A Peter Pan origin story, Peter and the Starcatcher is a slapstick pantomime fantasy, infused with music, dance and puppetry. So, it is a bit of a liquorice all sorts, which tickles the funny bone most when the cast ad libs, as Colin Lane and Pete Helliar are so adept at doing. Look out for contemporary references. The winner of five Tony Awards, the show was originally developed by the Disney Theatrical Group, first appearing on Broadway in 2012. The storyline is little more than an excuse for the mayhem inherent in the script (written by Rick Elice) to materialise, but let me try to sum it up for you.
It is 1885 and two British ships of contrasting quality are about to set sail for the imaginary kingdom of Rundoon. The Wasp has on board famous starcatcher Lord Leonard Aster (Alison Whyte), who is on important business for Queen Victoria. In short, he is out to destroy a secret cargo of a substance known as starstuff. His adventurous 13-year-old daughter Molly (Olivia Deeble) is on the other vessel, The Neverland, with her nanny, Mrs Bumbrake (Lucy Goleby). The Neverland is captained by the sinister Bill Slank (Paul Capsis).
Also on board are three orphans, who have been sold into servitude, one of whom is a nameless child, later called Peter (Otis Dhanji). The trio’s fate is looking decidedly dicey before Molly befriends them. The Wasp is overrun by pirates masquerading as British navy seamen. Leading the infiltration is the notorious pirate captain Black Stache (Colin Lane) and his right-hand man, Smee (Peter Helliar). In peril is the powerful starstuff, which has magical powers. It is left to starcatcher in training Molly to help save the day and allow to Peter find his true self.
While sitting there watching this orchestrated nonsense unfold, my mind wandered back to the movie The Castle (1997) and the line which references “the vibe”. I say that because the enthusiastic audience was lapping up this convoluted and irreverent tale. The 13-strong cast does a terrific job with the off-the-wall material. I loved the endeavours of Lane, Helliar, Whyte and Capsis, along with Deeble’s poise and precision. The vivid puppetry (90+ pieces in all) – birds, fish and animals, including a crocodile, a cat, butterflies and flamingos – delights and enchants. Plaudits to those responsible, namely design-led theatre company Dead Puppet Society.
But the artistry doesn’t stop there, with colourful mermaids also making an appearance. The evocative costumes are the craftsmanship of Anna Cordingley. I can’t speak any more highly of the creative staging involving two sets of stairs on wheels and wooden boards, showcasing The Neverland’s close quarters. The stars twinkle and amulets shine thanks to Ben Hughes’ lighting design, making a heady mix with sound design from Matthew Erskine. Movement, so integral to ensuring the nonstop action flows seamlessly, is the domain of Liesel Zink.
Four multidisciplinary musicians, under the musical direction of conductor James Dobinson, breathe life into the music of Wayne Barker. Director and designer David Morton has ensured this eclectic and imaginative work, full wit and whimsy, doesn’t miss a beat. Two hours 20 minutes, including interval, Peter and the Starcatcher is on in The Playhouse, Arts Centre Melbourne, until 1st December, 2024.
Alex First
Other reviews you might enjoy:
- Peter Pan Goes Wrong (ACM) – theatre review
- Tommy (Palais Theatre) – theatre review
- Hand to God (Alex) – theatre review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
