Peter and the Starcatcher || Natasha Veselinovic

The Fame Reporter interviewed spectacular Australian performer, Natasha Veselinovic. They are starring in the incredible musical Peter and the Starcatcher by Dead Puppet Society playing at Playhouse, QPAC, 14 Mar – 6 Apr 2025, Melbourne until 29 July. Natasha is an Off-stage Cover in the show.

We had the exciting opportunity to sit down with Natasha and talk about what enticed her to want to join the cast of Peter and the Starcatcher, her unique role as an offstage cover, her own original works and more.

Welcome to The Fame Reporter Natasha. You’re covering a wide range of characters in Peter and the Starcatcher, from Smee to Aster and even Molly as a secondary understudy. How do you keep each role distinct in your mind, and what strategies do you use to transition between them?
This is a great question! Covering 6 roles is certainly a challenge – particularly on a show like Peter and the Starcatcher. Those actors are BUSY! Watching them work is impressive, to say the least.

Everyone has their own strategies when it comes to being a swing, so there isn’t really a hard and fast rule. I think you tend to discover what works for you as you go. I guess the simple (and perhaps boring?) answer, is preparation.

Having clear notes, and a map of each character’s track is key – after that, it’s just about repetition, and getting things into your body.

My fellow cover buddies and I generally pick a different role to run every day, and push furniture around the rehearsal room which would be quite funny to watch, now that I think about it.

You were previously involved in the creative development of this production of Peter and the Starcatcher. How does it feel to now step into a performing role, and have any aspects of the production evolved since that initial development?
Yes, I got to play Smee during the development, which gave me a great idea of what the show was going to be/look like before jumping in. I think the core of the production is largely the same – Dead Puppet Society (DPS) had a very strong design concept from early on – but there was certainly an evolution in the music.

The original version of Peter and the Starcatcher (PATS) is essentially a play with a few songs – ours is entirely underscored (by the very clever James Dobinson), which placed us heavily in the land of musical theatre.

Due to this, timing – while always important – became a central focus, as dialogue, movement and set changes needed to match musical cues and accents. As always, casting also meant that the show grew in different ways – every artist brings their own skill set and sense of play, which has been a true joy to watch and be part of.

Each person involved onstage (and off) is an absolute icon. Getting to perform with them has been a joy – I have learnt A LOT.

You’ve performed internationally in productions like The Railway Children at Cadogan Hall and The Girls From Oz at the London Hippodrome. How do those experiences compare to working in Australia, and do you find any major differences between the theatre scenes?
Honestly? Not really. I think the thing that binds artists everywhere (generally) is work ethic. We’re all in the same boat, and we all have to start again once a job comes to an end.

I guess the major difference between the UK and Australia is the amount of work available, and the frequency of auditions. There was a kind of calm that came with knowing the next shot would be around the corner, if the current one didn’t go your way.

While I do think the volume of shows has increased over here (huzzah), audition season always brings with it a certain level of anxiety… which – I guess – gives us Aussies a little extra grit and determination.

As a musical theatre performer, writer, visual artist, and co-artistic director of The Local Lesbians, how do you balance these various creative endeavors alongside your commitments to Peter and the Starcatcher?
By setting realistic expectations, and being specific with how I manage my time. Being a freelance artist often lands one squarely in hustle territory, which it’s not always feasible…and that’s okay.

Picking projects to pause every now and again has been key, even though it completely goes against my inner desire to do it all. Sleep and play are important. Time to percolate is important.

Sometimes setting one bag down for a little while to let your brain breathe is the best thing you can do – even if just for a second.

What unique challenges and rewards come with being an offstage cover for multiple characters in a single production?
I’ve never actually covered this many roles before, nor have I been an offstage cover. When I did Les Miserables I had an onstage track, so was very familiar with the space, and had the privilege of watching the incredible Madame T’s I covered up close.

This has been a wildly different, challenging experience, and I have most certainly grown because of it. There’s something very freeing about how alive and awake you feel jumping into someone else’s role – particularly for the first time.

I’ve been lucky enough to go on for 4 our my 6 covers thus far, and have never felt more aware of my surroundings, haha! It’s a funny feeling, that’s for sure – especially when you’ve not had the opportunity to tech or rehearse under show conditions.

It’s been an excellent lesson in trusting the work I’ve done, listening, and being present enough to react in the moment. I would be entirely remiss if I did not acknowledge the generosity of the cast and crew, who have (sometimes literally) held my hand every step of the way.

They are an ensemble of giving, wise, grounded, hilarious, BEAUTIFUL humans, and I have never once felt as though I could not ask a question…which has been invaluable.

Having studied at The Queensland Academy of Excellence in Musical Theatre and holding a Bachelor of Arts in Applied Theatre, how have these academic experiences shaped your career and your approach to theatre?
Big question. The Bachelor of Arts in Applied Theatre was an incredible course. It taught me how
to truly be creative, and make something from nothing. We explored almost every facet of theatre
making, and our lecturers actively encouraged us to dream and forge our own path in an industry
that is most certainly not guaranteed.

I doubt I would have dared to write my own work, or create a company without it. QAEMT (or the con, back in my day) highlighted the necessity of honing your skills with commitment, specificity, focus, and drive.

Musical theatre is tough, and demands a lot. You have to love it, and you have to be prepared to really work for it continuously – something that was very much instilled in me during my time in the course.

Perhaps the largest way both degrees shaped my career and approach to theatre, is that they each taught me to do the work – properly with careful consideration and openness.

You’ve had a fascinating career, from Les Misérables tours to The Owl and The Pussycat
and Lesbian Love Stories. Do you have a standout moment from your career so far that has
been particularly meaningful?
Every job has genuinely brought it’s own glitter in different ways… but I think I’m probably squishiest about Lesbian Love Stories. It was self written, produced by my partner, and toured around Australia pretty consistently for 3 years (which was very cool).

This production is presented by Dead Puppet Society. How has working with this company
influenced your performance or understanding of the play?
Working with DPS has encouraged my sense of play – which is apt, when you consider we’re telling the story of a boy who doesn’t want to grow up.

As a design led company, Dead Puppet Society really created a fantastical world where anything can be everything, which kind of gives you permission to go big. Tis a lot of fun!

What are you most excited about in bringing Peter and the Starcatcher to Brisbane
audiences at QPAC?
Peter and the Starcatcher makes a lot of comments about what family and home means, so it’s quite special to bring it to the place that holds all of those things for me. It’s kind of cool to have taken the ship out for a spin, and pull her safely into dock for the final chapter.

Brisbane audiences are pretty good at supporting home grown work, so I can’t wait for them to see what DPS have cooked up.

Drawing from your diverse experiences, what advice would you offer to aspiring performers
looking to pursue a career in musical theatre?
Don’t forget to have fun – It’s so wildly easy to do. Take the time between the crazy ups and downs to remember why you started in the first place, and check in with that.

It’s okay to say no to things that don’t bring you joy, and to ask for what you want – the right fit will find you, and if it hasn’t yet, it wasn’t your thing.

Be brave. Create your own doors, and don’t wait for permission. You can do the thing.

Fame Reporter Word Play

Dream collaborator
KATE WINSLET – I would die

Favourite song of all time that you never get sick of
Poison and Wine – The Civil Wars

Causes you are passionate about
Gaaaaah, so many – first things that came to mind –
DV
Mental health and financial support in the arts
Diversity

QPAC
Home

Peter and the Starcatcher
Imagination

Dressing Room necessity
Ermm yessss, but I like to share with friends

Brisbane
Heat

Unlimited show budget – what dream show would you do and who would you play?
Into the Woods, without question. And…the Witch. But honestly, if someone offered me second tree to the left, I’d take it

Future dream
Stability, contentedness and enough moolah to go on adventures whenever I want. Hahaaaa how very old lady of me.

Finally, favourite thing about performing
Getting lost in the story. That’s where the magic happens.