Peter Pan is a tale that has been done time and time again. From the 1953 classic Disney animation to my favourite 1991 live action film, Hook. And whilst we know who Peter Pan is now, when you think about it, we’ve never known where he came from or how he came to be.
Based on the 2004 novel ‘Peter and the Starcatchers’ by Dave Barry and Ridley Pearson, comes a stage adaptation written by Rick Elice titled Peter and the Starcatcher. The multi Tony Award winning play has made its way to our shores. Produced by Dead Puppet Society, Glass Half Full Productions, Jones Theatrical Group and Damien Hewitt, the Australian production opened at Arts Centre Melbourne’s Playhouse Theatre on Sunday the 10th of November 2024.
Directed by David Morton, this Australian Production of Peter and the Starcatcher is a non-replica reimagined version (with original puppets) of the original Tony Award winning production. And knowing very little about the plot of Peter and the Starcatcher, aside from the origin story nature of the tale, I went into this show with an open mind. However, I left with a mixed view of the production.
Walking into the theatre, I was greeted by a stunning stage, bathed in a deep blue hue with what appeared to be stars hanging down from the theatre ceiling. Two pianos sat at the rear of the stage, with two small ships sat on top of each. It was impressive and I felt a wave of wonder rush over me. However, this was quickly dashed once the show began.
It was evident this was going to be a pantomime production, mixed with comedy and fantasy. A genre that I usually enjoy. However, the opening act felt rushed, perhaps by design. I was lost and struggled to soak up what was being put down. Credit where credit is due though, the full ensemble managed to keep up the pace and produce some incredibly fast costume changes and set changes that left me stunned. But it wasn’t until the story had progressed to the arrival of our main antagonist that the show slowed down and settled into a rhythm that was enjoyable. That being the arrival of Black Stache the Pirate, portrayed by the incredibly hilarious Colin Lane.
Other key roles consisted of Boy/Peter portrayed by Otis Dhanji, Olivia Deeble as the starcatcher, Molly, Alison Whyte as Lord Aster (Molly’s father) and Peter Helliar as Black Stache’s right-hand-man, Smee. Rounding out the cast is John Batchelor as Alf/Teacher, Paul Capsis as Slank/Hawking Clam, Peter’s fellow orphans, Prentiss and Ted portrayed by Morgan Francis and Benjin Maza respectively, Hugh Parker as Captain Scott, and Ryan González in the multi-character role of Grempkin, Sanchez, Fighting Prawn and Mack.
With the show now at a tolerable pace, I was beginning to enjoy it. I was loving the way each of the cast quickly changed in and out of characters. I wasn’t as lost as I was during the first portion of the show and was actually understanding the narrative a lot more. I appreciated how the musicians, Annie Silva-McKnight, and Luke Volker, were on stage, adding to the scene wherever necessary.
Where Peter and the Starcatcher really shines is within its comedy. And not necessarily the comedy that is written into the script. Colin Lane is a comical genius, and I have been a fan of his for as long as I can remember, and he is by far the saving grace of this production. His attentiveness to the events around him and how he makes the unfunny funny is what I loved about Lane’s performance. It might be a mistake in a line, a slight incorrect placement of a prop, an unscripted adlib, or even the odd heckles from the audience, Lane’s incredible comedic timing had me in hysterics. Lane also leaned into his comedic roots, bringing out a funnier side to the character of Black Stache.
It is also no surprise that Black Stache’s right-hand-man, Smee, is just as funny. Portrayed by Peter Helliar, I was just as impressed by the comedic nature of the character. Helliar plays off Lane’s performance just as well as Lane delivers it. Leaning into those unscripted moments with his own fly-by comments made the whole scene even more hilarious.
Fellow ‘Lost Boys’, Benjin Maza and Morgan Francis’ Ted and Prentiss, are fantastic in their individual roles. Their portrayals of the boyish nature that their characters have are wonderful, and together their believable chemistry has them appearing like an unlikely brethren brought together by fate.
Alison Whyte as the male character Lord Aster was fantastic. Although I was a little confused to who they were in the story at the start (of no fault of their own), once it was clear Whyte portrayed the father to Molly, I really enjoyed Whyte’s performance. Alongside Whyte is Lucy Goleby as Molly’s nanna, Mrs. Bumbrake and her love interest, Alf, portrayed by John Batchelor. The pair have a sweet, adorable and humorous chemistry and share some funny moments on stage. Paul Capsis as Slank/Hawking Clam is hilariously ridiculous in both roles, really leaning into the pantomime nature of the book. And of course, Ryan González in the multi-character role, is a clear standout in his portrayal of Fighting Prawn.
In the titular roles of Peter and the Starcatcher are Otis Dhanji and Olivia Deeble, both put on a stellar performance. Dhanji’s Boy/Peter is one that starts out as timid and afraid, growing into a strong and confident Peter Pan which he delivers wonderfully. Deeble’s portrayal of Molly, the curious, competitive and ambitious apprentice starcatcher, is just as brilliant. Deeble also has some incredible acrobatic skills that wowed the audience. Together, they make a wonderful duo with a chemistry that appears innocent, sweet, effortless and believable.
The set design from David Morton (who doubles as director), lighting by Ben Hughes, costume design by Anna Cordingley, and sound design by Matthew Erskine with musical direction and additional music by James Dobinson are fantastic. The costumes are gorgeously detailed, and I appreciated the simplicity in some of the quick changes where titular characters faded into the background as supporting cast, a clever use of resources that the ensemble pulled off perfectly. The set is simplistic and grows in colour as the show progresses. Plus, the music being played on-stage is a welcomed choice.
One major standout is the puppetry used throughout the show. I adored the cockatiel puppet operated by Ryan González. There is even a giant, sparkly crocodile that is just as fun.
However, whilst the performances in the production are indeed fantastic, funny, and entertaining, there is still something about this production that I just didn’t enjoy. I think it might be down to a weakness in the book. The show’s design, visuals, and the cast performances are all great, but the plot feels lacking.
The pacing at the start was way off and almost lost me for the entirety show. Thankfully, there is just enough good in it to save it, making Peter and the Starcatcher a (mostly) enjoyable production. It makes me wonder what a complete replica production would look and feel like. Perhaps it is the same? I guess I will never know.
Misgivings aside, Peter and the Starcatcher is still an entertaining play. There were plenty of patrons in the audience on opening night that were laughing the entire way through. There were even some children laughing, clapping, and even heckling that made it a fun time for all. So, if you love a good slapstick style pantomime show that is good for the whole family, or whether you are a fan of Peter Pan lore, Peter and the Starcatcher is for you.
Peter and the Starcatcher is currently playing at Arts Centre Melbourne’s Playhouse until December 1 before heading off to Adelaide in the new year.
For more information and ticketing, visit:
https://peterandthestarcatcher.com.au
Photography by Daniel Boud.
