Review: Peter and the Starcatcher (Dead Puppet Society, Glass Half Full Productions, JONES Theatrical Group and Damien Hewitt)

Photographed by Daniel Boud

Peter and the Starcatcher is full of all the wonder, magic, and comedy that might be expected of a new chapter in the Peter Pan story, but with modern humour sprinkled throughout for those who have had to grow up.

Commissioned and originally produced by Disney Theatrical Group, Peter and the Starcatcher has opened in Brisbane’s QPAC as part of its national tour. Written by Rick Elice, based on the novel by Dave Barry and Ridley Pearson, this Peter Pan origin story fits neatly into the beloved animated Disney films based on J.M. Barrie’s plays and novels about a young boy who can fly and never grows up. This new Australian premiere is directed and designed by David Morton, and presented by Dead Puppet Society, Glass Half Full Productions, JONES Theatrical Group and Damien Hewitt.

*Molly, Ted, and Prentiss, photographed by Daniel Boud*

Molly Aster is a fiercely intelligent but friendless young woman who has accompanied her father, Lord Leonard Aster, on many worldly expeditions as an apprentice Starcatcher. Separated from him on an upcoming voyage for her own safety, Molly nonetheless finds herself in the thick of the adventure alongside three orphan boys she discovers shivering in the hold of the ship. Together, they fight off a pirate attack led by Black Stache, a fearsome pirate searching for both treasure and a worthy opponent, who has already captured Molly’s father. When both ships sink, the pirates follow the children to an island and search for the chest of treasure, which contains the magical element known as starstuff. Molly tries desperately to contact her father for rescue, and the orphan boys hope that Lord Aster will take them in rather than sending them on to servitude in a far-off kingdom.

*Peter (front) with Molly, Ted, and Prentiss, photographed by Daniel Boud*

There is plenty of comedy, music, danger, and magic, plus a chaotic interlude with a gang of shipwrecked Italian chefs and their pet crocodile. Peter and the Starcatcher was a magical journey of its own, but also wove a simple starting point for Peter Pan and his comrades the Lost Boys, his nemesis Captain Hook, and the enchanted location of Neverland.

*(L to R) Peter Helliar as Smee, Alison Whyte as Lord Aster, and Colin Lane as Black Stache, photographed by Daniel Boud*

Dead Puppet Society’s signature puppetry, with visible puppeteers and exoskeletal style, animated the wildlife of the ocean and the island, from gliding rays and flocks of birds to fluttering butterflies and schools of colourful fish, leggy flamingos, and the ship’s cat.

*Paul Capsis as Bill Slank, photographed by Daniel Boud*

Set pieces moved smoothly across the stage and worked with lighting by Ben Hughes and sound design by Matthew Erskine to transport the characters from the decks and cabins of the ships to the beach, lush jungles, and hidden grottos of the island. Movement direction by Liesel Zink included a colourful chorus line of metallic mermaids as well as plentiful physical comedy, the deliberate shifting of scenery that became one with the ensemble, and the transitions between characters for each actor. Costume design by Anna Cordingley was bursting with colour, shimmer, ruffles, feathers, and layers that were swiftly and smoothly changed between characters.

*The cast of* Peter and the Starcatcher, photographed by Daniel Boud

The music of Peter and the Starcatcher was written by Wayne Barker, with musical direction and additional music for this production by James Dobinson. The show’s music was performed live onstage using instruments that fit the Victorian era of the setting.

Otis Dhanji led the cast, with constant fidgeting mannerisms, as the nameless orphan boy who would become Peter Pan, two names bestowed on the character throughout his journey. Olivia Deeble played the precocious apprentice Starcatcher, Molly, as effortlessly capable and confident, from telling bedtime stories to taking charge of the situation, with a few flips thrown in for good measure.

Paul Capsis was a scene stealer as both Bill Slank and Hawking Clam, playing the former with such excellent camp villainy that I expected him to emerge as the seafarer who would become Captain Hook. Morgan Francis played Prentiss, caught between grown-up pessimism and the fears of a boy, and Benjin Maza played Ted, obsessed with food and more wide-eyed and innocent than his fellow orphans. John Batchelor and Lucy Goleby were another dynamic duo as Slank’s second-in-command Alf and Molly’s nanny Mrs Bumbrake, whose love story was a thread of levity through the more dramatic scenes.

*Otis Dhanji as Peter, Benjin Maza as Ted, and Morgan Francis as Prentiss, photographed by Daniel Boud*

All of the actors also played ensemble and background roles. Ryan González surprised with his incredible singing voice as the Italian chef Fighting Prawn, Alison Whyte was an authoritative and theatrical Lord Aster, and Hugh Parker played Captain Scott, the captured captain of the Neverland.

Australian comedian Colin Lane played the villainous pirate Black Stache, who pursued Molly and the boys in order to seize control of the treasure. Peter Helliar played a one-note Smee, Black Stache’s primary offsider, who sometimes had a lisp.

*Peter Helliar as Smee, photographed by Daniel Boud*

It wasn’t clear whether Lane had been given creative license within the script or if he was improvising after initial audience response to a lost line. The reactions of the ensemble suggested that it was, at least in part, the latter. Either way, while these interludes were funny, they did run long as Lane played for audience reactions. The script was also peppered with modern and local references, from Elon Musk and Philip Glass to recent headline news stories, breaking the audience immersion in the magic as well as the fourth wall. Repeating gags about Queen Victoria, and even the inclusion of a King Charles caricature, did not break the spell in the same way, given the setting and the way it poked fun at the British monarchy.

*Otis Dhanji (L) as Peter and John Batchelor (R) as Teacher, photographed by Daniel Boud*

Earnest, wholehearted storytelling has become as much a hallmark of Dead Puppet Society as their puppetry, and the asides and improv-style crowd work introduced a knowing wink of adult cynicism that undercut this, as well as diluting the childlike wonder and curiosity that is central to the story.

*Otis Dhanji as Peter, photographed by Daniel Boud*

Peter and the Starcatcher is full of action and humour, built around a few moments of beautiful poignancy that reflect on fear, friendship, bravery, and found family. The show is bookended by moments of pure wonder: the first catch of a star, which elicited a gasp from the audience on opening night, and Peter Pan’s first flight, beautifully achieved without wires or any similar apparatus.

Peter and the Starcatcher is a work of significant, shimmering spectacle and a story of love, loyalty, and growing up.

Peter and the Starcatcher will be performed at the QPAC Playhouse Theatre until 6 April 2025

For ticketing and further information, visit the Peter and the Starcatcher website