Peter and the Starcatcher review

Adapted to the stage in 2011 by Rick Elice, after the 2004 novel, Peter and the Starcatcher serves as an origin story for Peter Pan, Tinker Bell, Hook and Mrs Darling from Peter Pan. Two ships are bound for the kingdom of Rundoon tasked with delivering precious cargo. An assortment of characters find themselves onboard and through a series of circumstances and choices, end up stranded on a strange and seemingly uninhabited land. And so begins the whimsical tale of The Boy who doesn't want to grow up.

There is a wonderful ensemble in this production including Paul Capsis and Alison Whyte, who are always a delight to watch. Otis Dhanji as The Boy portrays a sensitivity and yearning for the apparently unachievable that is evident the instant he appears. Olivia Deeble shows great skill in displaying the deep fire and conviction that lies inside the stubborn yet fearless Molly. The scenes between Dhanji and Deeble present a touching and blossoming relationship, and their closing moments, while slightly rushed, are treated with considerable emotion and affection.

The first act has to work very hard at setting the scene and establishing characters, relationships and motivation and it runs the risk of losing its audience, but the second act takes a near 180 degree turn and it's where the fun truly kicks in. The travellers begin to enjoy the world being discovered and get to engage with the creative costumes, set and lighting designs. Colin Lane is having a ball as Black Stache and his interactions with Smee (Pete Helliar) are an absolute highlight. We are left in stitches as the two struggle with keeping a straight face and sticking to the script. A heckle from the audience sets them off into even more hilarity and it’s a joy watching the other performers try to not break character, which sits well with the theme of staying young and enjoying the moment.

The captivating stage design by director David Morton transports us into this fantastical island, with ocean blue set pieces and netting draping the space. Location changes are executed well and distinctively with support from Ben Hughes' lighting design and Matthew Erskine's sound design. The live musicians (Morgan Francis, Luke Volker, Annie Silva-McKnight and musical director James Dobinson) seamlessly blend into the design playing numerous instruments such as the piano, guitars, ukuleles, violins, viola, bass, and keyboard.

The Dead Puppet Society puppets (of which Morton is co-founder) make brief but highly memorable appearances that paint the environment of this curious new world. The giant crocodile, in all its forms, is a sight to be seen with smaller scale props like butterflies and fish also providing wonderment with their colour and sparkle. Anna Cordingley's detailed costumes come alive with the mermaids and the Mollusks but aid in grounding the humans and giving visual representation of their status back home.

I should confess, while I am vaguely familiar with the tale of Peter Pan, I have never actually watched any of the films. With this in mind, Peter and the Starcatcher still proved to be a thrilling evening of pure escapism where you easily get caught up in the wave of adventure. Why it has taken over a decade for this to sail to Australia is perplexing as its appeal extends beyond that of Peter Pan fans.

SHOW DETAILS

Venue: Arts Centre Melbourne, 100 St Kilda Rd, Melbourne
Season: until 1 December | Tues 7:00pm, Wed - Sat 7:30pm, Wed & Sat 2:00pm, Sun 1:00pm
Duration: 140 mins (including interval)
Tickets: $60 - $150

Bookings: Arts Centre Melbourne

Image credit: Daniel Boud