Theatre review: Quality Street

Back in 2010 the Finborough Theatre revived Quality Street, the play that made J.M. Barrie's name, and was his most famous work before it was comprehensively overshadowed by Peter Pan. I've been waiting to see it turn up again ever since - and still find it odd that TV hasn't rediscovered it for adaptation as a Christmas special. What we do finally get is a new touring production courtesy of Laurie Sansom and Northern Broadsides. Set during the Napoleonic Wars, it's a farcical twist on Jane Austen romances as Phoebe Throssel's (Paula Lane) heart is broken when, instead of proposing like she expects, Valentine Brown (Aron Julius) announces he's joined the army. As well as the emotional blow there's a financial one, as she's recently lost half of her fortune and needed the support of a good marriage - unbeknownst to Valentine, it was his advice that led to the bad investment.

Theatre review: Dear Brutus

J. M. Barrie’s Dear Brutus may take its title from Julius Caesar, but the Shakespeare play it borrows most overtly from is A Midsummer Night’s Dream. Lob (Robin Hooper) is a puckish – literally – old man who’s invited a group of strangers with one thing in common to spend the week at his home. As his guests try to figure out what their mysterious common characteristic is, they hear a local legend of a magical wood that appears in a different spot every Midsummer’s Eve; anyone who enters it is never seen again. The enchanted wood does appear, of course, and most of the guests do enter it, but in a three-act structure that’s like a much better-done version of The Passing of the Third Floor Back, they do all emerge again, all changed to varying degrees. This is a play full of wild variations in tone, as what each group of characters discovers in the wood is very different.

Theatre review: Peter Pan (National Theatre)

"Sorry Peter, Wendy can't play today, she's getting a hip replacement."

Last year I left Sally Cookson's Jane Eyre at the interval, and Peter Pan isn't a favourite story of mine, so the combination of the two didn't make this year's NT family Christmas show appeal too much. It was only the eccentric casting of Sophie Thompson as Captain Hook that made me book, so the fact that Thompson broke her wrist (the irony!) and had to withdraw from the production was a disappointment to say the least. She's been replaced by Anna Francolini, an excellent choice but, after her villain on the same stage in last year's wonder.land, perhaps not quite as surprising. Wendy (Madeleine Worrall) and her younger brothers John (Marc Antolin) and Michael (John Pfumojena) are left home alone when their parents go to a work party, and flying green child Peter Pan (Paul Hilton) gets into their bedroom. After Wendy helps him get his shadow back, Peter teaches the siblings how to fly, and leads them to Neverland.

Theatre review: What the Women Did

Southwark Playhouse is the latest venue to commemorate the First World War's centenary, and does so with a trio of plays by different writers that all look at some aspect of women's experience of the Great War. Although it's perhaps a bit unfortunate that each play in What the Women Did deals with women in terms of their relationship to men - first as wives, then as single women who've found the pool of available men suddenly diminished, and finally as mothers. And it's an odd little triple bill, in which the final segment is so superior to the other two it seriously overbalances the evening. But first up we've got Gwen John's Luck of War, which takes place in T'North, where Ann's (Victoria Gee) husband has been missing in action long enough to be declared legally dead, and for Ann to remarry.

Theatre review: Wendy and Peter Pan

Peter Pan gets a feminist makeover from Ella Hickson in the latest RSC family show, but there's also a definite hint of Philip Pullman being thrown in with the J.M. Barrie in Wendy and Peter Pan. And before we even get to these new underlying themes there's a new look to the Darling family right from the start: As well as Wendy, John and Michael, there's a fourth child, Tom (Colin Ryan.) But even as he plays with his sister and brothers he has a nasty case of Period Drama Cough that soon sees Tom dead, and the Darling family plunged into melancholy. A year later, a flying boy enters the children's bedroom and invites them to Neverland. Hearing that that's where the Lost Boys live, Wendy agrees to join Peter Pan on his adventures, believing she'll be able to find their own lost boy there too.

Theatre review: Peter Pan Goes Wrong

Earlier this year I loved The Play That Goes Wrong, but wasn't sure about the title, thinking it seemed a bit blunt and didn't reflect how inventive the farce contained within was. But that title may have turned out to be a stroke of genius that's allowed Mischief Theatre to spin it off into a franchise: Theatregoers in Reading have been seeing what happens when The Nativity Play Goes Wrong, and here in London the company have moved to the Pleasance Islington's main stage, where Peter Pan Goes Wrong. Once again we're guests of the fictional Cornley Polytechnic Drama Society, who are hoping that their production of Peter Pan by "Jaime Barry" will be more successful than their previous efforts. Or at least result in fewer fatalities. But there's little hope of that with Chris (Henry Shields) still in charge, as well as Playing Mr Darling and Hook. And just in case enough didn't go wrong last time, this time they've got a revolve.

Theatre review: Mary Rose

A couple of years ago J.M. Barrie's Quality Street turned out to be a forgotten gem. Now his odd little ghost story Mary Rose receives a revival, but though not without its moments, proves to be no lost classic. In the 1880s, when she was 11 years old, Mary Rose disappeared on a tiny Hebridean island. About a month later the girl reappeared, unaware that any time had passed. Her parents keep the mystery from her, a secret that could have tragic consequences now Mary Rose (Jessie Cave) is 17 and preparing to get married. The story is bookended by scenes set in 1919 when a young man (Charlie Kerson) returns from Australia to the now-derelict house where she lived, now rumoured to be haunted.