Peter's Final Flight: do you believe in magic? 
14Dec 2022

by Drew Rowsome - Production photos by Rachael McCaig, promo photos by Bruce Zinger

Sleep with one eye open 
Gripping your pillow tight 
Exit light 
Enter night 
Take my hand 
We're off to never-never land
- Lars Ulrich / James Hetfield / Kirk Hammett

Parting is such sweet sorrow
- William Shakespeare

Yes, the first number in Peter's Final Flight: The PAN-Tastical Family Musical! is a spirited rendition of Metallica's heavy metal classic "Enter Sandman." From there the cast apply their stellar voices to a series of iconic pop anthems from "Eye of the Tiger" to "Toxic." Unlike a book musical, the songs do little to advance the plot, they are there as commentary, character revelation, or just an excuse for lively choreography, sing-a-longs, and lots of glitter. It becomes art when Sara-Jeanne Hosie (Falsettos and many previous Pantos) wraps her vocal magnificence around a medley of "Midnight Sky" and "The Edge of Seventeen." Or Eddie Glen (even more Pantos) startles with a rip-roaring burst of "Oh Sherrie." Everyone gets a moment to shine musically, and comically, but the waterworks start when Ross Petty launches into a verse of "My Way."

Yes, this is the last Panto. After 25 years, the silly, zany bundles of Christmas cheer will cease. I saw my first Panto, Aladdin with Brent "Hitman" Hart, in 2004, and had the good fortune to experience and review many that followed, including Lil Red Robin Hood, The Wizard of Oz, A Christmas Carol, Peter Pan in Wonderland, Cinderella, The Little Mermaid, Snow White, and The Wizard of Oz. So Peter's Final Flight was like gathering for the holidays with some old friends who were going to put on a show. And what a show it is. The Pantos have grown slicker and more ambitious every year, and Peter's Final Flight does not disappoint. Everyone, cast and crew, are determined to go out with a bang. Not that that will prevent anyone, particularly Petty, from mining the evening for every ounce of nostalgia, and pathos of parting, that can be wrung out of the proceedings.

Peter (Alex Wierzbicki) is playing Peter Pan in a Panto being produced by Ross Petty playing Ross Petty. When Wendy (Stephanie Sy) misses her cue because she was busy on her phone, Peter has a crisis of faith in his ability to perform live, despite having been a child star in a sitcom. Enter Plumbum (Dan Chameroy) who, in the most delightfully daffy manner, hijacks every spotlight, mangles every malapropism (most of the double entendres), chews the scenery, and wins the heart of every audience member possessing one. Plumbum, who might be playing Tinkerbell, it is confusing in all its meta-nonsense and fourth wall fracturing, mistakes Peter for Peter Pan who has been MIA since crocodiling Captain Hook off to the underworld. It seems Plumbum/Tinkerbell had wrapped Neverland in a "protective ribbed shield" which she then disconnected when she tried to log out of Netflix. The sudden vulnerability has allowed Helga Hook (Hosie) to "wreck havoc" and the very Heart of Neverland is in danger. Let the hijinks begin.

Matt Murray's clever script is loaded with topical references, word play (the Mermaid Lagoon is infested with "Karsplashians"), slapstick (mostly courtesy of the glorious Plumbum), and gleeful pilfers from a multitude of sources. It is all very engaging, moves quickly and even the hoary old jokes are hilarious in context. I suspect many one-liners and bits are partially ad-libbed so I have no qualms about spoiling my favourite: Plumbum, one of her less risqué lines, intones "What in the name of Zac Efron's new chin is going on?"  But the plots main function is to generate audience participation. The villains hold a "boo-off," and repeatedly we are urged to intervene in the classic "clap if you believe in fairies" manner from the Peter Pan source material. The children, and the adults including myself, buy into it. As Petty states "every time we step onto this stage, we bring a little magic into the heart of every child, and in return, the children give a little magic back to us."

The concept of magic and live theatre's creation of it, is only one of the themes. There is also a lesson in teamwork, and many warnings about the dangers of social media as a lifestyle. Plumbum eloquently and conveniently underlines each theme in a pithy aside, just so that we don't miss it. But what one takes away is indeed the magic. Hosie belting "I was born to run, I don't belong to anyone" while engulfed in flames. The Karsplashians slithering. Plumbum's fanny pack full of fairy dust that almost synchronizes with the spectacular video projections. A troupe of skeletons dancing their hearts out in the Cave of Ghouls. Peter flying. If the Pantos do exist as a gateway drug to future theatre, Peter's Final Flight instills an instant addiction to the fine art form. And takes us from Metallica to an older bard, "Parting is such sweet sorrow."