Download enrichment guide - Citadel Theatre

ENRICHMENT GUIDE
Stage Adaptation by Rick Elice
Based on the Novel by Dave Barry and Ridley Pearson
Music by Wayne Barker
Directed by James MacDonald
Presented through special arrangement with Music Theatre International (MTI).
All authorized performance materials are also supplied by MTI.
www.MTIShows.com
Play Guides sponsored by
PETER AND THE STARCATCHER
TABLE OF CONTENTS
THEATRE ETIQUETTE
3
CAST AND CREATIVE TEAM
4
ABOUT THE PLAY
5
ABOUT THE PLAYWRIGHT
6
DIRECTOR’S NOTES
7
TIMELINE OF PETER PAN
8-10
SYNOPSIS
11-14
CHARACTERS
15
GLOSSARY OF TERMS
16-17
SCRIPT REFERENCES
18-19
DESIGN
20-21
PRODUCTION ELEMENTS
22
DISCUSSION QUESTIONS
23-24
FURTHER READING/REFERENCES
25
CURRICULUM ALIGNMENT
26-27
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PETER AND THE STARCATCHER
THEATRE ETIQUETTE
Going to the theatre is an engaging and interactive experience. We want you to be an active participant when you
see our shows; laugh when it’s funny, cry when it’s sad, gasp when it’s shocking, and enjoy the experience as much
as possible. But we want you to do this in the most respectful way possible, for both the performers and your fellow audience members.
To ensure the most positive experience, please review the following information prior to arriving at the theatre.
The following items are not allowed in the theatre:
•Food and drink (except that which is sold during intermission and/or permitted by the Citadel Theatre, such as
bottled water and ice cream)
•Cameras and other recording devices (please note that taking photographs or other recordings in the theatre is
strictly prohibited by law)
Basic courtesy:
•Turn OFF and put away all electronic devices such as cell phones, iPods, video game systems, etc. prior to entering the theatre
•Do not place your feet on the seat in front of you.
•The actors onstage can see and hear the audience during the performance – it is important that audience members
not talk, move around, or fidget during the performance, as this can be distracting for the actors, as well as fellow
audience members.
•There is no dress code at the Citadel Theatre, but we respectfully request that patrons refrain from wearing hats
in the theatre.
•For the safety of those with allergies, please refrain from using perfumes or scented products before coming to
the theatre.
•Please do not place backpacks or other bags in the aisle in front of your feet, as this may impair the ability of persons to exit the row in an emergency.
Inappropriate behaviour:
Citadel Theatre representatives watch carefully during performances for inappropriate behaviour, especially behaviour that could endanger an actor or audience member. Inappropriate behaviour includes, but is not limited to:
•Talking in the audience
•The use of laser pointers or other light or sound-emitting devices
•Interfering with an actor or the performance (tripping, throwing items on or near the stage, etc.)
Audience members identified as engaging in this type of behaviour will be removed from the theatre during the
performance or at intermission.
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PETER AND THE STARCATCHER
CAST AND CREATIVE TEAM
CAST
Season Sponsor:
Bill Slank/Hawking Clam CLINTON CAREW
Percussion
NICH DAVIES
Peter
OSCAR DERKX
Smee
PETER FERNANDES
Prentiss
RICHARD LEE HSI
Lord Aster
DOUG MERTZ
Piano/Keyboard
ERIC MORTIMER
Alf
GLENN NELSON
Captain Scott
RYAN PARKER
Molly
ANDREA RANKIN
Mrs. Bumbrake
GARETT ROSS
Black Stache
FARREN TIMOTEO
Fighting Prawn
STEPHANIE WOLFE
Ted
MORGAN YAMADA
Special Sponsor:
CREATIVE TEAM
Director
JAMES MacDONALD
Set and Costume Designer
MEGAN KOSHKA
Lighting Designer
NARDA McCARROLL
Sound Designer
BOBBY SMALE
Music Director
ERIK MORTIMER
Choreographer
TRACEY POWER
Stage Manager
KERRY JOHNSON
Assistant Stage Manager
MOLLY PEARSON
Apprentice Stage Manager
ERIN VALENTINE
Media Sponsors:
4
PETER AND THE STARCATCHER
ABOUT THE PLAY
Peter and the Starcatcher, written by Rick Elice, is based on the 2006 novel, Peter and the
Starcatchers by Dave Barry and Ridley Pearson. The production opened in California in 2009, and
played off-Broadway in 2011. The play moved to Broadway, opening at the Brooks Atkinson Theatre
on April 15, 2012. Peter and the Starcatcher received nine Tony Award nominations, more than any
new American play in the history of the Tony Awards. On June 11, 2012, the play won five Tony
Awards. The play enjoyed a successful tour throughout North America in 2013–14.
REVIEWS
Although the show garnered positive-to-mixed reviews by most critics, it received a rave review
from The New York Times. Bent Brantley wrote: “When the H.M.S. Neverland goes down in Peter
and the Starcatcher, it’s the most enthralling shipwreck since James Cameron sent the Titanic to
her watery grave in the late 1990s … The cast is, with no exceptions, wonderful … It’s a performance
that you might classify as over-the-top, but only in the sense that the entire production is. With
grown-up theatrical savvy and a child’s wonder at what it can achieve, Peter and the Starcatcher
floats right through the ceiling of the physical limits imposed by a three-dimensional stage. While
there’s not a body harness in sight, like those used to hoist the title characters of Mary Poppins and
Spiderman, this show never stops flying.”
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PETER AND THE STARCATCHER
ABOUT THE PLAYWRIGHT
Rick Elice (born November 17, 1956) is a writer and former stage actor. Elice earned a BA from
Cornell University, an MFA from the Yale Drama School and is a Teaching Fellow at Harvard. He
was the salutatorian graduate of Francis Lewis High School in Queens, New York (class of 1973).
He is a charter member of the American Repertory Theatre. From 1982 to 1999, Elice was
copywriter, producer, creative director and eventually executive vice president of Serino Coyne,
Inc., an entertainment advertising agency in New York. From 1999 to 2009, he served as creative
consultant to Walt Disney Studios. His civil partner was actor Roger Rees. They married in 2011,
and remained together until Rees' death on July 10, 2015.
Elice (with Marshall Brickman) wrote the book for the Broadway musical Jersey Boys, which
received a Tony Award nomination and a Drama Desk nomination for best book for a musical in
2006. With Roger Rees, he wrote the popular thriller, Double Double, which has been translated
into 16 languages. He wrote Leonardo’s Ring (London Fringe, 2003) and Dog and Pony (New York Stage and Film, 2003). Elice was
creative director at Serino Coyne, Inc. (1982 to 2000), where he produced advertising campaigns for more than 300 Broadway
shows, including A Chorus Line and The Lion King.
In 2008, he co-wrote Turn of the Century with Marshall Brickman. The show was directed by Tommy Tune and premiered at The
Goodman Theatre in Chicago in September 2008. Elice collaborated with Brickman again, this time writing the book for the
musical, The Addams Family. He wrote Peter and the Starcatcher, based on the 2006 novel of the same name by Dave Barry and
Ridley Pearson, which opened in California in 2009, and played off-Broadway in 2011. The play moved to Broadway, opening at
the Brooks Atkinson Theatre on April 15, 2012. Peter and the Starcatcher received nine Tony Award nominations, more than any
new American play in the history of the Tony Awards. On June 11, 2012, the play won five Tony Awards. The play enjoyed a
successful tour throughout North America in 2013-14.
FROM THE PLAYWRIGHT
I see the characters emerging out of our island, our Neverland. Wendy has not yet appeared. Instead, we have Molly, our hero, in a time
before girls were encouraged to be heroes; a generation before Wendy, name or girl, is born. We have no Captain Hook neither, or
rather, we have no Hook yet. Instead, we have the pirate who shall become Hook, but not until we’re through with him. He, whom the
pitiful pirate kingdom calls Black Stache. We have our orphans, perpetually lost, though not quite yet Lost Boys. We have natives and
mermaids and a perilously hungry crocodile. Even Tinker Bell reaches our island before we leave it, because she could not stay away.
And we have a feral creature, bent low from incessant beating, afraid of his own shadow – the nameless boy at the centre of our story.
How ironic that he learns what it is to be a man over the course of our play, when he’s destined to stay a boy forever. The principle
difference between our play and Barrie’s is that we bring this boy and Molly to the brink of understanding what love might be, so that the
thrill of an eternity of “awfully big adventures” is tinged with the ineffable sadness of what a boy will never, never know. Only when Molly
leaves him behind, bound for adulthood, does our boy truly become Peter Pan.
When I was a boy, I wished I could fly, and the notion of being a boy forever was pure delight. No homework, no chores, no responsibility,
no sorrow. Now that I’m in the middle of my life, I understand what I’d have missed had I never grown up, or fallen in love, or stood my
ground, or lost a battle – or written a play.
In Barrie’s original, Mrs. Darling, leaving the nursery, says, “I thought I saw a face at the window.” And of course, that’s Peter, the
outsider, nose pressed against the glass. A boy-Moses, looking over the Promised Land but never allowed in. What could be more
bittersweet? I wanted to write a play about that, with adult language and adult challenges. James Barrie found his character by embracing
the notion of never growing up. I found mine by realizing I had.
—Rick Elice, 2012
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PETER AND THE STARCATCHER
DIRECTOR’S NOTES
This play is usually called a prequel to J.M. Barrie’s classic
play, Peter Pan. The playwright prefers to describe it as “an
origin story,” or even “a reboot.” Regardless, the characters, situations, and even some of the actors’ lines will be
familiar to anyone who knows that play.
The play is written to be performed in the style of the “Poor
Theatre,” which focuses on actors, with minimal props and
scenery. It also relies on an interactive relationship with the
audience, making them part of the experience of storytelling. This production allows the audience to use their imagination in a way that we aren’t often allowed to do anymore.
We have become accustomed to multi-million dollar special
effects in movies and television, which ultimately just replace our ability to use our imaginations to create stories
with our minds.
This is a play based in make-believe, the power of storytelling, and the magic and wonder of being a child. It presents
adults and children on the stage, engaging in a battle of adventure, play, and danger, just as children do every day on
playgrounds across the world.
In the rehearsal process, we spent many hours with many
different props, working through how we could use common
objects in unusual ways. We also played around with actors
making different shapes and noises, to see how they could
James MacDonald, director
create the background and atmosphere for what you are
about to see. And yes, we had a lot of fun … enjoy! - James MacDonald
James MacDonald is an award-winning actor and director, born in Montreal, and raised in Edmonton, Alberta. He is a graduate of the University of Alberta’s BFA program. As an actor, he has won Elizabeth Sterling Haynes Awards (Sterling Awards)
for his performances in Einstein’s Gift, and in Of Mice and Men at the Citadel Theatre. In 2012, he played Scrooge in the
Citadel's annual production of A Christmas Carol. In 2014, he played Petruchio in the Free Will Players’ production of The
Taming of the Shrew.
He is the founding Artistic Director of the River City Shakespeare Festival (Free Will Players), where he has directed seven
productions over five summers, including The Taming of the Shrew (1996 and 2006), The Merry Wives of Windsor and King
Lear.
From 2010 to 2016, he was Program Director of the Citadel/Banff Centre Professional Theatre Program, and an Artistic Associate at the Citadel Theatre. From 2006 to 2010, he was the Associate Artistic Director at the Citadel, where he oversaw
programs in play development, education, and audience outreach. He has directed over 18 productions for the Citadel, including: Equus, I Am My Own Wife, Stones in his Pockets, Vimy by Vern Thiessen (Sterling Award), Shining City by Conor
McPherson, Fire (Sterling Award and Dora Award), God of Carnage (2012), A Few Good Men (2012), Clybourne Park (2013).
In August 2016, MacDonald was appointed Artistic Director of Western Canada Theatre Company. He has taught acting at
the University of Alberta, at the Banff Centre for the Arts, and for Dramaworks.
7
PETER AND THE STARCATCHER
TIMELINE
A WHILE COULD BE A VERY LONG TIME
The play you are going to experience, Peter and the Starcatcher, was 108 years in the making! In 1904, Scottish novelist and
playwright J.M. Barrie wrote Peter Pan, or The Boy Who Would Not Grow Up. The play was phenomenally popular, and Peter Pan
has continued to captivate audiences in many adaptations ever since.
Here are some highlights of Peter’s many flights since he first took off:
1904
J. M. Barrie’s play, Peter Pan, or The Boy Who Would Not Grow Up, premieres at the Duke of York’s Theatre in London
with the adult actress Nina Boucicault as Peter, launching an often-maintained casting convention.
1905
Maude Adams plays Peter in the play’s New York debut.
1911
Barrie’s own novelization of the play, Peter and Wendy, is first published.
1924
A revival including two songs by Jerome Kern opens on Broadway.
Paramount releases the first movie version of Peter Pan, directed by Howard Brenon. Despite a detailed scenario
submitted by Barrie, Brenon hires Willis Goldbeck to write the screenplay. Barrie retains final say on casting, which
included Betty Bronson as Peter.
1929
Barrie gives all rights to Peter Pan to the Great Ormond Street Hospital, which has earned royalties since his death in
1937.
1950
Leonard Bernstein provides five songs for a new Broadway production.
1953
Walt Disney releases an animated musical version of the classic tale. A real
boy, Bobby Driscoll, is cast to be the voice and close-up model for Peter.
1954
Jerome Robbins conceives and directs a new musical version starring Mary
Martin. Score includes I’m Flying and I Won’t Grow Up by Moose
Charlap and Carolyn Leigh, and Never Never Land and Ugg-a-Wugg by Jule
Styne, Betty Comden, and Adolph Green. The production is broadcast on NBC the
following year and subsequently enjoys several Broadway revivals and long-running
tours, most notably those starring Sandy Duncan (1979) and Cathy Rigby (1990present).
1975
Neverland, a futuristic, sci-fi, rock ‘n’ roll version of Peter Pan, debuts at the
Kennedy Center in Washington, D.C.; songs from this production (written by
Jim Steinman) end up on Meat Loaf’s album Bat Out of Hell.
Mary Martin as Peter Pan
1976
NBC presents another production of Peter Pan, this one starring Mia Farrow.
1978
BBC presents an award-winning docudrama produced by Louis Marks with a script by Andrew Birkin, author of J. M.
Barrie and the Lost Boys.
1982
After great success staging Nicholas Nickleby with the Royal Shakespeare Company, Trevor Nunn and John Caird tackle
the original play, casting a man as Peter for the first time, and including J. M. Barrie as a narrator speaking his own stage
directions.
8
PETER AND THE STARCATCHER
TIMELINE Continued
1987 Inspired by Barrie’s Never Land characters, Joel Schumacher directs The Lost Boys, a film in which two Arizona
brothers move to California and end up fighting a gang of teenage vampires. Sequels include Lost Boys: The
Tribe and Lost Boys: The Thirst.
1989 Peter Pan no B¨­ken, a Japanese animated TV series, premieres.
1990
A new animated TV series, Peter Pan and the Pirates, premieres on FOX. Tim Curry voices Captain Hook.
1991 Steven Spielberg directs Hook, a live-action movie
that re-visits Peter Pan (Robin Williams) as an
adult.
1992 George Stiles and Anthony Drewe, who adapted
Disney and Cameron Mackintosh’s Mary Poppins to
the stage, premiere Peter Pan: An Awfully Big
Adventure at the NY Theater in Copenhagen. The
show received a new production in London in
2001.
1997 Mabou Mines’ experimental stage production of
Peter and Wendy employing puppets and narration
by Karen Kandel premieres in New York. The
production is revived at the New Victory Theatre in
2010.
1998 Cathy Rigby returns Peter Pan to Broadway in a
newly designed production featuring
groundbreaking flying stunts and acrobatics.
It is broadcast on A&E in 2000.
2002 Disney releases Return to Never Land, an animated
sequel to Peter Pan.
2003 A live-action Peter Pan movie written and directed
by P. J. Hogan is released by Universal Pictures.
2004 Johnny Depp stars as J. M. Barrie in the
biographical movie Finding Neverland, directed by Marc Forster and written by David Magee, based on
Allan Knee’s play The Man Who Was Peter Pan (1998).
Dave Barry and Ridley Pearson’s novel Peter and the Starcatchers, a prequel to Peter Pan, is published by
Disney-Hyperion.
9
PETER AND THE STARCATCHER
TIMELINE Continued
2006 Peter Pan in Scarlet by Geraldine McCaughrean, the
official sequel to Barrie’s Peter Pan authorized by the
Great Ormond Street Hospital, is published.
The first sequel in the Starcatchers series – Peter and the
Shadow Thieves – is published.
2007 A stage concept for Peter and the Starcatchers is explored
in workshops at Williamstown Theatre Festival and in New
York City by directors Roger Rees and Alex Timbers.
Barry and Pearson’s Peter and the Secret of Rundoon is
published.
2008 Disney launches a new franchise with the animated
television movie Tinker Bell, which tells a new origin story
of this famous Barrie character.
2009
A “Page To Stage” developmental production of Peter
and the Starcatchers, written by Rick Elice and directed
by Rees and Timbers, premieres at the La Jolla Playhouse
in San Diego.
Barry and Pearson’s Peter and the Sword of Mercy is
published.
J. M. Barrie’s Peter Pan, a new musical production staged
in a tent with 360-degree CG projections, premieres in Kensington Gardens and subsequently tours the globe.
2011 Peter and the Starcatcher is produced at the New York Theatre Workshop.
Barry and Pearson’s The Bridge to Never Land, a modern story with roots in the Starcatchers series, is
published.
2012 Peter and the Starcatcher premieres on Broadway at the Brooks Atkinson Theatre on April 15, 2012.
2014 Peter and the Starcatcher has Canadian Premiere at the Western Canada Theatre in Kamloops, B.C.
2014 NBC televises Peter Pan Live!, a live production of the 1954 musical adaptation of Peter Pan, on December 4,
2014. The production stars Allison Williams as Peter Pan and Christopher Walken as Captain Hook.
2017 Peter and the Starcatcher opens in the Maclab Theatre at the Citadel Theatre in Edmonton, AB.
10
PETER AND THE STARCATCHER
SYNOPSIS
ACT I
Prologue An ensemble of actors enters and invite us to use our imaginations. We are transported to a bustling port where we
meet Lord Leonard Aster, his daughter Molly, and her nanny, Mrs. Bumbrake. Two identical trunks are delivered to the port.
One of them contains a precious cargo belonging to the Queen, who has appointed Lord Aster as its custodian. He’ll voyage
with the trunk aboard the Wasp, the fastest ship afloat, helmed by his old school chum Captain Robert Falcon Scott, bound
for the remote kingdom of Rundoon. The other trunk is full of sand, courtesy of Bill Slank, captain of the Neverland. Amidst
the bustle of the port, while no one is looking, Slank marks the Queen’s trunk, then, at the last moment, he swaps the trunks
so that the Queen’s cargo is loaded aboard the Neverland and the identical sand-filled trunk is hoisted onto the Wasp.
Grempkin, the schoolmaster of St. Norbert’s Orphanage for Lost Boys, sells three orphan boys to Slank. Grempkin tells the
boys they’ll serve as helpers to the King of Rundoon, but indicates a more sinister outcome for the lads. Realizing that there is
no one who cares enough to say goodbye to the orphans, one of the boys proclaims that he hates grownups.
The Neverland: Deck A gang of malnourished sailors prepare the Neverland for the voyage to Rundoon. A squadron of British
navy seamen, led by Lieutenant Greggors, arrive to fetch Lord Aster, who is paying Slank to take care of Molly. Molly and
Mrs. Bumbrake are traveling aboard the Neverland, which is taking a slower, safer route to Rundoon. Before he departs, Lord
Aster confides the mission’s details to Molly, speaking in Dodo, a language known only to Dodo birds and a handful of very
special humans. Lord Aster places an amulet around his neck and a matching one around Molly’s. He warns her never to take
it off or let anyone else touch it, and charges her to use it if she is ever in trouble. Molly asks to be part of the mission aboard
the Wasp, but Lord Aster convinces her to stay aboard the Neverland. Molly comments that she is only an apprentice
Starcatcher, a word that catches Slank’s ear. Lord Aster departs, bound for the Wasp, and Slank turns nasty. Alf, a kindly old
seafarer, escorts Molly and Mrs. Bumbrake to their cabin below the deck of the ship.
The Neverland: Molly’s Cabin In their cabin, Mrs. Bumbrake describes to Molly a family she used to work for in Brighton. The
cruel master would beat the cook, a boy who was an artist in the kitchen. On his way to feed the pigs, Alf checks in on the
ladies and flirts with Mrs. Bumbrake. Molly — a lover of all animals — follows Alf out.
The Neverland: Ship’s Bowels Unseen, Molly trails Alf on the long journey to the bilge room. On the way, she discovers
sailors gambling, singing hymns, and torturing Mack, the world’s most inept sailor.
The Neverland: Bilge dungeon As Alf enters the bilge, Molly slips in behind him, unseen. The three filthy orphans gather
around Alf and his bucket of food. Prentiss demands to speak to the Captain, and identifies himself as the group’s leader. Ted
dives into to the bucket of food only to realize he’s been fed worms. A nameless Boy asks Alf about their fate. Alf leaves and
Molly appears, startling the boys. Prentiss again asserts his leadership, but the Boy challenges him and captivates Molly.
Molly coaxes names out of Ted and Prentiss, but the Boy doesn’t have one. The Boy lashes out, but Molly challenges him,
which sparks something new in him. Molly leads Ted and Prentiss to find real food, but the Boy doesn’t follow. The Boy
flashes back to St. Norbert’s Orphanage for Lost Boys, where Grempkin is lashing him. The Boy imagines having a family.
Molly re-enters to fetch the Boy, saving him from his nightmare.
The Wasp: Captain’s Cabin Greggors escorts Lord Aster inside the ship and then reveals that his real name is Smee and the
seamen are pirates! Captain Scott is bound and gagged, and the real seamen are in chains below. Smee demands the key to
the trunk, but Lord Aster refuses. Just then, the pirate crew begins to tremble in fear as Smee introduces the most feared
pirate captain on the high seas, the Black Stache. Stache threatens to find and kill Molly and then steals the trunk key from
Lord Aster’s pocket. The amulet around Lord Aster’s neck begins to glow.
11
PETER AND THE STARCATCHER
SYNOPSIS
The Neverland: passageway Molly’s matching amulet starts to glow and the boys notice. Molly divulges that her father is on
a secret mission for the Queen. Mrs. Bumbrake comes searching for Molly, so she and the boys escape down a corridor and
encounter a flying cat in Slank’s cabin! Knowing that the only thing that could make a cat fly is starstuff; Molly realizes that
the Queen’s treasure is on the wrong ship! She distracts the boys from the starstuff with a bedtime story.
The Wasp: Captain’s Cabin Back on the Wasp, Stache opens the trunk only to find … sand! Smee deduces that Slank must
have swapped the trunks. Stache commands that the ship is turned around, and they pursue the Neverland.
The Neverland: Ship’s Bowels After the boys have been lulled to sleep by Molly’s bedtime story, Lord Aster contacts her
through the amulet and warns her that pirates have commandeered the Wasp. Lord Aster instructs Molly to bring the
Queen’s trunk to him once the Wasp catches the Neverland. Aster tells Molly that she is now a part of the mission! The Boy
awakens and catches the end of Molly’s communication; he insists that she tell him what is going on.
The Neverland: Deck From the ship’s deck, Molly tells the Boy about Starcatchers, a handful of people appointed by the
Queen to protect starstuff. The Boy insists that Molly proves she is an apprentice Starcatcher, so she puts her hand around
her amulet, closes her eyes, and floats a few inches above the deck. Molly explains that a Starcatcher’s primary duty to
collect starstuff as it falls to earth and dispose of it in the world’s hottest active volcano, which is on Rundoon. The Boy tells
Molly that he is going to Rundoon to help the King, but she bursts his bubble and explains that King Zarboff is actually evil. As
the Boy laments, Slank enters and throws him overboard. The Boy, who cannot swim, starts to drown. Molly dives into the
ocean and saves him.
The Neverland & The Wasp As a hurricane stirs up in the ocean, the Wasp appears on the horizon. Molly drags the Boy on
board the Neverland and revives him. Slank sees the Wasp and prepares to outrun it, but the Boy takes the wheel and
changes course. In the midst of the storm, the wheel flies off the deck and goes spinning out to sea; the Neverland lurches.
Below deck, Alf is flirting with Mrs. Bumbrake, who stops his advances in order to find Molly. On the bow of the Wasp, Stache
and Smee are delighted that the Neverland is heading straight toward them. When the two ships meet, the pirates board the
Neverland and fight with the sailors. In the bilge, Molly congratulates the boy for doing something big, then dashes off to get
the trunk from Slank’s cabin; the Boy realizes that there are more important things than saving his own neck and runs to help
Molly. On deck, Slank and Stache square off in a boxing ring. Just as Stache gets the upper hand, the Neverland splits in two.
As Molly and Mrs. Bumbrake struggle to move the trunk, Slank intercepts them. Mrs. Bumbrake throws the ship’s cat in
Slank’s face, and Alf steps in to throw Slank overboard. Molly asks the Boy to stall the pirates while she gets the Queen’s
trunk to the Wasp, and the Boy sits on the sand trunk to “protect the treasure.” Stache encounters the Boy and tries to lure
what he thinks is the Queens’ trunk out from under him.
Stache offers the boy a name: Peter. The Boy accepts. Losing patience, Stache knocks Peter off the trunk, opens it, and
realizes he’s been had. Sand again! As Peter celebrates his own cleverness, Stache knocks him overboard. Lord Aster calls to
Molly and tells her to bring him the trunk; Molly is torn between saving Peter and obeying her father and must think fast.
Knowing that the starstuff will float, she pushes it in the water and tells Peter to float to a nearby island. Alf and Mrs.
Bumbrake search for flotsam to make a raft; Ted and Prentiss cling to one another; Molly dives into the ocean and swims
after Peter; Peter rides the trunk toward the island with fish swimming in its golden wake. Stache commands Smee to follow
the trunk, and Molly tells Peter to drag it to high ground and save the world!
12
PETER AND THE STARCATCHER
SYNOPSIS Continued
ACT II
Prologue A group of mermaids recount being transformed from regular fish after swimming in the wake of the starstuff.
The Mountain-Top Lookout Point Atop a mountain on the island, Peter absorbs the freedom of open skies and clean air for
the first time in his life. Ted and Prentiss arrive — they are safe! Peter focuses on the mission to get the trunk to the Wasp so
they can leave the island. In the distance, Mrs. Bumbrake and Alf paddle toward the shore. The boys decide to hide the trunk
and go in search of food.
The Jungle The boys descend the mountain, and go deeper and deeper into the jungle. They soon realize that they are not
alone. Molly, a champion swimmer, has made it to the island and searches for the trunk.
Mollusk Territory The island’s natives, the Mollusks, capture the boys. The chief, Fighting Prawn, sentences them to death.
They are to be sacrificed and fed to Mr. Grin, the island’s hungriest crocodile. The boys offer the gift of a bedtime story to the
Mollusks in hopes that they will fall asleep, allowing the boys to escape. Fighting Prawn accepts the offering and the boys
perform Sleeping Beauty for the tribe. Molly approaches and watches from behind some trees. At the climax, Molly blurts out
that the boys have ruined the story. The Mollusks are
amused, but the English invaders must die.
Mr. Grin’s Cage Trapped inside Mr. Grin’s cage, Molly and
the boys bicker about what to do. Molly formulates a plan.
Peter gets Mr. Grin to open his mouth, and Molly tosses her
amulet in. As Mr. Grin grows, bursts out of the cage, and
floats away, Molly and the boys flee. The Mollusks are
furious and pursue them.
The Beach Smee and Stache cannot find the trunk; Stache
decides to trick the kids into bringing it to him. Mr. Grin, now
several times his normal size, floats toward them, forcing
Stache and Smee to take cover in the jungle.
The Jungle’s Edge Peter wants to get off the island, and
begins gathering materials for a raft. Molly reminds him of
the trunk and the mission. Out in the sea, the boys and
Molly notice a flashing light. It is Lord Aster, contacting Molly
using Norse Code. Lord Aster instructs Molly to bring the
trunk to the beach. The boys and Molly race to the top of the
mountain to retrieve the trunk, with the Mollusks in hot
pursuit.
The Chase And The Fall Peter runs up the mountain
with the Mollusks on his tail. The yellow bird returns
and distracts Peter, who falls into a crevice with a splash. He finds himself in a shimmering lake of golden water, far
underground. Peter floats, neither drowning nor afraid, and gazes up at a mermaid.
13
PETER AND THE STARCATCHER
SYNOPSIS Continued
The Underground Grotto
Floating in the golden water of the grotto, Peter is greeted by the mermaid who calls herself Teacher. Teacher explains her
transformation from fish to mermaid, and describes the power of starstuff to fulfill dreams. Teacher and the island give Peter
a second name — Pan. Teacher reveals that Pan has two meanings; the first is fun, frolic, anarchy and mischief. All things a
boy likes. Before telling Peter the second meaning of Pan, Teacher reminds Peter about the trunk. Peter climbs out of the
grotto and bolts back up to the mountain-top.
The Stormy Night Molly, Prentiss and Ted arrive atop the mountain and fear Peter’s demise. In the distance, they spot Mrs.
Bumbrake and Alf sailing toward the island on a makeshift raft. Molly, Prentiss and Ted drag the trunk toward the beach. A
storm begins as night falls, making the journey dark, unpleasant, and frightening. As the others fall asleep, Peter appears and
surprises Molly. Peter tries to get in the trunk, but Molly tells him that exposure to so much starstuff is very dangerous. Molly
waxes philosophical about avoiding sentimentality until she falls asleep. Peter
gingerly tries to open the trunk, but flees when the boys stir.
The Beach Smee, disguised as a mermaid, tries to lure Molly, Prentiss and Ted
with a ukulele song. Stache intervenes and tries to bait the kids with poisoned
fruitcake, but Molly identifies him as Black Stache and exposes his plot. Smee
reveals two prisoners — Mrs. Bumbrake and Alf! Just then, the Mollusks enter
with prisoners of their own — Lord Aster and Captain Scott. Mrs. Bumbrake
recognizes Fighting Prawn as her long, lost kitchen boy from her work in
Brighton. Fighting Prawn proclaims that Betty Bumbrake was the only English
person who was kind to him when he was a kitchen slave. Stache pulls his
knife on Fighting Prawn and tries to get the trunk from Molly. Molly must
decide between saving Fighting Prawn’s life and her duty to the Queen.
Suddenly, Stache’s words are echoed back to him. Peter continues to distract
Stache with his echoes and challenges him with his umbrella-sword. Peter,
Ted, Prentiss, then Molly attack Stache, and he captures Molly. Peter realizes
the only way to save Molly is by giving Stache the trunk. Although this means
he will never leave the island, he acts selflessly. Stache is impressed by Peter’s
heroic gesture, but lifts the lid to find an empty trunk. In a fit of frustration, he
slams the lid down on his right hand, cutting it off. Delirious from the injury,
Stache tries to lure Peter to join his pirate crew. When Peter declines, Stache
vows to be his nemesis and exits, pursued by a crocodile. Fighting Prawn
bestows Peter with a hat, allows the English to leave, and exits with the Mollusks. Lord Aster makes Molly a full-fledged
Starcatcher, and promises her a St. Bernard puppy when they return home. With the starstuff gone, their mission has been
fulfilled. Peter discloses his encounter with Teacher to Molly and Lord Aster; Lord Aster says Peter cannot leave the island
and Molly is heartbroken. They realize that Peter is now home — the island and its inhabitants are his family. Lord Aster
captures the yellow bird in the hat, adds some starstuff from his amulet, and creates for Peter a pixie protector. The fairy flies
off, and Ted and Prentiss chase it down the beach. Peter, now the boy who would not grow up, reluctantly bids farewell to
Molly. Peter begins to forget what’s happened and settles into the eternal present of youth. Prentiss, Ted and the fairy enter;
the fairy talks to Peter. As the boys race down the beach toward the grotto, Peter Pan flies.
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PETER AND THE STARCATCHER
CHARACTERS
Boy/Peter: A nameless and friendless 13-year-old orphan, deeply mistrustful of adults and neglected to the point of never
having seen the sun. His adventures allow him to find the hero within himself, and to take on a name worthy of the legend he
becomes.
Molly Aster: A 13-year-old apprentice Starcatcher desperate to prove herself to her father. Highly intelligent and physically
adept, she remains socially awkward and something of a know-it-all, and her relationship with the Orphan Boys is driven as
much by competition as it is by friendship.
Black Stache: A highly intelligent but malapropism-prone Pirate chief, so-called due to the black moustache that is a trademark
in his family. In search of a great hero who he can oppose to become a great villain, Stache is given to scenery-chewing and
anachronistic jokes, and has a hook in his future. The name “Black Stache” is a reference to the pirate Blackbeard.
Smee: Black Stache's faithful first mate. More intelligent than he gives himself credit for (but still not overly bright), Smee is
willing to follow his captain in any amount of hare-brained schemes. Somehow, this ends up with him disguising himself as a
Mermaid, which is far from a pretty sight.
Lord Leonard Astor: Molly's father, A Starcatcher on a secret mission for Queen Victoria. He loves his daughter dearly but is
perhaps guilty of placing his mission above her safety. Constantly paranoid about the security of top-secret conversation, he
has trained Molly to converse in Dodo, Porpoise and Norse code (a Morse code-like system used by ancient Vikings.)
Ted: One of the Boy's orphan companions, nicknamed “Tubby Ted.” Constantly hungry, he is obsessed with food and faints at
the mere mention of sticky pudding. He accepts Molly as a mother figure immediately, often referring to her by that title. Once
on the Island, he spends most of his time attempting to figure out how to eat a pineapple.
Prentiss: One of the Boy's orphan companions. Pompous and sarcastic, he is intent on proclaiming himself the leader of the
gang of orphans but is too cowardly to really do anything about it, and usually follows Peter and Molly with only nominal
protest.
Mrs. Bumbrake: Molly's faithful Nanny, a prim and proper Englishwoman prone to alliteration. In the tradition of the
Pantomime dame, the role is written to be portrayed by a male actor, who also plays Teacher, a wise and mysterious mermaid.
Alf: A salty and flatulent sailor on the Neverland, who falls deeply and instantly in love with Mrs. Bumbrake. He is somewhat
coarse and has no time for children, but is good-natured.
Fighting Prawn: The fierce chief of the tribe of Mollusk Islanders, who was sold into slavery in England as a boy, where he
became a kitchen slave in a fine house. He speaks almost exclusively in Italian cooking terms. The actor in this role also
portrays Grempkin, the sadistic schoolmaster of St. Norbert’s Orphanage for Lost Boys, Sanchez, one of Black Stache’s crew,
and Mack, the world's most incompetent sailor.
Bill Slank: The nasty, greedy and cruel captain of the Neverland. It is Slank's greed for the Queen's secret treasure sets the
entire plot in motion. The actor in the role also portrays Hawking Clam, Fighting Prawn's son.
Captain Robert Falcon Scott: Captain of the Wasp, and Lord Astor's old friend from their schooldays. Based loosely on the real
Robert Falcon Scott.
The ensemble cast also portrays narrators, mermaids, pirates, sailors, islanders and various other creatures, locations and
people throughout the show.
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PETER AND THE STARCATCHER
GLOSSARY
NAUTICAL TERMS
Aft In or near the hinder part or stern of a ship.
Capstan An apparatus used for hoisting weights and heavy sails. It
consists of a vertical spool-shaped cylinder, around which rope is wound.
It is rotated manually.
Foretop The top of a foremast (the forward lower-mast).
Frigate A high-speed, medium sized sailing war vessel of the 17th, 18th,
and 19th centuries
Capstan Wheel
Gangplank A board or ramp used as a removable footway between a ship and a
pier. When one wants to exit the ship, one walks down the gangplank to the pier.
To “walk the plank” is a fairly similar process, except there’s no pier (bring your swimmies).
Jib The jib is the triangular shaped sail at the front of the boat. If you feel like giving someone an unusual
compliment, tell them “I like the cut of your jib.”
Knots The nautical measure of speed. Knots are determined using a piece of knotted string fastened to the log-line,
one of a series fixed at such intervals that the number of them that run out while the sand-glass is running
indicates the ship’s speed in nautical miles per hour.
Longboat The largest boat belonging to a
sailing vessel.
Merchant Sailors Sailors on a trade vessel.
Mast An upright pole, usually raked, which
is fixed or stepped in the keel of a sailing
ship in order to support the sails, either
directly or by means of horizontal spars.
Mizzen-mast On a ship with two or more
masts: the mast aft of the mainmast.
Poop 1) Stop giggling; 2) It’s not what you think; 3) The name given to the short, aftermost deck, raised above the
quarter-deck of a ship, which in large ships comprised the roof of the captain’s cabin.
Spar The gaff and the boom are spars, i.e. long round bits of wood.
Swag Plunder or booty.
16
PETER AND THE STARCATCHER
GLOSSARY
WATER CREATURES
Ahi A large tuna fish, esp. the bigeye tuna and the yellow-fin tuna.
Albatross A large sea bird usually found in the southern hemisphere that is
known for its extended gliding ability.
Crocodiles Interesting facts: Crocodiles are believed to be 200 million years
old; they outlived the dinosaurs!
These reptiles close their nostrils
when underwater. The average age
Nile Crocodiles
of a crocodile is 70 years old. The crocodile has the strongest and most forceful
bite of any animal. The largest crocodiles measure at about 20 feet long and
weigh over two-and-a-half tons!
Yellow-fin Tuna
Dover Sole Refers to two types of fish: the Solea solea found in the eastern
Atlantic Ocean, commonly used for fillet cooking; and the Microstomus pacificus
found in the Pacific Ocean, primarily used for grilling.
Eel A snakelike fish without pelvic fins that dwells on the bottom of the ocean or
in a freshwater habitat.
Mahi Mahi The Hawaiian name for the species called the dolphinfish (no relation to dolphins). A large marine food and game
fish found worldwide in tropical waters, having an iridescent blue back, yellow
sides, a steep blunted forehead, and a long continuous dorsal fin.
Porpoises
Porpoise A cetacean (sea
mammal) closely related to the
whale and the dolphin.
Porpoises are often confused
with dolphins but there are
some visible differences
between the two species. Also,
porpoises are generally smaller
than dolphins.
Mahi Mahi
Smelt A species of small
saltwater Northern Hemisphere fish that breed in freshwater. Smelt are a
common food source for the salmon and the lake trout. The orange eggs of
the smelt, also known as roe, are often used to garnish sushi.
Squid A mollusk with eight arms and two tentacles surrounding the mouth
that is related to the octopus and cuttlefish.
Squid
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PETER AND THE STARCATCHER
SCRIPT REFERENCES
FEATURES OF MOLLUSK ISLAND
Bamboo Although people may think the bamboo is a kind of tree, it is actually a woody type of grass with a
hollow stem and stalked blades. Bamboo is typically found in tropical or semi-tropical areas and can grow up to
30 metres (98 feet) tall.
Bird of Paradise The flower known as strelitzia is not to be confused
with the actual flying bird of paradise, although strelitzia bears a striking
resemblance to it. The Bird of Paradise is considered a flower or shrub
with stalks of orange and purplish-blue flowers, resembling a bird. The
Bird of Paradise flower originated in South Africa but can grow in
different tropical areas. The shrub can be anywhere from six feet to 20
feet in height.
Bird of Paradise
Grotto A cave or cavern, esp. one that forms an agreeable retreat. In Peter and the Starcatcher, the grotto is
underground and connected to the ocean.
Lagoon A shallow body of water, especially one separated from the sea by sandbars or a barrier reef.
Sentry Palm Also known as the Kenita Palm, this is an upright palm with arching, dark green leaves. Its use as an
indoor palm dates back to the socialite days of the Victorian era. It is native to Eastern Australia, and it can grow
to be 60 feet tall.
BRITISH-ISMS
Ta ta for now Another way of saying “see you later.” Originally abbreviated to TTFN for writing purposes, this
abbreviation has made its way into spoken English, but there isn’t much point as it still has the same number of
syllables.
Queen Victoria Victoria (Alexandrina Victoria; May 24, 1819 – January 22, 1901) was Queen of the United
Kingdom of Great Britain and Ireland from June 20, 1837, until her death. From May 1, 1876, she had the
additional title of Empress of India. Her reign of 63 years and seven months is known as the Victorian era. It was
a period of industrial, cultural, political, scientific, and military change within the United Kingdom, and was
marked by a great expansion of the British Empire. She was the last British monarch of the House of Hanover.
British Empire comprised the dominions, colonies, protectorates, mandates and other territories ruled or
administered by the United Kingdom. It originated with the overseas possessions and trading posts established
by England between the late 16th and early 18th centuries. At its height, it was the largest empire in history and,
for over a century, was the foremost global power. By 1922, the British Empire held sway over about 458 million
people, one-fifth of the world's population at the time, and covered more than almost a quarter of the Earth's
total land area. As a result, its political, legal, linguistic and cultural legacy is widespread. At the peak of its
power, the phrase “the empire on which the sun never sets” was often used to describe the British Empire,
because its expanse around the globe meant that the sun was always shining on at least one of its territories.
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PETER AND THE STARCATCHER
SCRIPT REFERENCES Continued
Portsmouth is a large port city in the ceremonial county of Hampshire on the south coast of England. Located
mainly on Portsea Island, it is the United Kingdom's only island city. The city is situated 103 km south-west of
London and 31 km south-east of Southampton. The naval base at HMNB Portsmouth is the largest dockyard for
the Royal Navy and is home to two-thirds of the entire surface fleet.
The Dodo is an extinct flightless bird that was endemic to the island of Mauritius, east of Madagascar in the
Indian Ocean. The species died out before the 1700, less than a 100 years after
encountering men. The dodo achieved widespread recognition from its role in the
Amulet
story of Alice's Adventures in Wonderland, and it has since become a fixture in
popular culture, often as a symbol of extinction and obsolescence. It is frequently
used as a mascot on Mauritius.
Amulet is an object whose most important characteristic is the power ascribed to it
to protect its owner from danger or harm. Potential amulets include gems,
especially engraved gems, statues, coins, drawings, pendants, rings, plants, and
animals; even words in the form of a magical spell or incantation to repel evil or
bad luck. The word “amulet” comes from the Latin amulētum; the earliest extant
use of the term is in Pliny's Natural History, meaning “an object that protects a
person from trouble.”
Picaroon A rogue or a scoundrel.
Ayn Rand was a Russian-born American novelist, philosopher, playwright, and screenwriter. She is known for her
novels, and for developing a philosophical system she called Objectivism. Rand advocated reason as the only
means of acquiring knowledge, and rejected faith and religion. She supported
rational and ethical egoism, and rejected altruism. In politics, she supported
Napoléon Bonaparte
laissez-faire capitalism, which she defined as the system based on recognizing
individual rights.
Genghis Khan was the founder and Great Khan of the Mongol Empire. He came
to power by uniting many of the nomadic tribes of Northeast Asia. After
founding the Empire and being proclaimed “Genghis Khan,” he started the
Mongol invasions that conquered most of Eurasia. Many of these invasions
repeated the earlier large-scale slaughters of local populations. As a result,
Genghis Khan and his empire have a fearsome reputation in local histories.
Napoléon Bonaparte was a French military and political leader who rose to
prominence during the French Revolution and led several successful campaigns
during the Revolutionary Wars. One of the greatest commanders in history, his
wars and campaigns are studied at military schools worldwide. He also remains
one of the most celebrated and controversial political figures in human history.
19
PETER AND THE STARCATCHER
DESIGN
The set and costume design is meant to have a hand-made, lived-in quality to it, with lots of warm
colours and worn wood. We're shrinking the room down to a false proscenium and adding things like
footlights to give the feel of an intimate space, to give it an aged vaudeville-esque feel.
The show is meant to feel like these players are creating the play for you, like the players have unpacked a travelling trunk and used different materials to creatively tell their story. We are using
things you'd recognize, and transforming them to fit into our world; things like umbrellas cut into
the shape of leaves, ropes that can fit on a ship and also act as the vines of a jungle, wood palettes
that can act as anything from a door, to a roof, or even a skateboard.
My favourite piece so far is the ship’s cat, which is a silly wood cutout on wheels attached to a
leash that the actors can pull around the stage. I hope people leave the show excited about the
theatrical magic they saw; we're always aiming to have fun on this one and I hope the audience
does too! - Megan Koshka, set and costume designer for Peter and the Starcatcher
Sketches and designs by Megan Koshka
20
PETER AND THE STARCATCHER
DESIGN Continued
Sketches and designs by
Megan Koshka
21
PETER AND THE STARCATCHER
PRODUCTION ELEMENTS
THRUST STAGE
The Thrust stage configuration is one of the oldest in theatre history. It refers to a stage (or performance space) that
extends forward into the audience. A thrust stage configuration is especially effective for drawing in the audience and
actively connecting them with the action onstage.
Wall/ Backstage Area
Audience
Audience
Audience
The Maclab at the Citadel is an example of a thrust stage. This type of stage is used to extend the playing space out into
the audience. While the thrust stage is a great asset in creating an amazing production it does require conscientious collaboration between the actors and the audience. Both of these groups need to be aware of each other to allow the performance to run smoothly. As an audience member, be sure to keep all of your belongings stowed beneath your seat and
to remain in your seat throughout the performance.
22
PETER AND THE STARCATCHER
DISCUSSION QUESTIONS:
1. Who are the Starcatchers and what do they do? Why are they necessary?
2. What do the Others want with the Starstuff? What gives the Starcatchers the advantage over the
Others?
3. Discuss loyalty. What characters show this trait in this play? In what ways do they show loyalty and
to whom?
4. What is the main plot of this play? Are there any subplots?
5. This play serves as an explanation for the origin of Peter Pan. What other myths are explained in
the play?
6. One of the primary themes of this story is that power corrupts. Why is that? What examples of this
trait is given in the play?
7. These authors (first the authors of the book, and then the playwright) took a well-known book and
wrote about what happened before the events that took place in Peter Pan. What are some other
books for which you'd like to know the “story before the story?” Why?
8. Black Stache is the main villain of this play, but is he the only one? If there are other evildoers in
the play, what about their behaviour would you describe as “villainous?”
9. What are the good and bad parts about never getting any older? Would you want to stay the age
you are at forever? Why or why not?
10. Peter gains the ability to fly. If you could have a “super” ability, what would it be?
11. The starstuff helped to create the mermaids and the fairy. What other creatures from legends
could have been created by exposing real animals to starstuff?
12. Did seeing this play make you want to read the original Peter Pan? Why or why not?
13. The members of the Mollusk Clan don't like outsiders. Why? What do you think of their treatment
of uninvited guests?
14. At the beginning of the play, Peter is powerless to affect his own destiny and is a virtual prisoner
aboard the Neverland, unable to escape or even feed himself properly. How does he gain power
over his own life by the end? What can we learn from Peter and his actions?
15. Peter takes risks for the safety and well being of his friends. Do they reciprocate his honourable
actions? Who is the better friend? How do people prove their friendship to one another? Who do
you think are the best examples of friends in the story? Why?
16. Molly understands the power of the stardust and yet she acts anyway, but Peter gets involved
when he has nothing to gain for himself. Who do you think displays the most courage in the book?
What is courage? Who else displays courage in the novel? Why do you think so? Who does not?
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PETER AND THE STARCATCHER
DISCUSSION QUESTIONS:
17. Starstuff gave ordinary people the ability to have great power. How does this kind of power corrupt people? What are examples of people throughout history who abused their power? Why do
you think humans are able to succumb to this kind of corruption?
18. Alf assumes that the natives cannot even speak English and tries to communicate using only the
word “How!” What are the authors poking fun at here? What attitudes have changed since the
original Peter Pan was written? What is savagery?
19. This adventure is an action packed high-seas adventure. Which scenes of the play were your favourites? Why?
20. Which of the minor characters is your favourite? Why?
21. A unique aspect of Peter and the Starcatcher is the cast of not one nemesis, but two! Describe
Stache and Smee, and compare them to the other antagonists in the story. What qualities did
they have in common?
22. What do you think Peter’s life is like on the island after Molly and the others depart? What will
he do to fill his days? What adventures might he have? Would you like to be on that island or not?
23. How is this story to the original? What elements and details are kept and which ones are spared?
What do you think was important to maintain in creating a prequel? Were there any questions
you were excited to learn the answers to by seeing this play? What were they?
24. If your only choice were to work on a ship either under Black Stache or Slank, which would you
choose? Why?
25. Black Stache and Slank are fairly sinister characters. How do the playwright, director and actors
lighten the mood of what could be a very serious, violent story?
26. From the start, Peter is the center of much of the action in the book, but the authors kept several storylines moving. If you had been asked for a different title for the play, what would your
choice have been? Explain your choice.
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PETER AND THE STARCATCHER
REFERENCES/FURTHER READING
J.M. Barrie & Peter Pan
The Little White Bird, by J.M. Barrie (1902)
Peter Pan, or The Boy Who Would Not Grow Up, by J.M. Barrie (1904)
Peter and Wendy, by J.M. Barrie (1911)
The Annotated Peter Pan, by J.M Barrie, Edited by Maria Tater (W.W. Norton and Company, 2012)
JMBarrie.co.uk
Dave Barry & Ridley Pearson’s Peter and the Starcatchers Series
Peter and the Starcatchers, by Dave Barry and Ridley Pearson (Disney-Hyperion, 2004)
Peter and the Shadow Thieves, by Dave Barry and Ridley Pearson (Disney-Hyperion, 2006)
Peter and the Secret of Rundoon, by Dave Barry and Ridley Pearson (Disney-Hyperion, 2007)
Peter and the Sword of Mercy, by Dave Barry and Ridley Pearson (Disney-Hyperion, 2009)
The Bridge to Never Land, by Dave Barry and Ridley Pearson (Disney-Hyperion, 2011)
Official Website: Peterandthestarcatchers.com
Peter and the Starcatcher on Broadway
Peter and the Starcatcher — The Annotated Script of the Broadway Play, by Rick Elice (Disney-Hyperion, 2012)
Neverpedia: The Peter Pan Resource
http://neverpedia.com/pan/Main_Page
Videos
https://www.youtube.com/watch?v=sJgKaOjs5NI
https://www.youtube.com/watch?v=GWg7J8n6RmI
https://www.youtube.com/watch?v=uYLN1fDkQpA
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PETER AND THE STARCATCHER
CURRICULUM ALIGNMENT
Curriculum Connections:
Participation as an audience member at the Citadel Theatre aligns with the Alberta Education Curriculum. We’ve outline
below some (but not limited to) objectives which are developed through the viewing of live theatre:
Drama (Elementary)
Third Goal
To foster an appreciation for drama as an art form
Objectives
The child should:
1. develop an awareness of an respect for potential excellence in self and others
2. Develop a capacity to analyze, evaluate and synthesize ideas and experiences
3. Develop an awareness and appreciation of the variety of dramatic forms of expression.
Specific Learner Expectations:
Intellectual—develop and exercise imagination; develop concentration
Emotional—explore emotion; control emotion; express emotion
Social—understand others; discipline self; develop appreciation of the work of self and others; cope with emotional responses
Integrative—learn to respond to stimuli; e.g., music, pictures, objects, literature; test and reflect on the consequences of
dramatic decisions
Drama (Junior High)
GOAL I
To acquire knowledge of self and others through participation in and reflection on dramatic experience.
Objectives
The student will:
• strengthen powers of concentration
• extend the ability to think imaginatively and creatively
• extend the ability to explore, control and express emotions
• extend the ability to explore meaning through abstract concepts

develop the ability to offer and accept constructive criticism
GOAL III
To develop an appreciation for drama and theatre as a process and art form.
Objectives
The student will:

develop awareness of various conventions of theatre

develop awareness of drama and theatre by viewing as great a variety of theatrical presentations as possible

develop the ability to analyze and assess the process and the art

develop recognition of and respect for excellence in drama and theatre
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PETER AND THE STARCATCHER
CURRICULUM ALIGNMENT
Drama 10-20-30
GOAL I
To acquire knowledge of self and others through participation in and reflection on dramatic experience.
Objectives
The Student will:

extend the ability to concentrate

extend understanding of, acceptance of and empathy for others

demonstrate respect for others — their rights, ideas, abilities and differences (S)

demonstrate the ability to offer, accept, and reflect upon, constructive criticism.
GOAL II
To develop competency in communication skills through participation in and exploration of various dramatic disciplines.
Objectives
The Student will:

demonstrate understanding of integration of disciplines to enrich a theatrical presentation.
GOAL III
To develop an appreciation of drama and theatre as a process and art form.
Objectives
The student will:
• explore various conventions and traditions of theatre
• broaden knowledge of theatre by viewing as great a variety of theatrical presentations as possible (
• demonstrate the ability to assess critically the process and the art
• demonstrate recognition of and respect for excellence in drama and theatre
• develop an awareness of aesthetics in visual and performing arts.
27