Peter Pan is one of the most beloved children’s stories of all times. It is endlessly performed with various exciting and innovating productions, enchanting children and adults alike all over the world. The boy who never grows up continues to be a wonderful mystery to us all. Our wish to always be young and carefree, to be able to fly and overcome whatever obstacles the mundane grown up life throws at us. The grandness of Barrie’s tale lends itself to opera – and would be a great introduction to the art-form for children – which is explored in the Welsh National Opera’s production by Richard Ayres and Lavinia Greenlaw, shining a slightly darker light on Neverland and its inhabitants.

For adults it is clear that Peter Pan is a reflection on the consumerist working life of adults and how the vicious circle of work, money and responsibility can make you miss out on what life is really about, killing the joyfulness of being young, free and innocent. The Welsh National Opera highlights this analysis with Jason Southgate’s set design, where a train track runs through London and Neverland and brings responsibility and trouble with it. A massive clock is painted across the floor, symbolising our limited time and the rush of grown up life, and all the things in Neverland seem to either be made out of oversized toys (the Lost boy’s den) or transformed objects of London working life (the pirate ship), noting the differences between the two lifestyles outside the fantasy of Neverland.

This idea is clever in itself and exciting for adult audience members, digging deeper into the meaning of Peter Pan and why this story has stuck with us so long. For children it can seem a bit confusing though and not as exhilarating as a real-life pirate ship, as tradition has depicted it. The production struggles to determine which it wants to be – a deeper reflection on adult life and its shadow-play in Neverland, or a magical tale for children in a wondrous fantasy land.

Richard Ayres’ score has a similar darkness to it, but coupled with the childlike lyrics we are in a territory of in-between worlds, fighting to go either side. Which does reflect the problem of the story – of becoming an adult, leaving the innocence and playfulness of childhood – but perhaps the score is a little too reality-based for a child audience. That said the singers’ vocals and commitments are extraordinary with a much appreciated flair for character-work that is so essential for this story. Marie Arnet’s Wendy is just wonderful, and Ashley Holland’s Mr. Darling/Captain Hook is accomplished in both energy and flavour. Iestyn Morris’ Peter Pan is vocally piercing and excitingly acrobatic (and what wonderful flying the cast undertake) although he is perhaps too cunning and cruel throughout, missing slightly the warm relationship with the Darling children.

The staging is exciting at times, especially towards the battle at the end, but at times the scene changes are clumsy and the number of performers onstage make it seems slightly overcrowded. It’s an ambitious piece with its many quick changes in atmosphere and shape, but the charming playroom blocks are an inventive solution. And the half-crocodile, half-grandfather clock is just a wonderful, inventive stroke of genius.

As a whole the production is charming with some great ideas that take the story in-depth to a more psychological expression visually. However the very different approach might be very exciting for adults but slightly confusing for a younger audience. It is worth experiencing Peter Pan afresh though, as an opera, exploring a different medium and another way of telling this incredible story for all ages.

Peter Pan played the Royal Opera House until 25 July. For more information, see the Royal Opera House website.  Photo by Clive Barda.