National School Theatre Awards 2026
We were delighted that the National School Theatre Awards chose to attend this year's Years 7 and 8 Production of Peter Pan. The NTSA representative said that "From the moment I entered the drama studio, there was a palpable sense of anticipation."
You can read the full review below.
ߣÍÃÊÓƵ Prep: Peter Pan - A Magical Journey of Youth and Growing Up
As an NSTA representative, I had the great pleasure of attending the ߣÍÃÊÓƵ Prep School's production of Peter Pan on Tuesday 10th February 2026. Under the expert direction of Director Mr James Amphlett, alongside Assistant Director Mrs Rachael Ivison, this production demonstrated clear vision and thoughtful storytelling throughout. Costumes were beautifully created by Mrs Clare Whitfield, while lighting, set and sound design were led by Mr Tom Jude and Mr Jamie Poxon, expertly assisted by Ibrahim and Alana. The collaboration between staff and pupils was evident in every detail, resulting in a production that felt polished, cohesive, and imaginatively staged.
Peter Pan by J. M. Barrie tells the timeless story of the boy who refuses to grow up. When Peter Pan whisks Wendy Darling and her brothers away to the magical island of Neverland, they encounter the Lost Boys, mermaids and the villainous Captain Hook. Beneath its swashbuckling adventure and playful fantasy lies a poignant exploration of childhood, memory, responsibility and the inevitability of time. At its heart, the play contrasts Peter’s determination to remain eternally youthful with Wendy’s dawning understanding that growing up, though painful, is necessary.
From the moment I entered the drama studio, there was a palpable sense of anticipation. The Darling nursery was warmly lit and inviting, immediately establishing a sense of Edwardian comfort and domestic order. This careful attention to atmosphere provided a striking contrast to the untamed freedom of Neverland. The set design balanced creativity with practicality, using superb sash windows and adaptable staging to transform the space fluidly from nursery to an impressive pirate ship and the island hideout. Lighting effectively distinguished between worlds, with softer tones for London and richer, more adventurous hues for Neverland. Subtle sound design, including musical interludes, ambient effects and well-timed cues, enhanced the atmosphere and supported the narrative perfectly.
Thomas made a dynamic entrance as Peter Pan, immediately commanding attention with physical agility and spirited delivery as he entered through the window with Tink whilst the children were asleep, cleverly depicted in their vertical bed. The Darling household felt lively yet structured, establishing the framework of responsibility from which the adventure would depart. The transition into Neverland maintained momentum, with strong ensemble work and clear character relationships established early on.
Thomas’s portrayal of Peter Pan captured both the exuberance and the limitations of eternal youth. His movement across the stage was light and assured, conveying Peter’s fearless independence. Yet it was in the quieter exchanges, particularly with Wendy, that the complexity of the character emerged. Their tender interactions were lovely to watch, and Peter’s emotional detachment was handled with subtlety, allowing the audience to glimpse the cost of his refusal to grow up. He also shared energetic and spirited interactions with Tink, which added both humour and depth to the fairy’s character.
Poppy delivered a beautifully judged performance as Wendy. She brought warmth, composure, and emotional intelligence to the role, grounding the fantasy with realism. Her storytelling scenes with the Lost Boys were tender and controlled, reflecting Wendy’s nurturing instincts. In the final scenes, her decision to return home was conveyed with quiet courage, providing one of the production’s most poignant moments.
Nina gave a sparkling and lively performance as Tinker Bell. Her expressive physicality and subtle gestures brought the fairy to life, creating both charm and mischief. She moved with energy and precision, perfectly complementing Thomas’s Peter Pan and the ensemble, and added a luminous presence to every scene. She delivered her lines with excellent comic timing and revealed Tink’s jealous streak convincingly and humorously, eliciting much laughter from the audience.
Monty’s portrayal of John Darling was energetic and well timed, while Hector’s Michael Darling brought a charm and innocence that enriched the family dynamic. The Darling parents, played with warmth and gentle authority by Jungsher and Beula, provided a grounding presence, embodying both care and the structured world from which the children’s adventures would depart. Together, the Darling family established believable sibling and parental relationships that anchored the opening scenes beautifully.
Freddie’s Captain Hook was a standout performance of remarkable control and theatrical flair. He balanced comedy with menace, using expressive gesture and vocal precision to create a character who was entertaining while maintaining a sense of threat. His scenes carried a strong sense of rhythm and timing. Ismy’s Smee provided an excellent counterpoint, with well observed comic reactions and a consistent characterisation that supported and enhanced the pirate scenes.
Venise portrayed Tiger Lily with dignity and assurance, commanding attention in her scenes and contributing to the breadth of Neverland’s inhabitants. Nana, played by Joseph, was a highlight, performed with commitment and gentle humour, offering moments of comedy that delighted the audience.
The mermaids, Myrtle, Melanie and Melody, played by Isabelle, Beatrice and Annie respectively, moved with cohesion, adding elegance and atmosphere to the island setting. The Lost Boys and pirate ensemble demonstrated strong teamwork and sustained energy, contributing significantly to the vibrancy of the production. Group scenes were lively yet disciplined, reflecting careful direction and rehearsal, with highlights including the group pirate jigs and synchronised ensemble sequences.
Technically, the production was ambitious. Stage combat and complex transitions were handled with professionalism. The fight choreography between Peter and Hook was particularly well executed with fencing rapiers, building tension and excitement. The seamless coordination between scenes was led by the ensemble with precision and pace, demonstrating both skill and rehearsal discipline.
This production of Peter Pan was far more than just a prep school performance; it was a heartfelt exploration of youth and the passage into adulthood. Under the strong leadership of the directors, supported by an exceptional creative and technical team, the cast delivered a performance filled with imagination, charm and poignancy. The closing scene illustrated the contrast between Peter Pan’s eternal flight and Wendy’s brave decision to grow up, leaving “second star to the right and straight on ’til morning” lingering meaningfully with the audience. This was a performance that invited its audience to believe in magic, while gently reminding us that growing up is its own kind of wonder.
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