Creating pioneering theatre for a younger audience, Polka Theatre takes on the much loved story of the boy who never grows up, a story that has stayed with us for over 100 years and keeps inspiring children and adults around the world. It allows our imagination to run wild, and what greater playground is there for a story like this than the heart of London children’s theatre, Wimbledon’s hidden gem.

J.M. Barrie’s tale of growing up and wishing to stay young forever, flying away from responsibility and living in a dreamworld of pirate fights, mermaids and fairy dust resonates with all of us, young and old. With clear shadow meaning in the story – Neverland resembling the extremes of our world, normally highlighted by Mr. Darling and Captain Hook played by the same actor – it is a story many adults will treasure, recognising their own journey from child to adult and the fears and changes that brings. Normally staged to visually enchant children, Polka Theatre has taken it a step further and transported the story to the late 1950s and early 1960s, on the cusp of great social changes, when the idea of what it means to be young and old changed, and when the female role in society really started to shift. Focusing on the hidden meaning of Neverland and its characters, it clearly resonates the social change and problems in our real, adult world which makes this production slightly darker than usual and perhaps much more grown-up in its message.

With director Peter Glanville’s clear vision, the era transforms everything on stage, making the transition between London and Neverland like a fluent shadow-play as the set evolves, morphs and has multiple functions through Peter Pan’s territory. Liz Cooke’s set design is simple but extremely effective and creates a mesmerising, innovative backdrop for the Lost Boys’ world. With a beautiful projection of a large full moon, simply supported by a few slopes and props onstage, our disbelief is quickly suspended, and as Sue Dacre’s charming puppet design inhabits the space the audience is quickly transported into a world where anything’s possible. In most productions of Peter Pan the actors will fly in space, supported by wires and soaring through the air to great delight and awe. However, as the space at Polka Theatre is small, the effects are restricted and all flying is created by incredibly detailed puppets flying over the auditorium. It is hugely effective and refreshing, and as the story unfolds it is very clear, that this is a very different, new and exciting Peter Pan going against tradition and trying to make a life on its own.

Giving Peter a touch of James Dean, Jonny Weldon inhabits the heart of the story with great charm, playfulness and mischief, and as we hear about Peter’s past he shows us a deep, hidden level of sorrow, a desire for a mother, and a depth to the character that is refreshing and honest. Most other members of the cast double like mad, and though we have some great, funny characterisations, it feels slightly unfulfilled. It needs a little more distinction to really highlight the difference between them. That said, though we never get the sense of a big group of Lost Boys or devious pirates, there is a charm to this small, morphing cast, and especially the Lost Boys’ den is so magically performed, lit and designed that it touches you deeply. Having an old radio come alive and Peter and Wendy (Krupa Pattani) dancing together brings nuances to the story not seen before.

The design vision is very clear, but as characters in Neverland are wearing costumes resonating the real world (most notably Captain Hook in a patterned suit and bowler-hat with a skeleton on it) it is a more adult version of the play, and perhaps a little too dark for a younger audience (and they won’t understand the reference and probably wonder why Hook isn’t dressed like a pirate). And the Lost Boy Slightly possibly being served as a dish is a very adult reference indeed. As the majority of audience members are children we are missing some audience interaction, with the saving of Tinkerbell being a little too short, which could also make it slightly less grown-up in tone.

That said, Peter Glanville and Liz Cooke’s idea is clear and very exciting for an older audience – it’s a new, fresh take on the classic story and explores a time when the younger generation was about to revolt against the old reform. Wendy’s adventure reflects the change with the dilemma of the expectation of being a ‘mother’, or an independent woman, and though some of the performances could be a bit sharper, the world and life of Peter Pan is creatively expressed and thoughtful.

And the old clock opening its door to reveal the crocodile in leather, with a gasmask-like face with big, yellow glowing eyes, resembling death (and Hook’s time running out) is such a work of genius it makes me excited just to think of it. It shows the essence of the show – though children will definitely enjoy it, it’s highly enjoyable for adults, if not more.

Peter Pan is playing at the Polka Theatre until 13 February 2015. For tickets and more information, see the Polka Theatre website. Photo by Robert Workman.