Lost boys

In Beryl Bainbridge’s novel An Awfully Big Adventure the producer Meredith Potter issues a doughty injunction on the subject of staging Peter Pan: ‘I am not qualified to judge whether the grief his mother felt on the death of his elder brother had an adverse effect on Mr Barrie’s emotional development, nor do I care one way or the other. We all have our crosses to bear. Sufficient to say that I regard the play as pure make-believe. I don’t want any truck with symbolic interpretations.’ Symbolic interpretation hangs heavily over the rough-and-tumble jumble of Janacek, Beethoven, Stravinsky, Satie, Handel, Vivaldi, sea shanties and klezmer in Lavinia Greenlaw and Richard Ayres’s half-brilliant, half-bewildering operatic adaptation for Welsh National Opera. Alongside the raucous crowing of children liberated from adult rules (‘Kill! Kill! Kill! Kill!’) and deprived of adult protection, the creak of a saw, the wheeze of an accordion, the chime of a celesta and the ticking of the crocodile is a terrible, inconsolable grief.