I have seen regular productions of Peter Pan that treat the death of Tinker Bell more casually than it is handled here by writer, director and star Johnny McKnight. Yes, the fairy’s final moments are over-the-top – not a twitch of a limb unmilked – but it is with some sense of jeopardy that the audience is called upon to bring her back to life. We are delighted to succeed.
What I have not seen is a version of JM Barrie’s fantasy that upturns the story quite so cavalierly as this one. Far from the ethereal wisp of light that so enchants Wendy, this fairy is played by McKnight himself as a galumphing dame that is waspish, flirtatious and bold.
Rechristened the Incredible Stinkerbell after her killer farts, she is less a guiding light to Peter Panto (a bumptious Star Penders) than a warped mother figure, with an unhealthy regard for Captain Hook (a grandiose Robbie Jack). There are cursory mentions of crocodiles, clocks and boys who never grow up, but McKnight’s script charts its own course, pulled by the tide towards a buoyant set of songs by Ross Brown and a romantic subplot between a pirate and a princess (Katie Barnett and Emma Mullen, both excellent).
So unconcerned with the conventional story is she that Stinkerbell even questions the need to rescue West End Wendy (Mullen again). It is all we can do to remember who has captured Wendy, let alone why.
McKnight first fielded this script in 2013, but its wisecracks about Rachel Reeves, Kamala Harris and Charli xcx point to a substantial update. That is true too in the sensory overload of Kenny Miller’s new design – pink polka dots clashing with gingham clashing with black-and-white stripes – in a production that is as joyful and energetic as it is hilariously daft.
• At Tron theatre, Glasgow, until 5 January.
