Haere Mai Welcome
Welcome to Neverland!
We are delighted to invite you to a magical collaboration between Nightsong and Auckland Theatre Company as we present Peter Pan by Carl Bland, adapted from the story by J.M. Barrie. This enchanting production, crafted by the visionary team at Nightsong, promises to transport you to a world where anything is possible.
Join us on an unforgettable journey to an island where children can fly, pirates roam and imagination knows no bounds. Peter Pan has captured hearts for more than a century with its tale of adventure, friendship and the timeless spirit of youth.
Under the creative direction of one of New Zealand’s most innovative theatre creators, this large-scale production guarantees delightful twists, riotous make-believe and a sprinkle of fairy dust that will leave you spellbound.
Together, Nightsong and Auckland Theatre Company embrace the magic of theatre to uplift and inspire, inviting you to soar alongside Peter, Wendy, Tinkerbell and the Lost Boys. It’s a celebration of storytelling and the joy of believing in the impossible.
Welcome to our shared adventure in Neverland. Second star to the right and straight on till morning!
Jonathan Bielski Artistic Director & CEO Auckland Theatre Company
Ben
Crowder & Carl Bland
Nightsong
AUCKLAND THEATRE COMPANY AND NIGHTSONG PRESENT
8 OCT – 3 NOV 2024
BY C ARL BL AND adapted from the story by J.M. Barrie
CAST
Andrew Grainger — Smee
Junghwi Jo 조정휘 — Tinkerbell
Tupe Lualua — Mrs Darling
Jennifer Ludlam — Captain Hook/Mr Darling
Anika Moa — Mermaid Queen
Nova Moala-Knox — Wendy
Lotima Nicholas Pome’e — Skate
Theo Shakes — Peter Pan
Angus Stevens — John
Tess Sullivan — Tiger Lily
Roux the dog — Nana
MUSICIANS
Jess Hix, Calla Knudson
Claire Cowan (alternate)
YOUTH COMPANY
Sola Adekunle, Miriama Ashby, James Cain, Flynn Cox, Connor Magatogia, Shanna Paese, Yihan (Roxie) Pu, Kalia Regan, Leo Taylor, Michele Sagarriga Visconti
CREATIVE
Playwright — Carl Bland
Directors — Ben Crowder & Carl Bland
Set Designer — John Verryt
Lighting Designer — Sean Lynch
Costume Designer — Elizabeth Whiting
Composer & Music Director — Claire Cowan
Sound Designer — Max Scott
Fight & Flying Choreographer — Dayna Pomare Pai, NZ Stunt School
Dramaturg — Philippa Campbell
PRODUCTION
Stage Manager — Catherine Grealish
Deputy Stage Manager — Chiara Niccolini
Assistant Stage Manager & Youth Company Captain — Logan Cole
Technical Operator — Tony Black
Sound Coordinator — Paul Jeffery
Audio Mix Engineer — Joel Orme
Microphone Technician — Paige Pomana
Fly Technician — Dave McSmith
Vision Coordinator — Michael Goodwin
Fight Coordinator/Key Rigger — Daniel Andrews
Key Rigger — Pai Pai
Rigger — Benjamin Raoult, Lena Middlemiss
Dog Trainer — Diana Haggitt
Additional Dog Handler — Kaliyah Jost
Set Construction — Grant Reynolds, Zorp Creative
Puppet Construction — Jon Coddington
Props Manager — Nati Pereira
Scenic Painter — John Verryt
Tailor to Neverland — Sophie Ham
Costume Assistant — Pascal Silliman
Costume Assistant — Amelia Carter
Toi Whakaari Costume Design Intern — Heather Wright
Wardrobe Maintenance — Rosalind Sinel
Vocal Coach — Cherie Moore
Publicity — Bridget de Launay
Production Photographer — Andi Crown
Education Pack Writer — Anna Richardson
Victoria University of Wellington, International Institute of Modern Letters Placement — Alex Quinn
Education Pack Writer — Anna Richardson
FILMING
Camera Director — Ralph Brown
Projection Artist — Jon Baxter / Perceptual Engineering
Child Hands and Voiceover — Taimona Lundberg
Old Peter Pan Voiceover — Peter Bland
Peter’s Father Voiceover — Carl Bland
Body Effects/Make-up Artist — Julie Clark
Images and Sound — Post-Production Effects
Editor — Caroline Bindon
The Peter Pan character and his story first appeared in the 1902 novel The Little White Bird by Sir John Matthew Barrie OM, aka J.M. Barrie. The first stage appearance of Peter Pan was in Peter Pan; or, the Boy Who Wouldn't Grow Up also by Barrie, which opened on Saturday 27 December 1904 at the Duke of York’s Theatre, London.
This new version by Carl Bland was commissioned by Auckland Theatre Company for its 31st season co-produced with Nightsong and co-directed by Carl Bland and Ben Crowder. It previews from Tuesday 8 October and opens on Thursday 10 October 2024 at ASB Waterfront Theatre.
Peter Pan is 2 hours long, including an interval. The production contains pirates and is suitable for adults and anyone who is still a child at heart. They are likely to be seven years of age or older.
Education Pack
The activities in this education pack are designed to connect to the following levels of the New Zealand Curriculum or the outlined NCEA standards.
YEAR 7 TO YEAR 10
Level 4 and 5 of the New Zealand Curriculum
Understanding the arts in context:
• Level 4: Investigate functions, purposes, and technologies of drama in cultural and historical contexts.
• Level 5: Investigate the characteristics, purposes, and function of drama in a range of contexts.
Developing practical knowledge:
• Level 4: Select and use techniques and relevant technologies to develop drama practice. Use conventions to structure drama.
• Level 5: Select and use techniques, conventions, and relevant technologies for specific drama purposes.
Developing ideas:
• Level 4:Initiate and refine ideas with others to plan and develop drama.
• Level 5: Select and refine ideas to develop drama for specific purposes.
Communicating and interpreting:
• Level 4: Present and respond to drama, identifying ways in which elements, techniques, conventions, and technologies create meaning in their own and others’ work.
• Level 5: Present and respond to drama and describe how drama combines elements, techniques, conventions, and technologies to create structure and meaning in their own and others’ work.
Key Competencies: Thinking, Using Language, symbols, and texts, Managing Self, Relating to others, Participating and contributing.
Values: Excellence - Innovation, inquiry, and curiosity - DiversityEquity - Ecological sustainabilityIntegrity - Respect
References: nzcurriculum.tki.org.nz/ The-New-Zealand-Curriculum
YEAR 11 TO YEAR 13
Please note this work also links to Level 6, 7 and 8 of the New Zealand Curriculum and can be used for learning that is not assessment focused.
Level One:
Achievement Standard 1.1:
Explore the function of theatre
Aotearoa | NCEA
Achievement Standard 1.4:
Respond to a drama performance | NCEA
Level Two:
Achievement Standard 2.7:
Assessment Specifications - Level 2
Drama 2024
Level Three:
Achievement Standard 3.7:
Assessment Specifications - Level 3
Drama 2024
References: Drama: NZQA
About Nightsong
Nightsong is a unique and innovative New Zealand theatre company, delivering high-quality performances mixing rich poetic language with music, visual arts, puppetry, illusion and choreographed movement. Nightsong has perfected the ability to incorporate all art forms with intelligence, humour, beauty and creativity.
Nightsong excites and surprises audiences by showing them what is possible theatrically. The company possesses a deep love and passion for the theatre art form, with a belief that theatre should be a transformative experience –audiences should go into the theatre space and come away seeing the world in a new way… or at least seeing the possibility that the world around us is not always as it seems.
This is Nightsong’s first major partnership with Auckland Theatre Company. In years past, our signature work Te Pō was developed in collaboration with the Auckland Theatre Company literary wing and its Next Stage programme. Auckland Theatre Company also supported the script creation of our recent work I Want To Be Happy.
NIGHTSONG TEAM
Ben Crowder and Carl Bland are the artistic drivers behind Nightsong. As co-artistic directors, this unlikely pair is a force to be reckoned with! Ben and Carl have been working together, on a pretty continuous basis, for about 20 years. For many years prior to this, they both independently contributed to the New Zealand theatre landscape in their inimitable ways. In 2017, they transitioned their two separate companies into ’Nightsong’.
Ben and Carl are joined by a fantastic support team, which includes Lesley-Anne Carey, who, amongst other things, ensures the bills are paid on time, Kirsty Brownfield supporting funding pursuits, Caroline Bindon on producing and Kyra Lulu as junior producer. Nightsong also has a delightful board that backs the vision and bolsters resolve.
CARL BLAND Writer & Director
Co-Artistic Director of Nightsong
Carl Bland trained at the Chelsea School of Art, completing a BA(Hons) in Fine Art, and also at The Royal Central School of Speech and Drama in London. He wrote and created his own theatre shows with Peta Rutter, under the name Nightsong Productions. Their shows included The Bed Show, The House of Doors and Camels, Peta and Carl at the Last Supper and Sofa Stories. Collaborating with Theatre Stampede, they made Head (2005 winner of Chapman Tripp Most Original Production Award) and 360 – a theatre of recollections for the 2010 New Zealand Festival. Also, 360 won an inaugural excellence award and The Hackman Cup, the people’s choice award for most original production, at the 2014 Auckland Theatre Awards. Carl’s play Te Pō premiered at the New Zealand Festival and the Auckland Arts Festival in 2016, winning an excellence award at the Auckland Theatre Awards. In 2017, he premiered Spirit House, starring Ian Mune, at the Herald Theatre and had a return season of Te Pō at Q Theatre in Auckland. In 2017, he established the theatre company Nightsong with Ben Crowder. Their collaborations together since then include: Mr Red Light, A Stab in the Dark, The Worm and I Want To Be Happy. Carl has also been a finalist in the New Zealand Book Awards for Children and Young Adults in the Picture Book section, and a winner of the best use of illustration in the Spectrum Book Awards. He was the Grimshaw Sargeson Fellow at the University of Auckland in 2018.
BEN CROWDER Director
Co-Artistic Director of Nightsong
Ben trained at the John Bolton Theatre School in Melbourne in the 1990s. After graduating, he set up Theatre Stampede with Vanessa Chapple – they created a range of works together, including The Young Baron, Blossom and The Hunchback of Notre-Dame. In 2005, Ben began collaborating with Carl Bland and Peta Rutter from Nightsong Productions. Together, they made Head and 360 – a theatre of recollections. Carl and Ben have continued to work together since this time, officially forming Nightsong in 2017. Their collaborations include: Te Pō, Spirit House, Mr Red Light, The Worm, A Stab in the Dark and I Want To Be Happy.
Ben has also worked extensively as a freelance director and creator. Past directing credits at Auckland Theatre Company include Well Hung and co-directing A Midsummer Night’s Dream. He also has had a long involvement with Auckland Theatre Company’s rangatahi and outreach projects, including under the Young and Hungry umbrella and the Next Big Thing initiative, as well as pleasing collaborations with Marvellous/ Auckland Theatre Company. He teaches theatre-making and performance, mainly at tertiary level. Additionally, he often leads projects in the community; recent examples include a summer project with Toi Ora Live Art Trust and an engagement with Rotorua Girls’ High School.
A Word from Carl
When we think back in time, our memories fictionalise the truth. When we think of the future, we become anxious, we can’t control it. Then there is the present. This is the world of animals and children: the world of the innocent. Yet, even this world is flawed. Can we know the full meaning of love, without experiencing loss? Can we truly appreciate the gift of life, until we know how fragile it is?
The forgetfulness of Peter and the Lost Boys protects them from the pain of loss, and allows them to stay children forever. The arrival of Wendy, who’s still grieving for her lost brother, changes the dynamics of Neverland. It’s her actions that bring the boys’ memories back. And with that comes the anguish of separation and the desire to go back to their parents, the people who love them unconditionally.
How easily each one of us can all turn into a Captain Hook: become bitter and disillusioned, and feel that, somewhere in getting older, we have lost a vital part of ourselves. Perhaps that’s why Captain Hook hates Peter Pan so much. Yes, Peter can be selfish and mean like all children can. But, his desire to stay a child forever is not about avoiding responsibility; rather, it is about wanting to capture for longer its excitement and wonder. There’s a famous quote from Picasso:
’Every child is an artist. The problem is how to remain an
Isn’t that the great quandary? How do we grow older but still keep alive our curiosity and imagination?
Co-Artistic Director of Nightsong
A Word from Ben
Peter Pan explores the complexity inherent in the transition from childhood to adulthood. The conversation it examines feels highly resonant in the contemporary frame and as universal as it did in 1911 when the story was first shared. It has made me reflect on how society manages the child animal – often to make our own ordered lives function. But, also, it has made me consider the ways in which freedom and independence can so often be trodden down; ’adult’ voices, the voices of reason, can shut down possibility and verve.
As is often the way when digging into a show, I found that working on this production has affected me in remarkable ways. I have come to realise that my thinking, and even my being, have been coloured by Peter Pan’s viewpoints and chutzpah. The show itself is big and complex – kind of impossible – where the rational voice repeatedly tells you ’no, you can’t’, ’stop pushing’, ’that’s not the way it’s done’. Yet, it is the spirit of Peter Pan that has so often been needed to keep things moving ahead; traits such as unfailing optimism, mischievousness, courage, selfishness, mercuriality, stubbornness and joyfulness, and even the odd dive into petulance, have all risen to the surface over the past months and demanded to be embraced.
I recognise that this demeanour can be as annoying as hell – so my apologies to all those who have been affected by this indomitable maelstrom – and I beg forgiveness. I also offer my gratitude to all the magnificent souls who have been part of this adventure.
My hope is that all our audiences get to savour a touch of the vigour that emanates from its celebration of the brilliance of childhood.
BEN CROWDER Director
Co-Artistic Director of Nightsong
Exploring the Source Material and its links to Carl Bland’s interpretation of Peter Pan
The story of Peter Pan will be a familiar story to the audience. As in all his work, Carl Bland has drawn threads from a wide range of source material to create Nightsong’s version of the boy who never grew up. In exploring this in class with your teacher you may choose to complete the following activities that will allow you to think about what might have inspired this version of the story. These activities have been designed for year 9 – 13 students, and if used by senior students may contribute wider context for their report writing or exam revision.
RESEARCH WHY J.M. BARRIE WROTE PETER PAN
J.M Barrie had very personal reasons for creating Peter Pan, drawing from tragedy in his life and also the relationships he created through time. Split into groups of 4 or 5 to research different source material that helps you to understand why he originally wrote this play. Present your information back in a Sources Chart which has the following categories:
• The link to the website or article
• A short blurb that summarises the important relevant information
• Why you think this information is relevant
• A link to a scene or moment from Bland’s version of Peter Pan.
Save your Sources Chart in a shared classroom digital space so you can draw from the different sources as you discuss this show with your kaiako/teacher.
INSPIRATION FROM THE LITTLE WHITE BIRD
The earliest reference of Peter Pan in J.M Barrie’s work is in a short story The Little White Bird, which is set in Kensington Gardens. In similar sized groups to the previous activity:
• Research Peter’s appearance in The Little White Bird
• Think about how this depiction of Peter has influenced Bland’s version of Peter Pan, discussing:
• Costume
• Use of drama techniques; Voice, Body, Movement and Space
• Dialogue
• References to Aotearoa New Zealand
• Collate your discussion in sketches or drawings with annotations. Share your sketches and annotations with another group and/or display them in a shared space in your classroom.
J.M BARRIE’S BROTHER AND MICHAEL - “THE IDEA OF A CHARACTER WHERE TIME STANDS STILL.”
- CARL BLAND
J.M Barrie drew part of his inspiration for Peter Pan from the personal tragedy of losing his younger brother in an accident, especially his mother’s reaction. The audience will likely have felt some confusion at the absence of Michael at the outset of the play, until we learn that he died in an ice skating accident through Wendy. While Barrie explored the idea of the boy that never grows up through Peter and the lost boys in the original story, Bland weaves in another layer with the character of Michael/ Skate. Use this activity to explore the purpose of this storyline within this version of Peter Pan by drawing and annotating a timeline for the character Michael/Skate. Use the following guidelines (you could do this activity as a whole class or in smaller groups):
• On a large bit of craft paper or the whiteboard draw a horizontal line through the middle of the page
• Map out Michael/Skate’s character arc along the line, including where characters mention Michael, where action happens that Skate is involved in, the big reveal that Skate is Michael along the top of the line. Include notes on:
• What the actor is physically doing in these moments; use of drama techniques
• The costume that he is wearing
• Important lines of dialogue
• Underneath the line note down major themes, motifs or symbols that this character represents in these moments. Think about:
• What is the purpose of mentioning Michael?
• What is the purpose of the setting of the icy landscape of Neverland?
• Does Skate allude to the fact that he is Michael?
• What is the purpose of including Skate/Michael in this story?
• What did you feel or think about when it was revealed that Skate was Michael?
• What did you feel or think when Michael was reunited with his family?
Some stories never grow old. This is one of them.
Background, by Ben and Carl
In early 2023 Nightsong and ATC discussed collaborating on an adaptation of A Christmas Carol. However, a (sub)conscious concern around the marketability of this particular story in Aotearoa New Zealand today combined with a casual suggestion during a venue tour of the ASB Waterfront theatre resulted in a sudden change of direction for this collaboration!
ADAPTING PETER PAN
Peter Pan that appeals to all ages. There is a wonder and magic in it that epitomises the joy of childhood and there's also a really strong message in it about the need to believe. However, elements of the story are very tied to its time and we are interested to see how Peter Pan can be reworked to appeal to today's young people.
The earliest reference to Peter Pan is in one chapter of an unrelated J.M. Barrie book, The Little White Bird, in which he is described as being half boy/half bird. We want to visually
explore all the lost children being these half creatures. That they have somehow regressed and started to become part of the bush they live in.
Captain Hook will be dirty and rough, the very opposite of how the characters normally portrayed. Pretty scary actually, but still afraid of the crocodile and the ticking clock. The symbol of the clock points to the fear of growing old and mortality. The crocodile is death, cheated once, but now remorselessly following behind.
CAST
The casting for both Hook and his crew will be diverse to reflect historical realities and to speak to contemporary audiences. Ships of that period often had a mix of men and women, and there are examples of female pirate captains during this period, which story-wise is fascinating. How did they get to that position in such a sexist environment? A female Hook is something that will be explored.
Characters from Peter Pan
by Carl Bland, adapted
from the story by
J.M. Barrie
Peter Pan
Wendy
John Micheal/Skate
Mrs Darling
Mr Darling/Captain Hook Nana
Peter's Shadow Smee
Tinkerbell
Tiger Lily
The Lost Boys Mermaids
Peter explores the Darlings house. Photo: Andi Crown
Exploring Writer and Director Concept –Connecting with Nightsong
When you are exploring a live performance in class with your teacher, collating a report for Level One or revising for your live performance exam; thinking about why the play has been written for this audience, at this point in time, is integral to understanding the performance. Peter Pan draws from a rich wider context, its links to the J.M Barrie original, pop culture references; such as the various movie versions from Disney’s animations, to Hook, Finding Neverland and beyond. These adaptations contribute to a rich history of the boy who never grew up. When you explain and discuss moments depicted on stage in Nightsong and ATC’s version of Peter Pan, unpacking how those moments draw from the way the play is structured, the themes it identifies, and what inspired the story you will build a rich understanding of why live theatre has impact. These activities will help you brainstorm and collate your ideas, as well as providing evidence or quotes to support your explanations and discussions if you are using this performance for assessment purposes.
WHAT DO NIGHTSONG HAVE TO SAY?
This activity can be done in pairs and will be the start of a Glossary of Important Ideas that you will come back to throughout this education pack. If you are a Year 7 – 10 student practising building a glossary of important ideas and quotes is a way of incorporating literacy activities into your drama learning and also supports you to build skills that you will use in the future when studying live performance for assessment purposes. If you are Year 11 - 13 student this glossary will become a great source when you are constructing your report or revising for your exam:
• Read ‘A word from Carl Bland and Ben Crowder’:
• Highlight ideas that interest you
• Circle quotes you think enrich your understanding
• Underline and annotate ideas that link to a specific moment in the performance.
• Listen to Carl Bland on “Backstage Pass with Auckland Theatre Co”: atc.co.nz/learn-andexplore/backstage-pass
• Write down ideas that interest you
• Record quotes you think enrich your understanding
• Write down ideas that surprised you or provided more context for something you saw on stage
• If you recorded the post show forum, find excerpts where Bland or Crowder answered questions:
• Write down ideas that interest you
• Record quotes you think would enrich your understanding
• Record moments in the forum that surprised you or provided more context for something you saw on stage. Once you have completed the bullet points above in pairs, collate or summarise your ideas either in a digital glossary document or in space in your drama book. Share what you have summarised with another pair or with the rest of the class.
Extension: Have a class discussion around these prompts, referencing the information you have collated. Make notes on the white board as you discuss. You may wish to take a photo of your notes at the end of the discussion to save in a shared digital space:
“Why stage Peter Pan in this way at this point in time with this audience?”
“How was Carl Bland influenced by different source material for Peter Pan and what makes this performance unique to Aotearoa New Zealand?”
COMPARE AND CONTRAST:
In groups of 5 - 6 choose one of the movie versions of Peter Pan to compare and contrast with this Nightsong/ATC’s version.
• Create 5 tableaux that depict the original story of Peter Pan as reflected in the movie your group has chosen. Include a spoken thought or piece of narration for each tableaux
• Create 5 tableaux that depict how Nightsong’s version of Peter Pan departs or diverges from the original story. Include a dialogue from the performance as spoken thought.
Perform your tableaux for the class. Take photos or videos of the performances and save in a digital space to reference in the future.
Class reflection questions after performances:
• Why did you choose that movie version?
• Why did you choose those specific moments from Bland’s version to depict?
• What is Nightsong trying to communicate by depicting the story of Peter Pan in this way?
• What new information did you learn from this activity? Add new ideas to your Glossary of Important Ideas.
Extension - Write a short essay or record a voice note/vlog responding to the following prompt:
What choices did Ben Crowder and Carl Bland make when directing Peter Pan that surprised you or challenged your expectations as a member of the audience?
The Story
Children experience time differently than grown ups. They haven’t lived as long, so a day or a week or a year seems much longer because they’ve less memories to compare them against. It’s us. With our lifetime of memories that makes time go faster.
– Old Peter Pan
I’m never going to grow up. Never, Never, Never.
What happens in Peter Pan?
The stage is dark, with mysterious music and a friendly voice sharing childhood stories. Lights brighten to reveal a children’s bedroom where Wendy and John are with Nana the dog. Their mum, Mrs. Darling, tries to put them to bed, but they persuade her to read a story after their bath.
As they leave, Peter and his shadow sneak in. Spooky music plays as Nana tussles with Peter, who escapes through the window, leaving his shadow behind. Mrs. Darling finds it and puts it in the dresser. Wendy worries about the shadow's owner being angry. Mr. Darling bursts in, angry at Mrs. Darling for being late, leading to an argument. Upset, he scolds Nana and leaves. Wendy, frustrated, rolls on her bed.
Wendy opens the dresser, and Peter’s shadow pops out. She invites it to stay and sings a sad song. When Mrs. Darling and John return, Wendy hides the shadow. Mrs. Darling reads Cinderella, while Peter listens outside. Wendy cries during a sad part, and Tinkerbell appears unseen.
Suddenly, the window bursts open, startling everyone. After Mrs. Darling kisses the children goodnight, they
fall asleep. Peter flies in and argues with his shadow, causing a ruckus. Wendy comforts him, helping him reattach it. Happy, Peter dances while Wendy expresses annoyance at his selfishness. He shares tales of Neverland, while Tinkerbell, stuck in the dresser, uses magic to lift John.
As Peter invites them to Neverland, Tinkerbell protests. Peter teaches them to fly, and Wendy finally manages by thinking of Michael. They fly off, leaving a grumpy Tinkerbell behind. A white screen shows young Peter drawing a fantastical land, as his father emphasises the complexities of the real world.
The screen lifts to reveal Neverland, where children flee from pirates. They hide underground as Captain Hook and his crew search for the Lost Boys. A boy named Skate is captured, and Hook plans to use a poisoned cake to trap Peter.
A pistol shot startles everyone, revealing a dead fairy. Hook laments his lost hand, leading to a confrontation with the ticking crocodile. Peter flies in as the Lost Boys emerge, and Tinkerbell warns of
danger. After a tense moment, they discover Wendy has been shot with an arrow, but the storybook in her pyjamas saved her.
Tiger Lily appears, instructing everyone to hide from the pirates. Wendy and Tiger Lily plan to rescue Skate but need help. They meet two mermaids who demand Wendy’s locket as payment for swimming them to the pirate ship. They agree, and the mermaids help.
On the pirate ship, Smee sings a watchman’s song while Wendy and Tiger Lily sneak on board. They overhear Hook’s plan to poison Peter. As they try to escape, the pirates capture Wendy while Tiger Lily swims to safety.
Back on shore, Peter and the Lost Boys learn of the poisoned cake just as they encounter Tinkerbell, who warns Peter. When Tiger Lily confirms the cake's danger, Hook vows to use Wendy as bait. Tinkerbell, hurt by Peter’s doubt, vanishes.
In the brig, Wendy misses her mother, while Mrs. Darling also longs for her children. Skate reveals he’s Michael, which brings joy. A boat of Lost Boys arrives, but the pirates capture them. During a sword fight, Hook defeats Peter, who falls into the sea.
The mermaids revive Peter, who, with Tinkerbell’s help, awakens. In the children’s bedroom, Mr. and Mrs.
Darling await their children’s return. Meanwhile, Skate realises they might be lost boys, trying to turn back from the in-between. Peter bursts in, and everyone rejoices.
Tinkerbell opens the jail door, and they charge onto the deck for a massive battle. Peter defeats Hook, who is devoured by the crocodile. Peter learns from Tinkerbell that he can send the children home by giving back time. He orders the ship to sail east and flies away.
As the ship sails into darkness, shadows of parents appear. The Lost Boys embrace their families, and Michael walks away. Wendy and John fly up and disappear. In the children’s bedroom, Mr. and Mrs. Darling finish the story just as their children appear in their beds. They hug, finally reunited. The white screen descends with a projection that reads: The End.
From Text to Costume to Performer
Character name
Image of costume design by Elizabeth Whiting
Final character shot
Peter Pan
Wendy
Character name Image of costume design
by Elizabeth Whiting
Final character shot
John
Mrs Darling
Captain Hook, and Mr Darling
Character name Image of costume design
by Elizabeth Whiting
Final character shot
Smee
Tinkerbell
Tiger Lily
Character name Image of costume design
by Elizabeth Whiting
Final character shot
The Mermaid Queen
Skate
Exploring the characters of Peter Pan
YEAR 7 - 10 CHARACTER ACTIVITIES
These activities are geared towards students between Year 7 - 10 and draw from the Achievement Objectives of Level Four and Five of the New Zealand Curriculum. Older students may also find benefit in using these activities to play and explore the characters of the play.
ROLE ON THE WALL
A Role on the Wall is where you use their imagination to think about what a character looks like and the emotions they show with their use of body, voice and movement. As well as their inner thoughts and feelings. This helps you to understand why the characters are doing what they are doing within the story. This activity is a twist on a normal Role on the Wall and allows you to think about the way the characters in this version of
Peter Pan depart from the way they were originally portrayed.
Divide your class into enough groups to cover the characters outlined in this pack (10 groups, although you may want to split Hook and Mr Darling up) [reference the Character Table on page 26]
• Draw an outline of the character on their paper. There needs to be space to write words on the inside of the outline and space left around the drawing to write as well.
• At the top of the page write the characters name and age, also note whether they have stopped ageing
• On the inside of the drawing write down: what the character thinks, feels and what motivates their actions. What are they influenced by? Who are their key relationships with in this version of the performance? What do you think inspired Carl Bland to represent this character this way?
• On the outside of the drawing write down: all the ways this character is different from the original version of this character, what you think their thematic purpose is in the story and the actors use of drama techniques to portray the character. Note down any use of movement or body that was influenced by Aotearoa New Zealand. Key quotes from the performance.
Reflection Questions: How did this help you understand the characters in the performance? What was your character's key purpose in this performance? How did that challenge what you expected to see when you heard you were going to watch Peter Pan?
THE POWER OF PUPPETRY IN TELLING A STORY - TEACHER LED ACTIVITY
Puppets have always played a large role in Nightsongs work and often support big themes, ideas or symbols within the story being told. Discuss the following prompt in a class discussion before starting the practical activity: What did the puppets represent in Peter Pan and why were they important to the story? Discuss how you think the puppet of the crocodile worked and what it was made out of?
Practical Activity:
Give each student a large piece of brown craft paper, the bigger the better.
• Each person in the group will choose a character from Neverland to focus on - Peter Pan, The Lost Boys, Tinkerbell, one of the Pirates, Hook, etc
• They will then scrunch and shape the craft paper into a large puppet of that character. Make sure you let students know that it can be their own version of the character and doesn’t have to look like what they saw on stage, it could just be a big scrunchy bit of paper, imagination is key.
• The only thing the puppets need to have is a place to hold them, so you can move them around the room
Once the puppets are formed, play with them in the space. You will want to create a large space to move around in or go outside. It will help if you make a puppet as well and demonstrate different types of movement.
Use the following ideas to facilitate play with the puppets:
• Ask ākonga to think about how their puppets might move around the space - fast, slow, jerky, smooth, do they move in straight lines or swerving around. Think about the actors use of drama techniques from the performance
• Play soundscapes depicting the nature sounds of Aotearoa New Zealand and the sounds of an icy landscape. Encourage ākonga to move around the space with their puppet in response to these sounds, think about movement that is influenced by these sounds
• Ask ākonga to make their puppets interact with other puppets - “Are your puppets shy, very friendly, excited, nervous…etc”
• Encourage ākonga to create interesting pathways and use up all the space available, to move their puppet up as high as they can go and down low on the ground
Extension activity: Divide ākonga into small groups and have them create short scenes with their puppets. These scenes only need to be twenty or thirty seconds long. You could choose to have them perform in front of the class or just to another group, whatever feels safest in your classroom.
Below are some prompts to help ākonga create scenes:
• The puppets portray a moment of magic - flying, interacting with fairies, etc
• The puppets meet each other for the first time
• The puppets battle one another
• The puppets find out a big secret
Things to think about within the performance:
• Using levels
• Different speeds of movementslow, fast, jolty, smooth
• Think about where your audience is and how you can show them your puppets in the best way
Reflection Question: What was interesting about creating the puppets? What was challenging about performing with the paper puppets? Why do you think Nightsong likes to incorporate puppetry into their shows? What is powerful about incorporating puppetry?
PLAYING WITH MOVEMENT AND SOUNDSCAPE
Carl Bland and Ben Crowder chose to draw from colonial Aotearoa New Zealand as the inspiration for the darling home and the native flora, fauna and wildlife of the country in their depiction of Neverland. These influences have also been reflected in the way that the characters who inhabit these places behave and use their drama techniques. This activity allows you to explore your own interpretation in the classroom.
In small groups, 4 - 5 people create:
• Choose one of the places; the darling household or Neverland
• Create a soundscape for that place, your own interpretation of what the sounds would be. Ensure the soundscape has a beginning, middle, end. That there is a build towards a peak of sounds, and that there are layers
• Once you have your soundscape rehearsed, record it on voice notes on a phone, laptop or ipad (depending on your class rules)
• Think about movement style that reflects the place you are depicting; pathways through the space, posture, gesture, pace and levels. Create a short performance where you move to the soundscape using the following conventions; flocking, mirroring, chorus, canon and repetition. Like your soundscape ensure there is a beginning, middle and end, as well as building to a peak
• Once you have rehearsed your performance, add a moment of contrats, where for just a moment all group members, either individually or in chorus, break into movement that reflects the place you are not depicting.
Perform your piece for the class and use the following questions to unpack what you learnt from this activity:
• Why is creating movement and soundscape inspired by a performance you have seen helpful when unpacking what you have seen at the theatre?
• Did you incorporate anything you saw in Peter Pan into your own performance?
• What was effective about each of the performances? What was interesting about the moments of contrast?
EXPLORING A “VILLAIN”
(THIS ACTIVITY IS ENCOURAGED FOR YEAR 713 STUDENTS)
Captain Hook in Nightsong/ATC’s version of Peter Pan is played by Jennifer Ludlam, which diverges from previous depictions of this character. The description for Ludlam’s Hook are included below:
“Captain Hook will be dirty and rough, the very opposite of how the character is normally portrayed. Pretty scary actually, but still afraid of the crocodile and the ticking clock. The symbol of the clock points to the fear of growing old and mortality. The crocodile is death, cheated once, but now remorselessly following behind.”
“The casting for both Hook and his crew will be diverse to reflect historical realities and to speak to contemporary audiences. Ships of that period were a mix of men and women, and there are examples of female pirate captains during
this period, which story-wise is fascinating. How did they get to that position in such a sexist environment?”
WHAT IS THE FUNCTION OF THIS VILLAIN?
A mind map is a great way to condense and visualise all of your ideas on a page, so that you can reference them later when you are creating a performance, collating your report or studying for your exam. The focus of this mind map will be:
What is the function of Captain Hook in this version of Peter Pan?
In groups you will brainstorm around this central focus, with the following sub headings to help you flesh out your ideas:
• Why has the actor been double cast as Captain Hook and Mr Darling?
• What impact does casting Captain Hook as a woman have on the story?
• What themes, motifs, ideas and symbols does Captain Hook represent in the story?
• How does Captain Hook heal, entertain, educate or transform the audience?
• How does this version of Captain Hook differ from other versions in popular or literary culture?
You will want to include quotes from this pack and also reference specific moments from the performance. If you are in a younger year level, your teacher may want to facilitate this as a class activity.
Once you have spent time discussing and making notes, share your mind map with another group and add to your notes.
Extension activity Year 7 - 10: Hot seat the different versions of Captain Hook.
In groups, prepare one person to be in the ‘hot seat’ as a version of Captain Hook within popular culture - some suggestions are Disney’s version, J.M Barrie’s version, the version from ‘Hook,’ other movie versions you might have seen. One group will focus on the version represented by Nightsong/ATC. (Your teacher might provide you with images from different movies, plays or books to help you.)
• As a whole class come up with questions you would like to ask the various Captain Hook’s
• In your group spend 20 minutes or for the younger year levels a whole period, preparing a group member as the character. Think about use of voice, body, movement and space
• Gather together as a class and
each version of “Captain Hook” takes the hot seat and ask the questions to each person
Reflection back in groups (record your thoughts and feedback to the class to continue your rich discussion): What did the versions of Captain Hook have in common? What makes them different? Why do you think Carl Bland wrote Captain Hook the way he did?
Extension activity Year 11 - 13:
Create a short scene based on your mind map. You could use the characters in the play or create a scene based on ideas you discussed as a group. Make sure that your scene has the following:
• A strong beginning, middle and end
• A clear message
• A moment of chorus of voice and movement
• Dialogue - either from the play or your own
• Slow motion movement
• Interesting use of levels and movement pathways
Perform your scene for the audience and ask them to feedback on whether your message was clear.
Reflection back in your group: what makes a villain an important part of a good story?
THE AOTEAROA NEW ZEALAND CONTEXT: FEMALE PIRATES
As mentioned in this pack, there has been a history of female pirate captains throughout our history and often their stories have not been told. Maggie Flynn’s role at Kororareka has been brought to life in a play by Red Leap and many teachers have explored the story of Charlotte Badger in a drama context. You may decide to explore these two women or search out new stories in this activity.
In groups use the following inquiry chart to come up with questions you have about these untold stories and gather information about a female pirate: Inquiry Chart
• Once you have collated your information, find a fun way to present this back to your class. You could create a big Role on the Wall, a short presentation with supporting slides or a short in role performance telling her story. Be creative and work to your groups strengths
• Once you have presented your information back to your peers, respond to the following reflection prompt posed by Nightsong as a whole class:
How did they get to that position in such a sexist environment?
Character profile for Year 11 – 13 students
The following two activities will help you build a picture of the characters in the performance, experiment with them in a new situation and contribute to your kete of knowledge when constructing your report or revising for your live performance exam. [reference the Character Table on page 26]
Revision activity: Using the character chart provided in the education pack, create an acting profile for each of the characters, using the following template. (You could divide this up across a bigger group so that each of you are covering a character and save these profiles in a shared digital space.)
Character description: name, age, type of person that they are
Purpose in the story: summarise why this character is important to the story being told
Costume and makeup: colour, material, what this says about their personality, how it impacted posture and movement
Relationships: who they are connected too and why
Motivations: what motivates their character and where do you think these motivations are coming from?
Actors use of body, voice, movement and space: think about what feels new, fresh and also classic about the actors choices.
Subtext: think about specific moments where a character was communicating through subtext.
Similarities to the original portrayal or source material for the story of Peter Pan: how were they inspired by the source material
Contrasting characteristics to the original portrayal, how Carl Bland has made these characters original to this version of the story: what is new or surprising about this version of the character? Why do you think these changes were made?
Favourite quote:
Practical activity:
Choose characters from your character profiles or who inspired you in the performance. In a group take the characters and expand their storylines. Devise or improvise a short scene that didn’t happen.
in the play but could add more information to that character's storyline. You could include some of the following drama conventions in your scene:
• Spoken Thought - quotes or dialogue from the performance
• Flocking
• Canon
• Narration
• Chorus
• Soundscape
• Frozen image
Designing Neverland: Exploring designer concept & creating the world of Peter Pan
YEAR 7 – 10 – CREATING A WORLD
You need to unpack the following with your teacher before starting this activity:
Annotations: in drama this is when we write notes about what was happening on stage. When we are writing about technology we try to be specific about the colours, materials, details we see or hear.
Drama Technology Vocabulary: Lighting, Sound, Set, Props, Special Effects, Costumes.
Split the class in half or into smaller groups, but there should be an equal amount of groups focusing on the two locations depicted in Peter Pan. As a group on a large piece of craft paper draw (don’t worry about it being an artistic masterpiece)
• Group One: A map of Neverland. Make the map larger than what was depicted on stage, the things that were talked about, as well as the design aspects.
• Group Two: A picture of the Darling house, rooms beyond the nursery and the surrounding landscape, think about the neighbourhood they live in, the flora, fauna and animals
Once you have sketched out the worlds depicted in the play add annotations about how technology was used to bring some aspects to life: notes about sound, lighting, set, props, special effects.
Add in the characters who inhabit the world you have drawn, or you could either sketch them or find pictures from the material provided online by ATC. Make annotations about how the costumes were influenced by the design of either space; the Darling Household or Neverland.
Using the designers notes from this pack, add in quotes or ideas that add to your annotations.
Blue tack the sketches you have created in groups onto a wall or the white board and use the following questions to discuss the design elements of Peter Pan as a class:
• Why is it helpful to imagine the wider world of the play than what was depicted on stage?
• How was technology used to create the reality of the Darling House and the magic of Neverland?
• How did the design of the production reflect Aotearoa New Zealand?
• What were you expecting to see before you saw this production? What surprised you about the way production was designed? (teaching note; you may want to unpack what you want the students to focus on; lighting, sound, costumes, set…etc)
Practical activity:
In small groups, using the sketches/ drawings that you have made, choose a part of the world that wasn’t depicted on stage and do the following:
• Create a series of tableaux or freeze frames based around a character or characters whose story you would like to explore more of and create a scene that happens in that space
• Get someone else to photograph your tableaux and either print them out or upload them onto a PPT or Google Slides
• Annotate around the pictures how you would use technology if you were staging this scene and budget wasn’t an issue. You could be inspired by the production you saw or you could incorporate new ideas. Be specific about the colours, materials, etc that you would use
• Share your pictures with another group and gain feedback.
YEAR 11 – 13 – EXPLORING DESIGNER CONCEPTS
This activity can be done in pairs and will add to the Glossary of Important Ideas that you will have started earlier in the pack:
• Make headings for each of the technologies that were incorporated into Peter Pan
• For each heading, come up with a specific moment in the performance where that technology was highlighted or used to great effect or impact and describe it in detail
Sketching and annotating:
In your pairs look through the notes you have made in your glossary and choose a moment in the performance where multiple technologies or design components were used to create impact. Work together to create a comprehensive sketch, with detailed annotations that depicts that moment. Make sure you include:
• Reference to colours, materials and specific technology terminology; e.g. the correct terminology for lighting - gobo’s, fresnels, warm vs cold tones
• Make reference to what the designer intended to communicate through their choices in this moment
• Themes, symbols or motifs that were highlighted by this use of technology
• How it impacted the story being told; moved it along, created wonder, a moment of magic, etc.
Individual reflection: Write a short essay, record a voice note or vlog for homework in response to the following prompt:
Nightsong always rehearses with the set from the outset of the rehearsal period (which is very unique), how does this benefit the final performance and the story being told? Support your answer with evidence from the performance.
Theatre’s ability to heal, educate, entertain and transform
Titiro whakamuri, kōkiri whakamua – Drama is influenced by whakapapa and is a way to respond to and share identity, culture, and perspectives
An aspect of the significant learning done at Level One of NCEA is to “contribute to theatre Aotearoa and understand that drama is a way to explore and reflect on whakapapa.”
You may be doing this through exploring plays written by Aotearoa playwrights in class, performing scenes from those plays, discussing the function of each play and how they connect with an audience. Whether you are a Year 11 student or in a younger or older year level, this section of the pack aims to extend your understanding of theatre and its function. It will also prompt you to think about how what you see at the theatre can connect with work you are doing in class. The activities below will directly support students exploring Achievement Standard 1.1 - Explore the function of theatre Aotearoa.
Peter Pan is Carl Bland’s reinterpretation of J.M Barrie’s classical story of adventure, wonder and a boy's wish never to grow old. Bland explores the nature of grief through Skate/Michael, who like J.M Barrie’s own older brother died on the ice in an accident. Through Michael’s absence at the beginning of the play and Neverland’s setting of an icy landscape we explore how a family copes with loss and healing. Bland also explores the nature of the villain in Hook, with a female actor in the role. Hook serves to think about the nature of aging, time and human mortality. The writing, design and direction of this version of Peter Pan is firmly embedded in the place we call home.
Function in this section refers to: the plays ability to heal, educate, entertain or transform an audience.
In small groups or in pairs, brainstorm, research and record responses to the following questions. (A mode of recording has been suggested for each question in order to enrich your literacy skills):
The function of Peter Pan: Brainstorm with pen and paper. Ensure you explore and debate the four words encompassed in the function and then construct a written response that focuses on a specific scene.
• What ideas, themes or messages are being communicated to the audience?
• What impact is that having on the audience?
• How are these ideas healing, educating, entertaining or transforming the audience?
• Can you connect this to a specific scene or moment from the performance?
Connection with the audience: Record a verbal discussion where you discuss the following questions. You could brainstorm the questions first, but it is important you don’t script your response.
• Who do you think the intended audience is and why? Who do you think Carl Bland wrote this for and why?
• What draws you into the story? The actors, the design, the writing, the themes and ideas? Discuss why.
• What were you feeling throughout the performance?
• What have you thought about since?
readwritethink.org/sites/default/ files/resources/lesson_images/ lesson948/purpose-audience.pdf
COMMUNICATING FUNCTION THROUGH DRAMA TECHNIQUES: these activities are based around building the skill of sketching and annotation. You can cover one, some or all of the activities.
• Characters whakapapa: Choose a character and explore their whakapapa. Use these questions and the information in the front of this pack to guide you. Create a diagram that represents their whakapapa - if culturally appropriate you could create a pēpehā or mihimihi as part of this exercise.
• What do you know about the character - ethnicity, where they are from, their whānau, their upbringing
• What are their dreams and aspirations?
• What is motivating or driving them? Why do you think they behave the way they do?
• What are key quotes that capture the personality, beliefs and aspirations of the character?
• What are their relationships like and what does this say about the way they act?
• Role on the Wall: Choose a character you found compelling or impactful. In a Role on the Wall explore how the actor used techniques to support the function of the play. Narrow this down to a single moment. Role on the Wall instructions:
• Draw the outline of your character - could be a gingerbread man shape, stick figure, etc.
• On the outside you will note the external drama techniques you see the actor using in a specific moment, that communicate the function. Use of body, voice, movement and space
• On the inside you will think about or imagine what might be driving these choices; emotions, motivations, subtext
• Mindmapping: Looking at the drama elements, choose one that you felt was highlighted in a moment in the performance that communicated the function. Create an extensive mind map which details how that element was brought to life through the script, the characters, directorial and design choices.
• For example; what does setting the Darling household in colonial Aotearoa New Zealand communicate to the audience? OR what
does setting Neverland in a ‘wintery landscape’ communicate to the audience?
• Storyboarding: Choose a moment where a specific drama convention highlights the function. Map out on a short storyboard with captions, how the convention was used, detailing what you saw on stage and what it communicated to the audience.
• Exploring changes from the source material: Reference the material you developed for the activities outlined earlier in this pack exploring the way Bland has diverged from the original source material to explore real life connections to J.M Barrie’s life and also to Aotearoa New Zealand. Answer the following prompts with a short essay or a voice note:
• How does the way Carl Bland drew from J.M Barrie’s life, his inspiration for Peter Pan help to heal, educate, entertain or transform the audience?
• How does Carl Bland's incorporation of a female Captain Hook link to historical female pirates and how did this characterisation heal, educate, entertain or transform the audience?
• Sketching and annotating: Choose a moment where technology was used to highlight the function. Sketch how this looked on stage and annotate comprehensively.
BRINGING IDEAS TO LIFE THROUGH PLAY:
these ideas could contribute towards or become provocations/stimulus for devised drama.
• Choose a line from Peter Pan that you found compelling or impactful. Discuss why as a group.
• Break down the line, think about what it means and what it represents in the play, how it might heal, educate, entertain or transform. What does it make you think about and feel? Does it call you to action?
• Develop a short scene that explores what you have discussed using conventions and elements.
• Prior to performance explain how your short scene connects to the line you have chosen and how it heals, educates, entertains or transforms
• Make sure that you choose conventions and elements that will communicate your ideas in a coherent way
• Choose a moment in the performance where you could add more information about a character or an event. This could be prior to the play beginning, during the narrative or what happened next.
• Develop a short scene using conventions and elements
• Discuss together how this scene extends on ideas in the play
• Prior to performance explain how your short scene heals, educates, entertains or transforms the audience. Discuss how you have used conventions and elements to communicate this.
Peter Pan and Level One NCEA
“Drama transforms the tangible into the intangible.”
This section of the education pack is designed to support Level One drama students navigate the new Level One external Achievement Standard 91943 - Respond to a drama performance. Unlike like the Level Two and Three external standards, which are an exam, you will be constructing a report, over a period of time in class and it will be based around three key aspects;
• key message of the performance, the use of drama components and your own personal response to the performance, capturing the wairua (spirit) of what you watched.
This report can either be verbal or written, or a mixture of boththe main question you should ask yourself as a student is; how do I communicate my ideas, thoughts, and feelings about what I saw, the best? With that in mind, you are
encouraged to collect your thoughts, discussions and do your research in a range of formats. Such as; voice notes, sketches and annotations, brainstorms, moodboards, recorded physical responses and writing.
Below are three activities to support you to expand your ideas and support you during the teaching and learning phase of unpacking the performance.
KEY MESSAGE:
In pairs, small groups or as a whole class, discuss and brainstorm the following prompts:
• What do you think the playwright was trying to say? Why this story? Why these characters? Why this period of time?
• What do you think the director was trying to communicate through the choices they made? How does this connect with what the playwright has written?
• What do the characters in the performance represent and what do they communicate to the audience?
• What do you think the designers are trying to communicate through their choices? How does this bring the playwright's ideas to life?
Once you have brainstormed around these questions, you could journal, voice note or record thoughts around the following questions:
• How do you identify the key message of a performance?
• Can there be multiple key messages?
• Think about your interpretation of the performance - what was the key message to you?
• What physical evidence from the performance connects to the key message? This could be a scene, a moment between characters, dialogue, a moment where the use of technology highlighted an idea.
• Describe these examples and sketch them in specific detail.
USE OF DRAMA COMPONENTS:
Drama components are techniques, elements, conventions and technologies. Make sure you have explored this language and terminology with your teacher.
Now that you have fleshed out what the key message might be, you need to connect it with the choices that the director, designer and actors have made and how they have used the drama components in combination.
Brainstorm in small groups, or in pairs:
• How an actor used drama techniques in a moment that communicated the key message
• How elements created a sense of mood, atmosphere or tension
• How conventions were used throughout the performance
• How technology enhanced the story being told
WAIRUA OF PERFORMANCE AND PERSONAL RESPONSE:
In the unpacking on the NCEA website for this standard, this aspect of the assessment is unpacked in detail. Your teacher will support you in understanding this and guide you to explore, research and develop your ideas.
“The wairua of the performance is experienced as the intangible energetic and emotive qualities that carry the spirit and intention of the play. How the wairua is expressed by the performers provokes a response from the audience and allows them to reflect on the ideas and themes of the play based on their own life experiences and perspectives.”
- 1.4 - Unpacking
• What thoughts, ideas and feelings did the performers provoke in you?
• What have you reflected upon since watching the performance?
• What have you been thinking about (head) and feeling (heart) since?
• What did your gut/sense of intuition communicate to you as you watched the performance?
• What life experiences or perspectives do you bring? What connections did you make?
REFERENCES
Drama | NCEA
Level One External Specifications
Peter Pan and Level Two and Three Revision Questions
If you are a Year 12 and 13 student who attended the production of Peter Pan you will likely have had your Live Performance exam in mind as you watched the performance. You are encouraged to look at the questions written for Year 11/ Level One students in the previous section and the activities throughout the pack, especially references to Theatre Aotearoa. Having discussions around theatre’s ability to heal, educate, entertain and/ or transform can deepen or widen your point of view. With this in mind, the questions below will support you to revise for your exam at the end of the year but will also enrich your thoughts, feelings and ideas about
the performance of Peter Pan and may expand your own work that you develop in the classroom. You are encouraged to explore the questions both individually and with your peers.
Note: When answering the following question you will want to find and provide physical examples from the production. A physical example is when you describe, with specificity, what is happening on stage at the time. Get down to specific detail, for example, explaining how the actor/ performer is standing or moving, how far away from the audience they are, what is happening with technology, where exactly they are in space, etc.
The more detail, the better!
DRAMA TECHNIQUES: BODY, VOICE, MOVEMENT AND SPACE:
• Describe how an actor who you found interesting or compelling used drama techniques in a specific moment in the performance.
• Describe how the actors playing Captain Hook and Peter Pan used proximity during a moment of tension.
• Discuss how an actor uses drama techniques during a solo moment on stage. What were they aiming to communicate? What did you understand at that moment?
• Explain another actor’s use of drama techniques and how they created a sense of authenticity within the performance.
• Choose specific moments where you felt the actor used their body, voice, movement, and space in combination to create impact, focus, or to support an important idea.
• Discuss why you think authenticity is important in a contemporary performance
• Thinking about the actors and the way they created their characters:
• How did they use techniques to create a sense of time and place?
• How did they use techniques to communicate their history?
• How did an actor use drama techniques to communicate subtext in their performance? Use a specific moment and example to discuss this use of subtext.
• Discuss what you found compelling about an actor’s use of drama techniques in the performance. Choose a specific moment to focus on.
CHARACTER:
• Discuss what the character communicated to the audience; how did the actor portray them? Plot their character arc and describe how he uses techniques to communicate this.
• Discuss the purpose of the characters:
• What impact do they have on the narrative, as well as the audience and actors' relationship?
• How does the actor's use of techniques communicate their purpose in the performance?
• How did they differ from J.M Barrie’s original source material? Why is this purposeful for an Aotearoa audience?
• Explore the ensemble of characters as a whole: what purpose do they serve in the narrative?
DIRECTOR/DESIGNER CONCEPT:
• Discuss how technology or design was used during a climatic moment in the performance? What do you think was at stake within the scene?
• Discuss the purpose of the performance and how the themes or ideas link to what is happening in the world; socially, politically or historically. Link your ideas to specific moments or examples from the performance.
• How did the way the performance was realised impact the style of delivery of the narrative/story?
• How does the content of the play challenge and serve the audience?
• Discuss how the director brought the story to life using Drama Components - Elements, Conventions, Techniques and Technologies.
• What do you think Carl Bland and Ben Crowder are asking you to think about in the way they have written and directed Peter Pan?
• How did the acting and staging choices affect you as an audience member?
• How were motifs, symbols and imagery connected to native Aotearoa landscape and wildlife woven into the design elements of the performance?
• What was the impact of the way the design, directorial, and acting choices worked together? Choose a moment that surprised, shocked, or excited you to talk about.
• Discuss why the use of sound and lighting design was integral to this performance? Focus on the mood created by sound choices, use of colour and the shapes created by the angles or composition of lighting.
DRAMA CONVENTIONSSTRATEGIES ESTABLISHED TO MAKE MEANING AND CONNECT TO WIDER CONTEXT:
(NB - make sure you are familiar with what the established Drama Conventions are by discussing this with your teacher)
• Identify a moment in the performance where Drama Conventions were used to create focus, mood or atmosphere:
• Explain how the convention or combination of conventions were used in the performance
• Discuss the impact of the use of the convention or combination of conventions in this moment
• Discuss how meaning was created for you, as an audience member, in this moment
• Discuss how the use of a convention or combination of conventions in a specific moment helped you think about the big ideas and themes of the play.
• What was the wider context (socially, historically, politically or geographically) that this moment linked to?
DRAMA ELEMENTS AND HOW THEY DRAW OUR ATTENTION TO THEMES, MOTIFS AND SYMBOLS:
• What were the main themes, questions and ideas evident in the performance? Link these themes, questions and ideas to specific moments or examples from the performance.
• How were design and directorial elements (props, setting, AV, costuming, audience positioning and interaction) and the Drama Elements used to build the performance? How did this make you feel as a member of the audience?
• Identify recurring symbols or motifs throughout the performance. Explain why they were important in helping you understand ideas being communicated in Bland’s version of Peter Pan?
• How do these themes, symbols or ideas link to the wider world of the play and what impact does this have on the audience?
• Were there moments where the content was confronting or forced you to think about something in a new light? What impact does this have on the audience and you as a member of the audience?
• Discuss why Carl Bland chose to diverge from J.M Barrie’s original story in terms of characters, location and story aspects? How did this impact the way you understood the story and its themes and/or messages?
TECHNOLOGY:
LINK YOUR IDEAS TO SPECIFIC MOMENTS OR EXAMPLES IN THE PERFORMANCE.
Think about lighting, set, sound, props, costumes, make-up and how this helped bring you into the world of the play.
• How was technology used to create the atmosphere in the performance?
• How was technology used to highlight important ideas, themes and symbols in the performance?
• How was contrast and/or focus created or built through technology and why was this important?
• How did the use of technology help you gain a deeper understanding of the themes of Peter Pan?
• How did technology highlight the magic within the performance?
• Discuss why this was impactful, exciting or challenged your expectations.
• How were costumes used to communicate the characters' purpose in the performance?
IMPORTANT NOTE:
When you are writing about Set or Costume, you need to be specific about the following details and also sketch what you see. Imagine the person you are writing for has not seen the production and create a vivid image in their mind of what you saw:
• For example: Set/Props
• The size, shape and dimensions of any set pieces or props used
• The materials used, their textures and the colours
