REVIEW: Peter and the Starcatcher - Dead Puppet Society, QPAC

A Dazzling Adventure Beyond Imagination

After plenty of anticipation, Peter and the Starcatcher has finally sailed into Brisbane, bringing with it a swashbuckling romp of whimsy, wonder, and wit. Directed by David Morton and brought to life by the visionary minds at Dead Puppet Society, this Tony Award-winning production reimagines the origins of Peter Pan. It’s a play, a musical, a spectacle, a fever dream to be honest... and a wildly inventive, fast-paced adventure that barrels through its storytelling faster than you can say, “second star to the right!”

Based on the 2004 novel Peter and the Starcatchers by Dave Barry and Ridley Pearson (itself inspired by J.M. Barrie’s 1904 play Peter Pan), and adapted for the stage by Rick Elice, the show spins an origin story for beloved characters Peter, the Lost Boys, Tinkerbell, Mrs. Darling, Captain Hook, and Smee. At its heart is the daring mission of starcatchers Lord Leonard Aster and his daughter Molly, tasked with transporting magical starstuff to safety—only to be thwarted at every turn by pesky pirates, tag-along orphans, and fantastical creatures. The atmosphere on opening night was electric, and by the time the final scene played out, the immediate standing ovation spoke volumes.

The cast of Peter and the Starcatcher is an ensemble of comedic brilliance and top-tier Australian talent (with excellent British accents). Every actor throws themselves into multiple roles with unstoppable energy and a flair for the ridiculous, making it nearly impossible to decide where to look at any given moment! Otis Dhanji and Olivia Deeble, as Peter and Molly, are the heart of the show. Deeble’s portrayal of Molly is a force of nature—her fierce independence and natural leadership shine through in every scene. She commands attention with a perfect balance of childlike enthusiasm and wisdom beyond her years. Dhanji’s Peter, on the other hand, is scrappy, mischievous, and brimming with curiosity—the very essence of the boy who never grows up. Together, they anchor the production and capture the emotional core of the story through their combined strength and vulnerability.

Colin Lane is an absolute scene-stealer as the flamboyant Black Stache. This isn’t the Captain Hook you know—he’s widly theatrical, unhinged, and always teetering on the edge of self-parody. Lane seems to thrive on the chaos, keeping both his fellow cast members and the audience on their toes with improvisations and fourth-wall breaking. His dynamic with his long-suffering sidekick Smee (played by Pete Helliar) is a comedic goldmine, their back-and-forth banter providing some of the biggest laughs of the night.

Morgan Francis is bold and bossy as Prentiss, while Benjin Maza’s Ted is hilariously clueless and perpetually hungry. Though they’re adults playing orphaned children, they sell every moment with wide-eyed wonder and heartbreaking abandonment. Paul Capsis (my personal fave) shines as the villainous Bill Slank and later as the hilariously absurd Hawking Clam. His over-the-top performances are deliriously dramatic, and he revels in every moment of his roles. Lucy Goleby is utterly endearing as Mrs. Bumbrake, Molly’s no-nonsense nanny. Ryan Gonzalez graces us with his stunning voice and juggles multiple roles—including Sanchez, Grempkin, Mack, and the unforgettable Fighting Prawn, the leader of the island’s Italian chef tribe (I couldn’t make this stuff up if I tried). Alison Whyte’s Lord Aster is a commanding presence, exuding authority even when surrounded by the absurdity of the pirates. Her ability to preserve her character’s dignity, despite Colin Lane causing all the other actors break character, is a highlight.

It wouldn’t be a Dead Puppet Society production without, well, puppets—and Peter and the Starcatcher is brimming with them, from delicate fluttering creatures to towering, multi-operator behemoths. Designed and crafted by an exceptional team of Brisbane-based artists, the puppets become an intrinsic part of the storytelling, capturing the wonder and unpredictability of Neverland.

Among the many puppets that populate the stage, the mischievous cat makes several playful appearances. The crocodile appears in no fewer than three forms: as a shadow puppet, as an airborne giant, and finally as an awe-inspiring 12-metre-long hero puppet operated by multiple performers. Each version of the creature builds upon the last, creating a growing sense of menace and anticipation every time it appears. Every puppet, prop, and performer moves naturally, transforming inanimate objects into characters in their own right to immerse us in a world of endless imagination. 

Then there are the mermaids! Adorned with shimmering, disco-inspired, iridescent scales, they catch the light in a hypnotic display as they dance and sing us into Act Two. But it’s Teacher, the enigmatic mermaid played by John Batchelor who dazzles the most with a four-metre tail embedded with over 1000 pixels of light to make him glow with an ethereal beauty.

The pacing of Peter and the Starcatcher is relentless—in the best way. It never lingers too long in one place, constantly shifting between intense adventure, heartfelt moments, and sharp comedy. It always maintains an undercurrent of anticipation and excitement. And the speed—my god, the speed! This show moves like a runaway train, and the cast is sprinting right alongside it. They leap, tumble, switch costumes, and swap characters at a dizzying pace, morphing from pirates to sailors to puppeteers to chefs in the blink of an eye. With movement director Liesel Zink’s guidance, the cast navigates this kinetic landscape with precision, ensuring that every transition feels entirely purposeful.

The stage design itself fuels the production’s constant sense of motion. A striking arched structure towers above the action, covered in twinkling starlight that seems to envelop both the stage and audience in a shared dreamscape. Rather than relying on static set pieces, the production takes a more inventive approach to its world-building. The Wasp and The Neverland, the two central ships, aren’t traditional set pieces but exquisitely crafted scale models. Constructed from wooden pieces, polypropylene sheeting, and real brass, these intricate miniatures blur the lines between set, prop, and puppet. Lighting, designed by Ben Hughes, plays an equally vital role. The interplay of starlight, shadows, and bursts of colour enhances the storybook charm.

Musically, Peter and the Starcatcher is just as enchanting as its storytelling. James Dobinson’s score flits between playful whimsy and ethereal melodies. The live instrumentation—featuring fiddle, harpsichord, hand percussion, a spinet piano and more—evokes life on the Victorian-era ship. Rather than being tucked away in a pit, the musicians are fully visible. The organic quality of the live music adds a sense of immediacy, making the audience feel as though they are right there on deck with the characters, caught in the sweeping tide of the story.

Then, there are those moments that take your breath away, with one standing out in particular: Peter’s arrival in Neverland. The execution feels almost dreamlike, as the whole ensemble sings and the music swells to bask us in the pure wonder of the moment. It’s one of those rare, enchanting instances in theatre where you feel genuinely transported, where the lines between the stage and reality blur, and you become completely immersed in the adventure.

This show captures the essence of childhood wonder, adventure, and friendship that I adore seeing on the stage. The cast’s energy makes the journey from pirate ship to the shores of Neverland feel like one we all want to embark on, inviting us to rediscover the joy of make-believe. It’s a feast for the eyes, ears, and heart, bursting with creativity at every turn. Blending comedy, heartwarming moments, and a surprising amount of social satire (the British Empire gets thoroughly roasted, and there are plenty of modern references to make you giggle), this production defies easy categorisation. It’s a play. It’s a musical. It’s a show for adults. It’s a fairytale. It’s all of these things at once. Peter and the Starcatcher is an experience I’d happily get lost in again and again.

Tickets Available Here