals to the tiny touches that make live theatre feel alive, this was a night that reminded us why pantomime remains one of Britain’s most beloved traditions, especially during the festive season where families unite.

A production full of truth, sparkle, and just enough fairy dust to lift us all a little. It's a 5 star PR rating from me.

Get your tickets. The show runs until Wednesday 31st December 2025 and tickets can be bought here.

Photo credit: Dreamworld Entertainments.