Peter and the Starcatcher
A Prequel Brimming with Imagination and Spectacle
Reviewed by Brendan Daynes
The Australian reimagining of Peter and the Starcatcher has landed at the Arts Centre Melbourne with all the energy and enchantment expected of a Tony Award-winning Broadway phenomenon. Under the direction of David Morton and the creative vision of Dead Puppet Society, this production blends storytelling, technical artistry, and heartfelt performances, taking audiences on an unforgettable journey through the origins of the iconic Peter Pan story.
Fundamentally, this is a tale of transformation, of a nameless boy who becomes Peter Pan and a young girl, Molly, who steps into her destiny as a Starcatcher. Adapted by Rick Elice from Dave Barry and Ridley Pearson’s novel, the play explores themes of identity, friendship, and courage. Through a captivating narrative, audiences traverse treacherous seas, meet mermaids and pirates, and discover the magical “starstuff” that ties it all together.
The story’s creativity lies in its ensemble-driven structure, where every cast member contributes to building the world. This is not a spectacle dominated by grand sets or lavish special effects but by the imagination of its performers, who create ships, waves, and even the ominous crocodile using clever staging and props. The result is a production that manages to feel both intimate and grand, showcasing the magic of theatre.
The cast, a mix of celebrated Australian actors and rising stars, is uniformly excellent. Otis Dhanji is captivating as Boy, embodying vulnerability and strength as he journeys toward becoming Peter Pan. Olivia Deeble’s Molly is a spirited counterpart, exuding intelligence and determination that anchors the story’s emotional weight.
Comedy is woven throughout the narrative, with Colin Lane as Black Stache and Pete Helliar as Smee leading the charge. Lane’s portrayal of the flamboyant, moustachioed pirate is hilariously entertaining, delighting both adults and children with his quick wit and exaggerated antics. Helliar’s Smee is perfect, an endearing, bumbling sidekick whose every scene guarantees laughter. Alison Whyte brings depth and warmth to Lord Aster, while Paul Capsis shines in dual roles as Slank and Hawking Clam, delivering each with nuance and flair. The ensemble work of Benjin Maza as Ted, Morgan Francis as Prentiss, and John Batchelor in the dual role of Alf/Teacher is effortless, showcasing the cohesive effort required to bring this dynamic production to life.
The production feels like a well-oiled machine, with every element contributing to its success. Anna Cordingley’s costume design captures the whimsy and otherworldliness of the tale, while Ben Hughes’ lighting design enhances the shifts in mood and location, from the glowing waters of the grotto to the shadowy interiors of the ships. Matthew Erskine’s sound design immerses audiences in the world of the play, and James Dobinson’s live music adds a delightful layer of vibrancy. The puppetry is a marvel. From oversized crocodiles to delicate birds, the puppets are intricately crafted and operated with finesse. They serve as characters in their own right, further blurring the lines between reality and fantasy.
While this is not a traditional musical with dance numbers, the movement direction by Liesel Zink deserves special mention. The fluidity with which the actors manoeuvre props, puppets, and set pieces is mesmerising, creating a rhythm and energy akin to choreography. Every shift on stage feels intentional, ensuring the story unfolds seamlessly.
This production, a collaboration between Dead Puppet Society, Glass Half Full Productions, Jones Theatrical Group and Damien Hewitt, is a love letter to the art of storytelling. The meticulous attention to detail—both in performance and design—speaks to the dedication of the creative team. Morton’s vision, inspired by his first encounter with the play in New York, is evident throughout, blending humour, heart, and theatrical innovation.
This show is a rare gem, equally enchanting for children and adults. Its humour ranges from playful slapstick to clever wordplay, ensuring that no audience member feels left out. Beyond the laughter, the story resonates deeply, exploring themes of belonging and bravery that are universally relatable. It is no surprise that this production has already garnered international acclaim, having won 5 Tony Awards® for its inventive storytelling, outstanding ensemble performances, and captivating stagecraft. Peter and the Starcatcher is a sensational theatrical experience that captures the essence of Peter Pan’s timeless allure.
Peter and the Starcatcher runs at Arts Centre Melbourne’s Playhouse until November 29 before setting sail for a 2025 season, with performances in Adelaide from January 9, in Sydney from January 31, and in Brisbane from March 14. For tickets and more information please visit https://peterandthestarcatcher.com.au/
