Stepping Into Neverland: Otis Dhanji discusses PETER AND THE STARCATCHER
The excitement around the latest adaptation of PETER AND THE STARCATCHER is sky-high as it docks in Sydney at the historic Capitol Theatre on 31 January for a strictly limited season before heading north to Brisbane. With five Tony Awards under its belt, this play takes audiences on an all-new journey that reveals the untold story of the boy who becomes Peter Pan. Directed by the Helpmann Award-nominated David Morton and produced by the Dead Puppet Society, the production promises to blur the lines between fantasy and reality—complete with mystical mermaids, pirates, and the sweeping magic of the stage.
Front and center in this Australian reimagining is Otis Dhanji, known for his on-screen work in AQUAMAN and THE UNLISTED, now bringing his energy to the live theatre scene. Joining him is a star-studded cast that includes comedic icons Peter Helliar (THE PROJECT, HAVE YOU BEEN PAYING ATTENTION?, I’M A CELEBRITY GET ME OUT OF HERE), Colin Lane from the beloved duo Lano & Woodley, and rising television star Olivia Deeble (HOME AND AWAY, MORE THAN THIS, SECRET SOCIETY OF SECOND BORN ROYALS). Below, Otis Dhanji shares his insights on stepping into the role of Peter, the synergy between film and theatre, and how he keeps the wonder alive night after night on stage—showcasing some of the bold creativity that keeps Australian theatre thriving.
PETER AND THE STARCATCHER offers a fresh look at the boy who would become Peter Pan. What compelled you to embrace this version of Peter’s origin story, and how is it distinct from other adaptations you’ve encountered?
The most obvious difference is that this is a theatrical production. Having worked predominantly in film and TV, I’ve developed a newfound appreciation for theatre’s bare-bones and exposed nature. The trickery and the make-believe are right there for the audience to see, so when you’re telling a story so rooted in childhood imagination, there’s no better medium than the stage for PETER PAN.
You’re best known for your on-screen roles in AQUAMAN and THE UNLISTED, where action and special effects play a major part. How has the transition to live theatre challenged or enriched you, especially in portraying a character as iconic as Peter?
I’ve come to love theatre because it’s the antidote to the entitlement we feel as cinemagoers. Films strive for visual perfection—every CGI pirate ship is animated down to the last detail—while a play will take a single plank of wood and turn it into a dozen different things with the audience’s cooperation. That shared imagination is what makes theatre magical.
The production highlights Peter’s vulnerability as a nameless boy before he becomes ‘the boy who never grows up.’ In what ways do you relate to this raw, unformed version of Peter?
As a relatively young actor still forming my career, I relate completely. Working alongside so many adults who are great at what they do, some famously so, makes me feel vulnerable and nameless at times. But it’s also an incredible learning opportunity.
PETER AND THE STARCATCHER features a vibrant ensemble of comedians, stage veterans, and rising talents. How has working alongside such a diverse group shaped your performance?
The diversity has sharpened our individual roles. The play flips between drama and pantomime, almost like the theatre veterans and comedians negotiating moment by moment. Amidst that chaos, Olivia Deeble and I carry the emotional core—the relationship between Molly and Peter—which grounds the audience whenever the comedy gets wild.
The show explores powerful themes like friendship, identity, and belonging. Which of these themes resonates most deeply with you, and how have you channelled that into your portrayal of Peter?
Identity. Peter’s identity as the forever child who rebels against the adult world definitely resonates. There are plenty of things I dislike about the world of adults, but this play reminds us that adults can be just as fanciful as flying boys and giant crocodiles. It’s a perspective that keeps me in that youthful headspace each performance.
Acting opposite comedic performers like Peter Helliar and Colin Lanemeans there’s bound to be high energy on stage. How do you maintain the delicate balance between humour and the more serious elements of the show?
I laugh my head off backstage in the hope of getting it out of my system. Of course, sometimes I break character on stage, but that’s the thrill of live theatre—things that surprise us also delight the audience. It’s all part of the experience.
Peter is known for his youthful spirit and mischievous streak. Have you discovered any hidden aspects of your own personality or artistic process while tapping into that boyish exuberance?
I’ve tried to let the role influence my acting process by being cheekier in my choices and playing around each night. That way, the boyish exuberance feels more honest and less like an act.
The outlandish world of mermaids, pirates, and Neverland requires a suspension of disbelief. What techniques do you use to keep that sense of wonder alive—both for yourself and for the audience?
At the start, Peter is just a nameless orphan who’s never experienced anything outside the orphanage. So, I make sure he’s constantly enchanted by what unfolds. The audience sees me discover this world in real time, which mirrors their own sense of wonder.
You’re no stranger to physically demanding roles. What kinds of stunts, choreography, or stage combat do you undertake in PETER AND THE STARCATCHER, and how does it compare to your previous work in film and television?
A lot happens to Peter! At one point, I fall from a set piece and half the company catches me. We do lifts to simulate being tossed underwater. We also work with puppets, which is really different from film because everything has to be repeatable and safe every single night.
Finally, when people leave the theatre after watching you as Peter, what emotional journey or lasting impression do you hope they carry with them?
I’d love for them to feel what I felt when I first read the script: the urgent desire to revisit the original PETER PAN. Hopefully, they leave excited that they’ve just witnessed each character set up for the classic story they know and love.
In a theatre scene as rich as Australia’s—where iconic venues like the Capitol Theatre have housed countless memorable productions—PETER AND THE STARCATCHER arrives as a refreshing and whimsical treat. By spotlighting the wonder of childhood, Otis Dhanji and the ensemble invite us to shed the weight of reality for a few hours and remember a time when anything was possible. Don’t miss the chance to embark on this enchanting journey before the production sets sail from Sydney to its next stop. After all, every adventure has an origin story—and this one might just make you believe in magic all over again.
Venue: Capitol Theatre, Sydney
Season: 31 January – 9 February
Performance Times: Tue 6:30, Wed 7pm, Thurs- Sat 7.30pm, Matinees Wed 1pm, Sat 2pm, Sun 1pm & 6:30pm (performance times vary each week)
Prices: From $69.90 (Transaction fees apply)
Bookings: ticketmaster.com.au or 136 100
Groups 8+ email groups@ticketmaster.com.au
