Prepare for delightful, unexpected twists in a wondrously inventive telling of J. M. Barrie’s classic tale, Peter Pan, by the magical team at Nightsong, presented by Auckland Theatre Company this spring.
One of the most highly-anticipated theatre productions of the year, and for good reason, this modern day reimagining of Peter Pan transports audiences into the spellbinding story of the boy who never grows up. As a headstrong Wendy helps Peter to reattach his lost shadow, riotous make-believe music, and mayhem ensues, as she and her brother John fly out of their bedroom window with Peter and follow him to Neverland. Here, Captain Hook, Tinkerbell and the Lost Boys await to take them on the greatest adventure yet.
This timeless story is guaranteed to delight anyone young at heart, deftly exploring both hidden and overt themes — from the blissful ignorance of childhood to chasing eternal youth — in bold new ways. Acclaimed playwright Carl Bland transforms the beloved narrative into a big, bold, and heart-warming performance for the ages — with TikTok sensation, actor, writer and director Theo Shakes in the starring role as Pan.
Here, we sit down with Shakes as he gears up for his four-week run, discussing the joys of live theatre, online versus offline performance, and the magic of stepping outside of your comfort zone.
Peter Pan is on from October 8th until the 3rd of November at ASB Waterfront Theatre. Book tickets here.
Firstly, tell me about Peter Pan — we all know the story from childhood, but in your words, what’s the play about?
Peter Pan is truly timeless. It’s all about staying young and believing in the joy, mess and chaos that childhood invites. It asks us to live with bravery and stand proud in who we are before the world puts us in a box.
What drew you to the play initially? How did your casting come about?
The directors Ben Crowder and Carl Bland reached out with interest. They held a workshop last year and felt I stood out when we ran old scenes from Nightsong (their theatre company). I’ve only ever played side characters or supporting roles. One of my requests at drama school was to experience a full character arc, which I never got in the end. When Peter Pan came along, the idea of playing a lead felt like a great challenge and an iconic character to serve.
You’ve become quite prolific on TikTok for your comedy skits, has comedy always been something you were drawn to? And will we see some of this in Peter Pan?
I’ve always enjoyed comedy but every genre excites me. I don’t make a TikTok with the intention to be funny, but I’m aware of the humour needed. I’m more interested in capturing life. What I do on TikTok is always informing my creative practice, however I want to isolate the character building experience with Peter Pan and try new things. The stage is much different from the little iPhone screen. A boldness is needed to give every audience member a slice of the pie.
In your TikToks (and with the characters you’re creating within them), you’re essentially reflecting humanity back to itself. Did you approach playing a fictional character — Peter Pan — in the same way?
Peter Pan mirrors many children today. I have stumbled upon people in life who encapsulate similar qualities however, Peter’s not ageing by the minute. He’s a particularly rare case. There’s questions around what that’s doing to him internally. I’ve had conversations with people who have worked the story for years. Perhaps he’s over 100 years old and denying his true age. There’s a lot more that goes into exploring his different moods and emotions than what goes into filming a TikTok. Inside Out on steroids is in this boy’s head.
In crafting your own version of Peter, did you draw on personal experience from childhood, or seek inspiration elsewhere?
I’ve definitely been thinking about my own life. There’s flashbacks I get in rehearsal of moments in my life where I’ve been small and curled in a ball. There’s also been the opposite, like the feeling of: “This is my part nobody else speak”. Those moments of proudness and exuberance. I like to get nostalgic, but Peter doesn’t because he’s forgotten his past. The present is enough for him. I’m reminding myself to live in the now and enjoy what’s in front of me, because this world moves fast man.
What was your personal relationship with the story, ahead of being cast in the play?
Peter Pan runs deep in the corners of my mind. It’s the first play I ever performed in year nine. I was only 13. I was new to experiencing all the different moving parts to a show. I was a part of the ‘indigenous crew’ and wrote a bunch of songs and raps. Oh, how times have changed. And so, this story continues to follow me. It’s not done with me and I’m not done with it. I’m also a 2000s kid. You had a set amount of DVDs in your childhood and so you’d repeat the same films. One of those was the 2004 Peter Pan. I always wanted to be Peter Pan. I always wanted to fly. I always dreamt of living on an island without any rules or parents to control me.
Peter Pan is a story of whimsy and magic, and the notion of eternal boyhood — but there’s much more to it beneath the surface, what’s your take on the story’s moral lessons?
I feel like there’s a lot of commentary around people struggling to love themselves and therefore not loving others. Love is complicated, yet it’s a force that runs through everyone’s lives. Are we really listening to each other? If you don’t listen to the ones you love, you’ll miss the importance of who they are. Sometimes we get in our own heads about how precisely we have to live our lives, to the point where it leaks onto others. Then, every so often, someone comes along and gives us a new perspective. That someone can set you free.
For you, what is the play’s single most important and impactful message?
Time waits for nobody, so it’s only a matter of time before you unlock how to use it wisely.
As an actor, what’s the most challenging part of playing such a well-known character? And what do you enjoy the most about it?
The challenging part is not falling into the cliches. For example, Peter has distinct poses like the arms crossed or the hands on the hips. I want to shape his mannerisms and body language with purpose. If it means taking inspiration from prior adaptations then so be it, but there’s importance in finding a point of difference when retelling a story that’s been done over and over again. I want to allow people into what’s already dear to their hearts, but also give them a dash of originality.
Having worked across TV, film, and the theatre, both in front of the scenes and behind them, what’s unique about plays? What do you love most about performing for a live audience?
The rush. There’s an absolutely thrilling feeling of hiding in the shadows of the wings, knowing you’re about to step into the hot zone. In the hot zone there’s the notion that you’re about to dance on a stage where legends before you have poured it all out. There’s also nothing like clocking an audience member and connecting, for a split second, with a face in the crowd. You’re exchanging something very, very real which won’t always be around — in fact, it’ll disappear within an instant and never be the same again. Magicians would call this magic. The best bit is, you’ll never forget how it made you feel. Both the performer and the viewer make the story up each night.
How do you build trust and creative chemistry with cast and crew members who you haven’t necessarily worked with before?
It helps when everyone’s nice. And everyone is a joy to work with in this company. There’s also a buzz of laughter in the air. We’re in a lighthearted story so you can’t take yourself too seriously. Between moments of action you get to catch up with a cast mate, learn about their story and who they are. That’s what connecting in with your fellow actors looks like. You trust people when you get to know them. In acting its gotta be on double time because of the speed at which things move, but when you remember everyone’s here for the same reason, you know the tethered spirit is closer than you think.
Nerves — do you get them? If so, how do you move past them to deliver a great performance?
Who doesn’t. I yawn. I don’t like saying that either because if you see me yawn you’ll know I’m nervous as f**k, but there you go. I don’t always get past nerves, I use them. The ‘Actor in instinct’ was part of my training — it’s the idea that you can lean into everything you’re feeling because it’s true. Your body is already alive and active, so it doesn’t have to work hard to find real feelings. For me, ‘nerves’ were a reason to cross over from directing into acting. The stakes are higher, which means it’s hard. It’s a good challenge. Why would I do something that’s easy? BORING. The feeling of adrenaline and overcoming your nerves feels like climbing to the top of the loftiest mountain. Yessir!
What exciting things are on the horizon for you? What are you most looking forward to right now?
I’ve written a play called ‘The Play That Gets Louder’ which myself and a group of awesome creatives will be performing at Basement Theatre in 2025. You should come watch. Here’s a piece of theatre you will have never seen before. The experimental sound design of the play offers its X-factor. I’d love to get some younger guys to come watch theatre, and I think this is the show for them.
Finally, tell us why we need to see Peter Pan…
We’re going to give you not just a slice of imagination, but the whole cake. No, the whole bakery. There’s treats in this show you’ve never seen before. There’s a set and music you’ve never experienced. This show is gonna be fly. Yes, pun intended.
