‘Peter and the Starcatcher’ // Dead Puppet Society

‘Peter and the Starcatcher’ was mesmerising.

The audience at the QPAC’s Playhouse was swept away on a breathtaking journey back in time to the magical world of Neverland with the production of ‘Peter and the Starcatcher’. Beneath a feast of shimmering lights, the stage came alive with the thrill of a giant crocodile lurking in the shadows, the colourful beauty of mermaids dancing in the sea, and the boundless wonder of a place where magic knows no limits. It was a night where imagination soared, and for a few precious hours, the enchantment of Neverland, and the story of young Peter, felt undeniably real.

The show, playing at the Playhouse until Sunday 6 April, is the prequel to the Peter Pan story and is intended for audiences aged eight and above. It was originally developed by the Disney Theatrical Group and won five Tony awards.

This production is a collaboration between Dead Puppet Society, Glass Half Full Productions, Jones Theatrical Group and Damien Hewitt Productions and features an all-star (pun intended) cast. Comedy legends, Pete Helliar and Colin Lane play the roles of ‘Smee’ and ‘Black Stache’ the pirate. Stage and screen icon, Alison Whyte plays the role of ‘Lord Astor’, legendary Paul Capsis is the villainous ‘Bill Slank’ and ‘Home and Away’ and ‘Little Lunch’ star, Olivia Deeble, makes her professional theatre debut as the adventurous ‘Molly’. Sydney-based actor, writer and musician, Otis Dhanji, (most well-known for his work in the 2017 feature film, Aquaman) shines in the role of Peter.

Dead Puppet Society’s David Morton and Nicolas Payne as Creative Director and Executive Producers of the piece, have woven their tireless passion for captivating storytelling through puppetry with imagination and theatricality to bring the clever script by Rick Elice to life. The story is a fresh look at the boy who would become Peter Pan. Through music, puppetry and tight ensemble work, the ‘crew’ plays a variety of characters which are in most cases, variations on the original characters of JM Barrie’s play and novel. As Peter is tossed off the ship into the mysterious waters, the audience encounters the magic of Neverland. Here is where the masterful creativity of the puppetry is unleashed. Together with lighting designer, Ben Hughes, the intriguing world comes to life. Illuminated fish, starry night skies, butterflies, birds, an octopus and stingrays – colour, light and magic fill the stage.

This story is about Molly, a star catcher, who is trying to take a precious trunk of a magical substance called ‘starstuff’ to be destroyed when she encounters three orphan boys, and her life is forever changed. Her trunk ends up aboard the wrong ship, which provides the tension in the plot. A flurry of misunderstandings, swashbuckling adventures and wild characters leads to a fast-paced, highly energetic adventure that borders on the edge of pantomime at times.

The cast of 14, including visible onstage musicians, worked cohesively for the duration of the show, maintaining the sharp pace and energy of the piece. Movement Director Liesel Zink, carefully crafted swift and lithe action, bringing out the comedy and playfulness of the characters and the story, navigating both the human and magical worlds of the text. Sometimes sheer precision, at other times, chaotic frolicking, but always keeping the audience on their toes with constantly changing visual pictures and engaging action.

The cast worked so cohesively, that it is difficult to single anyone out, however Olivia Deeble, playing 13-year-old Molly, literally flipped her way into our hearts as the young adventurer in charge of keeping the ‘starstuff’ safe. Paul Capsis’ ability to morph his play-doh-like face into a myriad of hilarious expressions is absolute gold in this show. Likewise, the combination of Colin Lane and Pete Helliar is stage magic. Both these seasoned comedians seemed to relish in every opportunity to engage with the audience and their timing was mint.

The music for Peter and the Starcatcher masterfully captured the seafaring, magical essence of the play. Australian-American musician, conductor, and instrumentalist, James Dobinson, blended rich textures and evocative instrumentation to transport the audience into a world of adventure and wonder. A delicate yet powerful interplay of violins, guitars, and a harpsichord created a sense of both whimsy and mystery, while the upright bass and old piano shells—modified with modern keyboards—grounded the soundscape in the rugged, weathered atmosphere of a ship at sea. Percussion elements, including an old-school wind machine and a thunderboard, heightened the intensity during the play’s more frenetic moments, adding a palpable sense of chaos and excitement. The haunting strains of a viola are crucial throughout the score, creating an ethereal, otherworldly quality that mirrors the story’s underlying magic. Altogether, the music was pivotal in breathing life into the narrative, evoking the salty air of the ocean and the boundless possibility of imagination.

Prequels often get a bad rap, but as this story unfolded, the connections to the Peter Pan tale became increasingly evident. Enough fart jokes, physical humour and stage magic to keep younger audiences entertained, an abundance of symbolism, artistry, musicianship and comedy, and bloody fantastic acting, to make adults appreciative – this show is breathtaking magic.

‘Peter and the Starcatcher’ shines brightly on stage until Sunday 6 April at QPAC’s Playhouse. For more information, visit the official website.