BY J.M. BARRIE WAYLON JACOBS IN - DIGITAL PROGRAMME - Barn Theatre
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DIGITAL PROGRAMME W AY L ON J AC OBS I N BY J.M. BARRIE
An Awfully Big adventure was this knowledge that haunted me most.
by alan pollock Though Barrie, of course, was Scottish,
Pan feels like one of the seminal texts of
We live up the hill from Stanway House – an Englishness. Charming, whimsical, romantic,
impressive pile in the hands of the same nostalgic – everyone has their own sense
family for multiple generations. JM Barrie of a Wendy, a Tink, a Hook, and a Croc.
was a regular visitor in the early years of the
last century and it is widely believed that But how to make a new Pan for an audience
observing the sun reflecting off an impressive that may not be as familiar with the
gold weathervane at the house gave Barrie story as it once was? I went back to the
the idea for the fairy Tinker Bell – and planted original play, and the novel of 1911, and
the seed of what was to become Peter Pan. extracted the elements without which
no self-respecting version can properly
In gratitude for what was to be his biggest call itself Pan – brave Tiger Lily, fearsome
success Barrie donated the cricket pavilion pirates, Hook himself (an Old Etonian, in
which still stands, and assembled a team of the original!) and of course the Darlings.
literary stars – including PG Wodehouse and
Arthur Conan Doyle – to play cricket there. The play was written for children Barrie met
in Kensington Gardens. For them the story’s
Sport was important to Barrie. His adored and fame was a mixed blessing (the same was
gifted older brother David died suddenly, in true for young Christopher Robin and young
a skating accident, on the brink of his 14th Christopher Tolkien). But for the rest of us it
birthday. The death devastated the Barrie helps to define what it is to be young, and
family and hurt the young James especially. to age. Wendy goes to Neverland a girl and
returns a young woman. For the characters,
He was haunted by the idea of a and for us, it is a rite of passage – part of
perfect boy, taken before his time, but what it means to reach childhood’s end.
preserved in the aspic of memory, My father saw the play in Edinburgh in
never to grow up, never to grow old. 1937 – a treat to distract him from the
permanent toothache which blighted the
When Kirk and Nick approached me with the lives of all poor children before Penicillin.
idea of producing a new version of Peter Pan To enter the world of Peter Pan, is, still, to be
– a title which has been part of the psychic transported. Not all of us can stay young,
furniture of Britain for well over a century – it or live forever. But for a few brief moments
we can entertain the belief that we might….
TH E BAR N T H E AT R E P R E S E N TS
PERFORMED BY "Peter Pan"
WAYLON JACOBS is presented by arrangement with Great
Ormond Street Hospital Children's
WITH
Charity and Concord Theatricals Ltd. on
GEORGIA DIBBS
behalf of Samuel French Ltd.
BASED ON THE BOOK BY
J.M.BARRIE
ADAPTED BY
PROJECTION ARTISTS
ALAN POLLOCK
CONCEIVED & DIRECTED BY
BRYONY COLLISHAW
KIRK JAMESON GEORGE DIX
WILL HINDE
COMPOSITION & MUSICAL ARRANGEMENTS KIRK JAMESON
NICK BARSTOW EILWEN JONES
CATRIN JONES
COSTUME & SET DESIGN BY HARRY SMITH
GREGOR DONNELLY JENYA STEANSON
LIGHTING DESIGN
SAMI WOOD
JOE PRICE ROSALIND FORD
MOVEMENT DIRECTION BY
TOSH WANOGHO-MAUD MUSICIANS
PROJECTION DESIGN JONATHAN CHARLES - VIOLIN, FLUTE & WHISTLES
BENJAMIN COLLINS ROSALIND FORD - CELLO & VIOLIN
SOUND DESIGN
NICK BARSTOW - KEYS
HARRY SMITH
CASTING DIRECTOR
HARRY BLUMENAU
PRODUCTION MANAGER
CHRIS CLEAL WITH SPECIAL THANKS TO
COSTUME SUPERVISOR MARY DIBBS
DENISE CLEAL MANDY DONALD
COMPANY STAGE MANAGER JENYA STEANSON
SAMI WOOD
OPERATOR
BEN EVANS
SET BUILDER
MIKE LEOPOLD R UNNING TIME 50 MINS
The Christmas season will be filled with magic, trust
and pixie dust as Cirencester is transported to
Neverland in Peter Pan!
FOR THE BARN THEATRE
CHAIRMAN OPERATIONS DIRECTOR
IAN CARLING CHRIS CLEAL
CEO & ARTISTIC DIRECTOR SOUND DESIGN & THEATRE TECH
IWAN LEWIS HARRY SMITH
EXECUTIVE DIRECTOR
MEDIA DESIGN
RACHEL WRIGHT BENJAMIN COLLINS
TRAINEE MEDIA / THEATRE TECH
BEN EVANS
PRODUCER
BETH GEORGE WARDROBE/COSTUMES
DENISE CLEAL
PRODUCTION ASSISTANT
MOLLY HECKFORD INTERN
GEORGE DIX
BARN MEDIA
RICHARD JONES FRONT OF HOUSE / BOX OFFICE
LAURA EARWAKER
PR & SOCIAL MEDIA
AERON JAMES ADMINISTRATION
VICTORIA CALVERT
CREATIVE DIRECTOR - DIGITAL MEDIA
RYAN CARTER
FINANCE
IRIS URE
BUSINESS DEVELOPMENT ACCOUNTS
PAUL FLYNN JANE CUNNINGHAM, RACHEL KIRK
FUNDRAISING SCHOOL & GROUP BOOKINGS
JO FLYNN BRONWEN JONES
CAST.
PERFORMER “FATHER”
WAYLON JACOBS
Waylon trained at the Arts Educational Schools
London. He was a successful recipient of the
BBC Performing Arts Bursary for his time there
as well as the Gillian Lynne Award.
West End Credits include: Principal Standby
in Hamilton. Cover Gator/Bobby/Delray in
Memphis (Shaftesbury Theatre); Cover Brit/
Rebel Leader in We Will Rock You (Dominion
Theatre); Cover Grandfather/Ensemble in
Ragtime (Regents Park Open Air Theatre);
Cover Mechanicals/Moth in A Midsummer
Night’s Dream (Regents Park Open Air
Theatre); Japeth in Children of Eden (Prince
of Wales Theatre) and Cover Simba/Swing in
The Lion King (Lyceum Theatre).
VOICE OVER “DAUGHTER”
GEORGIA DIBBS
Georgia Dibbs has been part of the Barn family for 4
years now- she attends Barn Academy which has been
great preparing her for acting roles. Last December
Georgia had the privilege of playing Tiny Tim and the
Ghost of Christmas past in her first professional debut in
the Barn’s A Christmas Carol. Georgia recently worked
with The Barn and Cirencester town council on their
online Christmas advert with her family. She also had
her first TV commercial air this month and will feature
on a kids ITV special on New Year’s Eve. It was a real
honour to be asked to take part in the Peter Pan project.
CREATIVE.
DIRECTOR
KIRK JAMESON
Kirk is excited to be returning to The Barn Theatre
as Director-in-Residence. Previous work at The
Barn includes Marry Me A Little, The World Goes
Round, and Stiles & Drewe’s Just So.
Other credits as director include the UK premiere
production of Dreamworks’ Madagascar (UK
Tour) starring X Factor Winner Matt Terry;
Sleeping Beauty (Palace Theatre, Newark);
Jack and the Beanstalk (White Rock Theatre,
Hastings); the German premiere of The Last Five
Years (English Theatre, Frankfurt); Seussical: The
Musical (Arts Theatre); I Love You, You’re Perfect,
Now Change (Arts Theatre - Broadway World
Awards nomination for Best Musical Revival);
Privates On Parade, Annie Get Your Gun, The
World Goes Round (three Off West End Award
nominations including Best Director).
MOVEMENT DIRECTOR
TOSH WANOGHO-MAUD
A seasoned performer, appearing in many
a original London cast, Tosh has also been
choreographer on many music videos and
musical productions (most recently GSA
production of The Little Mermaid).
Tosh is extremely grateful and excited to be a part
of this exciting new project and to be reunited
with Kirk Jameson for another project.
Benjamin Collins on the projection Tiger Lily, Queen of the Amazons, and the
design of Peter Pan architecture of Hook’s pirate ship, the Jolly
Roger.
Animation is something we see every day. A sequence where the Lost Boys battle
Whether it’s a movie, a digital billboard- or the Pirates began with drawings from me,
Among Us! which were transformed by the Barn’s
very own George Dix into exciting slices of
I have been fascinated since I was young action.
about how a story can not only be told
with characters, but also with style. In some particularly scary moments with
Everything we see can show us a deeper the Crocodile we can see the work of
part of the story. Kirk, the director, could director Kirk along with tribal art designer
see key moments of Alan Pollock’s vision Will Hinde, George, Eilwen, Catrin, myself,
of Peter Pan shows a father telling the even our Sound Designer Harry Smith! As
story to his daughter, with director Kirk many drawings as possible went into this
that would best be told through projection sequence so that the Croc stands out as
design. It seemed natural for us to be in nasty and unpredictable.
the Daughter’s shoes, imagining the story
our Dad is telling us, and how we might Stage Manager Sami Wood contributed
scribble it in our Maths book the next day. some quite stunning images of Victorian
London from the air as our heroes leave
To bring these drawings to life, the for Neverland, and portrait artist Rosalind
intention was always use stop motion Ford contributed extra frames to Captain
animation: combining lots of drawings Hook and Mermaids.
together in sequence. I wanted everyone
in the audience to be free to imagine. We And finally, our Web Designer Jenya
discovered that as long as each drawing Steanson created London’s famous
was roughly the same shape, it looked landmarks that mark the return home,
really cool to use multiple styles (drawn which were then set in 3D space for a real
by multiple artists!) for each sequence, sense of scale.
leaving us with a unique animation style of
evolving pictures. All in all, more than 500 individual drawings
were made, resulting in what I hope is an
So, we got to work, drawing mainly on A4 original visual style to complement Gregor
paper over several weeks. The crocodile Donnelly’s immersive set design and Joe
sequences began first, with artist siblings Price’s ingenious use of lighting. I simply
Eilwen and Catrin Jones drawing around cannot thank our artists enough, all whom
25 frames of animation each! volunteered their time and talents to bring
something unique to the story of Peter Pan!
Meanwhile, the prodigiously talented
Bryony Collishaw began creating the What did you think? Reckon you’ve got what
figures of the Mermaids: beautiful yet it takes to join our next visual art project?
mysterious and otherworldly - along with
Email me at ben.c@barntheatre.org.uk,
I would love to hear from you.A W EALTH O F EX PERTI S E
ON YOUR DO O RST E P
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