1 day ago5 min read

Peter and the Starcatcher - Arts Centre, Melbourne (VIC)

A Dead Puppet Society, Glass Half Full Productions, Jones Theatrical Group and Damien Hewitt Production

For audiences young and old who dream big, and are willing to follow the stars, there's plenty of visual artistry in this Australian production

Written by Annika Loci

Playhouse, Arts Centre, Melbourne

Until December 1st, 2024

Tickets: https://peterandthestarcatcher.com.au/

I’m always filled with excitement and curiosity when I enter a theatre for a show I have never seen. A magical blue lighting hue fills the stage with what feels initially like stars hanging down from the roof. A visual selection of instruments that could conceivably be on a ship in Victorian England alongside old-school practical sound effects sit deep on stage, with a proscenium arch and wings of wooden planks setting the scene of this story of two ships and the twists and tales of their passengers.

The well-known character of Peter Pan first appeared in the J.M. Barrie novel The Little White Bird (1902). However in 1928 the definitive version of Barrie’s play Peter Pan was published and became highly successful and quickly found itself a staple in English Literature as the story of boy who never grew up and a symbol of eternal youth. Peter and the Starcatcher is a prequel, providing a backstory for the characters of Peter Pan, Wendy, Mrs. Darling and her children, and Tinkerbell.

The plot surrounds Wendy’s mother Molly as a teenager and apprentice “Starcatcher”, who alongside her father Lord Aster (also a Starcatcher) are part of a secret society of guardians of “starstuff”, a magical dust which can manifest people’s desires. Molly finds herself on a mission to protect a trunk of “starstuff” from pirates upon the ship “Never Land”, and ends up befriending a group of three orphans including a bitter boy with no identity and his world is turned upside down.

The Australian Production of Peter and the Starcatcher (2024). Images by Daniel Boud

Written as a 550 page novel by Dave Barry and Ridley Pearson, the Disney Theatrical Group together with award winning playwright Rick Elice and music by Wayne Barker, created a minimalist production of old-fashioned theatrical magic and creation, designed for audiences to engage their inner child and imagination. This non-replica Australian version designed and directed by award-nominated and co-founder of Dead Puppets Society David Morton has certainly brought its own uniquely Australian references, humour, and creativity to their production. Expanding Barker’s original score, James Dobinson has beautifully emphasised the core sounds of both the Victorian era whilst weaving the book’s themes of magic, slapstick humour, friendship and love.

Feeling more pantomime than play, all the cast leaned into and appeared to enjoy this style of storytelling, often doubling not just as multiple background ensemble members but also as musicians or puppeteers. Although the ensemble shows off impressive quick costume and character changes (accents weren’t always consistent in certain roles) the book attempts to provide introduction context in early scenes which feels quite confusing and frantic.

The highlight and true artistry of this show was all visual

The production largely becomes much more engaging and the story clearer once the antagonist Black Stache is introduced. Colin Lane (comedy duo Lano & Woodley) is hilarious and a joy to watch as Black Stache and is in his element as the comic relief, with moments of improv, although maybe a few jokes might not have been appropriate for younger audience members. Joining Lane and playing his sidekick Smee is well-known stand-up comedian Pete Helliar. Although seeming slightly uncomfortable in early scenes, Helliar and Lane expertly bounced off each other both scripted and unscripted dialogue, having the audience in fits of laughter throughout Act Two.

The orphans/ Lost Boys consisted of Otis Dhanji (Boy/Peter), Morgan Francis (Prentiss) and Benjin Maza (Ted). The three had a fabulous chemistry together as well with their scenes with Olivia Deeble (Molly). Deeble brought incredible youth, energy and unexpected athleticism to the role of apprentice starcatcher Molly as well as delivering the variety of emotions required for the character’s ultimate choice and the play’s required conclusion. Dhanji as Boy demonstrated strong emotive control over the character’s journey from bitter ‘rough round the edges’ orphan to being open to the relationship developed with the poised Molly.

The rest of this well-known cast included Alison Whyte (Lord Aster); Lucy Goleby (Mrs. Bumbrake); Hugh Parker (Capt. Robert Falcon Scott) as the rest of the British subjects. Together with Paul Capsis (Bill Slank/Hawking Clam); John Batchelor (Alf/Teacher) and Ryan Gonzalez (Grempkin/Mack/Sanchez/Fighting Prawn) as The Seafarers. Although all cast members gave excellent performances, and this production is very much an ensemble piece, it felt much of this amazing talent was underutilised, which is where the book has its weaknesses.

...a beautifully presented production of friendship and finding your own destiny.

Watching Peter and the Starcatcher unfold, I was amazed and delighted with the imagination and invention of Dead Puppets Society 90+ puppets designs including a variety of animals from sea life to birds giving scenes extra dimension, colour and fantasy for Act Two. I especially loved the choice to make the yellow bird inspired from the Australian Sulphur Crested Cockatoo, and the buildup of size and variety of visual design of the crocodile across the production giving audiences background into the relationship between Black Stache and Mister Grin. The highlight and true artistry of this show was all visual. The joining of Dead Puppets Society, with Anna Cordingley’s costume design pushed and teased out the fantasy of Neverland alongside the reality of the era. Coupled with lighting design from Ben Hughes creating moods and locations, and movement from Liesel Zink, scenes and characters leapt of the stage like an illustration in a children’s book.

This reimagined version of Peter and the StarCatcher for Australian audiences is a beautifully presented production of friendship and finding your own destiny. A bit heavy on dialogue it’s not for all youngsters, but certainly will be enjoyed for those with curiosity and ready to follow the stars and take flight.

Cast

John Batchelor Alf / Teacher

Paul Capsis Slank / Hawking Clam

Olivia Deeble Molly

Otis Dhanji Boy / Peter

Morgan Francis Prentiss

Lucy Goleby Mrs Bumbrake

Ryan González Grempkin / Sanchez / Fighting Prawn / Mack

Colin Lane Black Stache

Pete Helliar Smee

Benjin Maza Ted

Hugh Parker Captain Scott