19 March 2011
This year's production was 'Peter Pan The British Musical', an ambitious project chosen by our Head of Performing Arts, Tara Copus.
Both the girls and boys auditions were rather exciting as it was clear from the start that we were dealing with an exceptionally gifted group of actors. After much agonising, parts were allocated and rehearsals began in late September. With Anna Mortimer and Jaany Ravenscroft included in the production team, good progress was made throughout the autumn.
At one point I can distinctly remember remarking that I felt we were actually ahead of schedule - a largely misplaced (some would say foolish) comment!
As the performance dates ranged into view, a degree of panic overtook the serenity hitherto displayed by the team. Lines still to be learned, choruses to be rehearsed, costumes and props to be procured, it was all getting more than a little nervy. That all was achieved is down solely to the cast and my co-producers who, while I was deliberating for the sixth time about which pirate was to stand where in a particularly minor scene, suddenly produced costumes, props, word perfect performers and rehearsed choruses out of the ether.
Dress rehearsal was a fairly traumatic affair, being the first time we had access to props, costumes and band all together. Problems were slightly beyond teething and a 'degree of panic' became a torrent of panic - hopefully well hidden from the cast, although the decibel level of the director may have betrayed a faint discomfort. Friday's performance approached in a blur of final preparations and a certain amount of trepidation.
And so to the actual performances. Why do I ever doubt the ability of a cast of one hundred children to perform so brilliantly? From the opening moments, it became clear that they were merely pretending to ignore my pleadings about projecting their voices, using their hands creatively and reacting to their fellow actors. From the first song, 'The Darlings', to the last, 'Don't say Goodbye', the singing, choreography and acting were simply performed beyond our expectations. Amelia Wilkinson (Wendy) and Ethan Sarphie (Peter) discovered a previously hidden chemistry and their rendition of 'Why?' was very special indeed. Singing across the stage to each other they managed to extract every bit of emotion from the realisation that they were never going to be compatible despite the feelings they had for one another. Xander Kynoch's (Hook) performance of 'Goodbye Peter Pan' was intense and gripping as he grew ever more sinister and manic, the crescendo that finishes the song drawing unparalleled applause from a rapturous audience.
Anabel Pozniak was a charming Tink and developed her part more or less by herself. Her facial expressions and body language, particularly through the scene when Hook poisons Peter's medicine, demanded the audience's attention; such a difficult thing to achieve without words.But the real strength of the show was the ensemble cast who all played their parts with passion and great skill and of course they were ably backed up by the three choruses.
To mention the whole cast by name would take this article beyond the confines of available space. Suffice to say, from Mr and Mrs Darling and their family to Smee and his fellow pirates, Chief Indian and Tiger Lily to all the Lost Boys and not forgetting Nana and the crocodile, you made us immensely proud with your dedication and talent. I'm sure I speak on behalf of my fellow directors and producers when I say that we have been most fortunate to work with such a wonderful cast. The final encore of 'You Gotta Believe' seemed so apt and, like the rest of the show, was performed with total exuberance.
