Peter Pan - 7.5 out of 10
Theatre Bugs/ Adelaide Theatre Academy
TICKETS: Peter Pan | Adelaide Fringe
For more than 25 years, Adelaide Theatre Academy and Theatre Bugs have been shaping generations of young performers across South Australia. Their mission extends well beyond teaching dance, singing, and drama; they focus on empowering young people to trust their creativity, develop empathy, build perseverance, and face challenges with confidence both on and off the stage. This ethos of growth and collaboration shines brightly through their latest Youth Theatre production of Peter Pan.
This review
is based on the Bloomsbury Cast and is no reflection on the other cast. Under
the creative direction of recent award-winner Hannah Smith (Director), Emma
Dalton (Choreographer), and Amelia Rooney (Musical Director), the ensemble
delivers a colourful and enchanting production. The team approach this story
with a clear creative vision, blending moments of whimsy with well-rehearsed
staging and energetic choreography. While the musical adaptation of Peter
Pan perhaps overstayed its welcome by stretching a simple narrative
into a two-act format, the engaging performances and seamless creative
direction ensured that every scene retained a touch of magic.
Taking on the role as Peter Pan, Alessia De Nitto brings
impressive assurance and charm to the stage. De Nitto embodies the boy who
refuses to grow up with buoyant energy, a mischievous glimmer in her eye, and
physicality that conveys both the youthful playfulness and emotional yearning
that define Peter. Her ease in movement and dialogue makes her a compelling
leader of the story, and her rapport with the Lost Boys and Darling children is
warm and believable.
Claire Saint’s Tinkerbell offers one of the evening’s
most fascinating performances. Without a single spoken line, Saint uses facial
expression, posture, and precise physical communication to bring the tiny fairy
vividly to life. Her exasperation, jealousy, and loyalty are all conveyed in
expressive gestures that instantly connected with the audience. While some
tightening of the sync between Saint’s expressions and Tinkerbell’s sound cues would
enhance flow, her performance is already bursting with character and skill.
Emma Sayers delivers a graceful and heartfelt Wendy
Darling, balancing innocence with a growing sense of agency. She maintains
composure and clarity across scenes, particularly when leading the Lost Boys or
sharing heartfelt exchanges with Peter. Vocally, Sayers impresses. Her
musicality supports emotional storytelling without ever feeling overstated. Her
portrayal captures the bittersweet transition between childhood and maturity
that defines Wendy, giving real emotional weight to the show’s closing moments.
As Wendy’s brothers, Patrick Green (John) and Natalie
Warnest (Michael) brings charm and personality to their roles. Green’s
John is measured and proper — complete with his father’s hat and a clear sense
of youthful pride — while Warnest’s Michael adds sweetness and comic lightness,
always ready to follow his older siblings into adventure.
The Bloomsbury cast’s commitment extends beyond the
principal players. Two of the evening’s crowd-pleasing elements was the
puppetry work of Edith Abbott (Nana) and Sam Kelman (Tick-Tock
the Crocodile). Both demonstrate sharp puppeteering instincts — clear physical
coordination, attention to timing, and an understanding of how to make an
inanimate creation come alive. Their contributions anchor important moments of
comic relief and wonder, drawing delighted reactions from the audience.
Further elevating the production’s vibrancy is Emma
Devine, who not only portrays Tiger Lily, but also serves as Assistant
Choreographer and Costume Assistant (alongside Emma Sayers).
Devine’s background in dance is evident in her precision and stage presence,
first noted in 2025’s Frozen Jr. and reaffirmed here. Her
Tiger Lily combines strength and elegance, and her vocal delivery complements
the striking rhythmic choreography of her scenes. The Forest Spirits, (the
dance ensemble of seven led by Devine), dazzle with discipline and artistry.
Their sequences are among the visual highlights of the show, filled with energy
and colour.
No Peter Pan would be complete without its
dastardly pirate. Jack Wake-Dyster’s Captain Hook is a flamboyant
delight, all wit, flair, and theatrical excess. His physical comedy and verbal
expressiveness make every moment a joy to watch. In addition to his onstage
performance, Wake-Dyster’s skills as Assistant Musical Director reflect
an artist of multidimensional talent; his musical instincts and sense of rhythm
are evident in his command of the stage.
Mia Brown’s Smee provides the perfect comic
counterpoint to Hook. Her timing, expressive reactions, and crisp delivery makes
every interaction sparkle. Brown’s work demonstrates thoughtful preparation and
awareness of ensemble storytelling, being fully engaged in every scene, and responding
organically to the chaos around her. She’s certainly a performer to watch in
the Adelaide youth theatre circuit.
What truly stands out across this production is the sheer
scale and coordination of the ensemble. The Lost Boys (14 in total)
and Pirates (another 14) move and sing with enthusiasm and heart.
Large group scenes, especially those featuring combat choreography and overlapping
dialogue are impressively clear and well-paced. A particularly memorable
highlight is the scene in which Hook “sacrifices” his pirates, executed with
both humour and cohesion that underscores the young cast’s understanding of
ensemble storytelling.
Every aspect of Peter Pan reflects Theatre Bugs’
and Adelaide Theatre Academy’s long-standing reputation for blending artistry
with education. The direction, choreography, and musical preparation offer a
challenge that stretches skills while fostering collaboration and creativity.
Minor pacing concerns aside, the show is a triumph of youthful energy and
artistic mentorship.
In the end, this production embodies what makes community
and youth theatre so special – not just the spectacle of performance, but the
shared joy of learning, connecting, and discovering the magic of storytelling
together. For the Bloomsbury cast of Peter Pan, that magic was
unmistakable.
- Andrew Broadbent
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