When you think of a pirate, it's a safe bet that one of the first names you think of is Captain Hook. He's one of the most memorable fictional villains ever created. He's been portrayed countless times on stage, screen, and in print, by many different actors and writers. Saikai Ahamed’s Tink was nothing short of insane, reminding me in part of Lee Bowery with his spikey wings and fairy light-laden crash helmet, and in part of the wonderful physical comedy of Andrew Sach’s Manuel. Saikat Ahamed (Tinker Bell) and the Lost Boys in Peter Pan. We know Hook's hot-headedness was part of his personality but we can't help but believe that if a women had his place on the ship she would have handled things differently, other than his red velvet ensemble that is. How could you say no to a rich red velvet coat and an oversized hat with white feathers? Peter Pan, J M Barrie’s eternal story of the boy who would never grow up has come to the National Theatre in a new co-production with the Bristol Old Vic. This is no traditional telling of the tale, rather it is a streetwise re-telling utilising hands on story-telling, exciting staging and a very sinister female Captain Hook!

Felix Hayes as Smee, Mister Darling, and one of the lost boys is suitably sinister, bombastic and just plain perfect. He and Laura Cubitt’s Bike Pump wielding twins were a delight. Ekow Quartey was a spectacular Nana, and an even more loveable Tootles that could be wished for. With MGM style aquatic mermaids, scary wolves and a ginormous croc this Peter Pan had everything you could possible wish for.

Neverland is ripe for the taking! It’s a paradise that’s loaded with perfect weather and plenty of treasure to be excavated. The only thing you need to worry about is a troublesome child named Peter Pan and his crew of Lost Boys! (You also might need to keep your eyes on any crocodiles that might be lurking in the area.) You’re going to need the kind of profession that keeps those kids in their rightful place, which means you might just need to become a pirate captain to get the treasure all to yourself. When it comes to flying, there are no invisible wires here, the playfulness of the show extends to a system of ropes and flying harnesses that have the cast flying around with fellow cast members acting as counterweights. Watching these human counterweights bounce up and down the enormous stage scaffold framework can be every bit as magical as the central characters flying. Gone is Tink’s fairy dust in favour of fairy string, it’s not balletic by any stretch of the imagination but it certainly looks like fun.