The Tony Award-winning Peter and the Starcatcher, a production by Dead Puppet Society, made a triumphant debut at the Queensland Performing Arts Centre (QPAC) on its opening night, concluding with a well-deserved standing ovation. Initially developed by Disney Theatrical Group, this inventive prequel to Peter Pan captivated the audience with its blend of humor, creativity, and stellar performances.
A play by Rick Elice, based on the novel by Dave Barry and Ridley Pearson, with music by Wayne Barker, Peter and the Starcatcher offers a wildly imaginative take on how Peter Pan came to be.
Colin Lane as Black Stache delivered a hilariously camp portrayal of the infamous pirate, infusing the character with his signature comedic flair. His over-the-top performance was a comedic highlight of the night.
Pete Helliar as Smee, a familiar face from Australian comedy, Helliar brought charm and impeccable comedic timing to Black Stache’s loyal sidekick, making the character a true crowd favorite.
Olivia Deeble as Molly, making her professional theatre debut, Deeble shone as the adventurous and quick-witted Molly, bringing warmth and intelligence to the role.
Otis Dhanji as Boy/Peter embodied the transformation from a nameless orphan to the iconic Peter Pan with sincerity and depth, capturing the wonder and vulnerability of the character.
Morgan Francis as Prentiss portrayed the ambitious and slightly pompous Prentiss with humor and energy, adding to the dynamic chemistry of the trio of lost boys.
Benjin Maza portrayal of Ted, the perpetually hungry orphan, brought a delightful sense of innocence and humor to the production. His character, resembling one of the classic Lost Boys from the Peter Pan story, was endlessly charming as he fixated on food while navigating the chaos of the adventure.
Paul Capsis as Slank/Hawking Clam delivered a standout performance, switching between the menacing Slank Captain and the eccentric Hawking Clam with ease and theatrical flair.
Alison Whyte as Lord Aster brought both authority and warmth to Lord Aster, perfectly balancing his noble role with moments of humor and vulnerability. Her performance added depth to the character, making him not only powerful but relatable, especially in his devotion to Molly and their quest. Whyte’s versatility shone through, blending the play’s lightheartedness with more serious moments.
Hugh Parker as Captain Scott brought a wonderfully pompous yet endearing energy to Captain Scott, the well-meaning but often blundering British naval officer. His performance balanced stiff-upper-lip authority with comedic absurdity, making him a perfect fit for the play’s playful tone. His interactions with Lord Aster and the rest of the crew added to the delightful chaos of the adventure.
Ryan González as Grempkin/Sanchez/Fighting Prawn/Mack displayed impressive versatility, bringing each of his multiple characters to life with distinct personalities and physicality.
Lucy Goleby as Mrs. Bumbrake, provided comedic timing as the overprotective yet hilarious Mrs. Bumbrake was a highlight, drawing plenty of laughs from the audience.
John Batchelor as Alf/Teacher brought warmth and humor to the role of Alf, the rough-around-the-edges but big-hearted sailor with a soft spot for Mrs. Bumbrake. As Teacher, a mystical mermaid-like figure, he embraced the whimsical nature of the character, adding to the play’s surreal and magical moments.
The ensemble cast, comprising 15 actors and musicians, seamlessly transitioned between over 100 characters, demonstrating remarkable versatility and cohesion.
Dead Puppet Society’s signature puppetry was a standout feature, with over 90 puppets used throughout the production. From illuminated fish to a glowing cat and even entire shipwrecks brought to life, the puppetry added a layer of theatrical magic that set this production apart. The set design was equally inventive, using stairs and minimal props to transport the audience across vast oceans, stormy skies, and mystical islands. The technical elements—including a luminescent necklace—added to the enchanting atmosphere.
With its Disney Theatrical origins, Peter and the Starcatcher also featured magical music that enhanced the storytelling. While not a traditional musical, Wayne Barker’s compositions added humor, tension, and heart to key moments, making the experience even more immersive.
The production’s self-referential humor, including playful meta-commentary about QPAC and contemporary references (such as Elon Musk, Contiki, and even Ipswich), kept the audience engaged. Breaking the fourth wall and embracing an Australian comedic sensibility made it feel fresh, sharp, and uniquely tailored to its audience.
Peter and the Starcatcher at QPAC is a testament to the power of imaginative storytelling and theatrical innovation. With its outstanding cast, witty script, infectious songs, over 90 puppets, and visually stunning execution, it offers a fresh and wildly entertaining perspective on a beloved story. Whether you’re a Peter Pan fan or just in for a night of clever, high-energy theatre, this is a production not to be missed.
The show runs at the Playhouse, QPAC until 6 April.
TICKETS
Now playing at Playhouse Theatre, QPAC until 6 April.
All images by Daniel Boud.
The Fame Reporter 