The curtain lifts on Peter and the Starcatcher at Arts Centre Melbourne, a sparkling concoction of puppetry, music, charm and stagecraft. If there’s ever been a time to pull out the word enchanting, this is it.
Adapted by Rick Elice – known for bringing narrative depth to classic tales – and directed by David Morton, this smash-hit, five-time Tony Award-winning production partners with the Dead Puppet Society. And yes, they had us at "puppets". The show is sprinkled with shimmering, inventive puppetry that brings a delightful layer of magic to the stage.
Elice’s adaptation cuts the "S" in Starcatchers to make room for two leads: Peter Pan (Otis Dhanji) and Molly (Olivia Deeble), the Starcatcher herself. And while Peter is discovering his name and Molly is saving the world and her father, Lord Aster (Alison Whyte), Elice sneaks in light-hearted pokes at adventure tropes and British colonialism. There’s a magical substance called starstuff that gives people what they most desire, transforming a scotch salmon into a mermaid and a bird into Tinkerbell, and everyone’s after it.
Including Colin Lane, who is memorable as Black Stache, a pirate with a peculiar politeness and a biting disdain for children. Lane’s timing is impeccable – especially when a fire alarm goes off mid-show, which he turned into an impromptu comedy break, riffing with the audience. Later, he added some extra banter that momentarily broke the production’s spell but earned big laughs from the school kids in the matinée crowd.
Deeble’s Molly is magnetic and Dhanji’s Peter is endearing. Ryan González juggles roles like Fighting Prawn with finesse, while Benjin Maza as Ted and Morgan Francis as Prentiss, aka the Lost Boys, are just as spirited. Together, the cast’s energy seems inexhaustible, bolstered by music by Wayne Barker and a live band.
Seriously, this is production that doesn’t skimp on talent: John Batchelor (Red Dog), Pete Helliar (The Amazing Race) and Paul Capsis (La Cage Aux Folles), among others, zip through characters and costume changes with an energy that borders on alchemical. The result is an ensemble performance where each character owns their moment – there’s truly no room for wallflowers on this stage.
The second act kicks up the glitzy chaos with a 1930s-inspired number, a madcap sequence of island shenanigans and a flurry of dazzling mermaid tails (courtesy of Anna Cordingley’s costume design). Cordingley’s wardrobe is a joy: pirate ruffles, sequined mermaid boots and enough sparkle to turn the sternest pirate camp.
The set, with its rotating staircase and minimal but inventive props, allows for seamless transitions (Morton’s direction is excellent) and keeps the focus on the cast and other design elements. Ben Hughes’ lighting sweeps us from day to night, underwater to sky, as twinkling stars float across the stage.
Elice’s take on Peter and the Starcatcher is both timeless and wonderfully of-the-moment, balancing wit, charm and just the right amount of meta humour to keep both adults and kids entertained. There are nods to local pop culture, from Elon Musk to Aussie breakdancer Raygun, along with a touch of gender-blind casting to keep things fresh.
At two hours and 20 minutes, including an interval, it may be a stretch for the youngest audience members. But for older kids and grown-ups, it’s a whirlwind of starstuff, crocodiles and plenty of fish – a delightful trip to Neverland that’s playful, self-aware and a bit rowdy. If you’re in the mood for high-energy hijinks, Peter and the Starcatcher is your ticket.
Peter and the Starcatcher is playing at the Arts Centre Melbourne until December 1. Find out more and get tickets here.
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