“J.M. Barrie, the creator of Peter Pan, is chief narrator in Barry Lowe’s interesting and original play which tells the story of his adopted son Michael, and his struggle to accept, and then have accepted, his homosexuality … John Anthony King’s effective set design centres around a huge brass bedstead and director Elaine Hudson deserves praise for this, at times, darkly comedic production.” - Carrie Kablean, Sunday telegraph, 26 February, 1995 (page 169) “A very satisfying evening in the theatre. A small but imaginatively staged production takes us to Edwardian Paris, London and Scotland with the minimum of set changes but still managing to suggest some period atmosphere. Without tipping over into Brideshead parody, it examines the longings and denials of a cloistered, but elegant corner of British society in the early 1920s.” -   Julian Wood, Beat, 1-7 March, 1995 (page 18) “Here is a soundly dramatic work, absorbing in its storytelling, fresh in characterisation and remarkable in its capture of that elusive, repressed, two-faced world we now call the Edwardian age. It’s written as a memory piece for James Barrie. Lying ill in bed and reclusive … his boys and their friends come to life around him. Much of the time he watches, joining in when appropriate. While it is not a new device, Lowe works it well. Here is an absorbing stage portrait of a complicated artistic soul and the time to which he belonged.”   - James Waites, Sydney Morning Herald, 20 February, 1995 (page 13) “Barry Lowe’s elegant writing has an Evelyn Waugh feel to it. The play might well be subtitled Eilean Shona Revisited. It is written in the style of the Edwardian period. It may be conventional, but it is beautifully executed nonetheless.” - Chris Boyd, Melbourne Times, 8 November, 1989 (page 15) “For me, the standout play staged during the 1995 Mardi Gras Festival was Barry Lowe’s artful and elegantly tragicomic The Death of Peter Pan. Directed by Elaine Hudson for Newtown’s adventurous New Theatre, it was a beautifully dressed and charmingly performed piece of work which gained a significant nod as the best Australian play in years from eminent English critic Sheridan Morley.” - Steve McLeod, Sydney Star Observer, 11 January, 1996 (page 22) “The best play I saw was also the most surprising to have come from down under: at the New Theatre in Sydney, Barry Lowe’s The Death of Peter Pan is a haunting account of J.M. Barrie and the lost boys of the Llewellyn-Davies family whom he adopted, specifically his favourite Michael, the one who was drowned in a gay suicide pact at Oxford in 1921. This is a Peter Pan we must see over here [London] soon.” - Sheridan Morley, The Spectator, 18 March, 1995 (page 44) “The Death of Peter Pan is a paean to lost childhood, English public schoolboys and the timeless discovery of the delicious, if somewhat traumatic, vagaries of same sex attraction.” - Steven Thurlow, Capital Q Xtra!, 24 February, 1995 (page 3) “Like the fairytale Pan himself, we’re flown from the bronchial playwright’s London home to Eton and Paris, then on to Scotland, without turning a hair and barely shifting a prop. To manage all this on the small New Theatre stage, with a singly inventive set and artful lighting, is of course a great credit to the director, Elaine Hudson, and designer, John Anthony King … The Death of Peter Pan is also cause for much of Lowe’s usual high wit and word play.” - Steve McLeod, Sydney Star Observer, 23 February, 1995 (page 58) “The play’s psychological plausibility and dramatic strength spring from the clear delineation of Barrie’s own conflicts over his desire to be a good father and his desire for Michael, and in the neat way different aspects of social issues are explored through the predicament of different characters. Although some of its themes are dark, much of the play’s writing is light and sparkling, and the cast and production vividly bring it to life.” - Leigh Raymond, The Australian, 24 February, 1995 (page 12)