What if we told you the television was invented by a 14-year-old boy? That’s where El Último Inventor begins. What follows is a brutal fight between industry titans, each trying to claim credit for changing the world. Invention, betrayal, impossible moral choices. The kind of story that sounds too crazy to be true, except it actually happened.

Directed by Migue Siman and written by Aaron Sorkin, and produced by Migue Siman and Chechi Santos, this production brought together 16 incredible Salvadoran performers and pushed us into new territory, technically, creatively, and emotionally.

The show opened at Escenario Millennium - San Salvador’s newest proscenium stage (and our second theatre), built from scratch inside the brand-new Millennium Plaza. A new lobby, a new stage, new dressing rooms. All of it, purpose-built for this production and future stories to come.

Migue (director) giving notes to the cast after a rehearsal.

Cast and Rhythm

The cast included Regina Cañas, Paolo Salinas, César Pineda, Oscar Guardado, Boris Barraza, Francisco Borja, Adri Cortez, Gabriel Pinto, Luis Callejas, Carlos Cordova, Bryan Lestrange, Fernando Arteaga, Gabi Rivera, Miguel Amador, Majo Bustamante, and Marco Chávez.

And what a cast. Every actor played multiple roles - switching accents, postures, and even entire personalities in a flash. Quick changes backstage became second nature. The speed and precision of the show demanded complete focus.

The show moved like a machine. Scene after scene with no pauses, no breaks, no blackouts. Paolo Salinas and Regina Cañas co-narrated, ping-ponging through the script with perfect timing while the rest of the cast shape-shifted around them.

One of our boldest choices was changing the gender of one of the central characters. In real life, David Sarnoff was a powerful executive with a cutthroat reputation. In our version, he became Debbie Sarnoff - played by Regina Cañas with grace, innocence, and quiet authority. The change allowed us to reframe the emotional core of the story, adding layers of sweetness, vulnerability, and complexity.

Regina Cañas (Debbie Sarnoff) getting ready for a performance.

A Minimalist World

The set design, by Valentina Miguel, embraced minimalism and metaphor. Three see-through walls made of metal, cut in a gothic pattern, stood as the show’s ever-changing frames. The rest was created with light and fabric - white “tela” that absorbed every color we poured into it. Every scene was assigned its own palette, letting us shift tone, time, and place with light alone. The set contained just seven chairs and two tables letting us create entire worlds.

What It’s Really About

The story isn't just about the invention of television. It's about ambition. About what it takes to win. About the moral cost of success. And how sometimes, the people who change the world aren't the ones remembered for it.

None of us knew the full history behind this monster before rehearsals began. Hell, the cast didn't even understand what story we were telling until our first full run-through. The script is so layered, with characters weaving in and out of each other's timelines, that it took seeing the whole thing from start to finish to realize what we'd been building.

One day we're rehearsing scenes about a farm boy with a crazy idea. The next, we're in corporate boardrooms watching executives destroy lives.

Our cast getting ready for a performance.

From the Program

Un amigo me dijo una vez, “dejáme extrañarte”. Eso de vivir entre conexiones es lo que me fascina del teatro. Son mil y un cuentos que soñáramos solitos sin alguien que nos regale un par de minutos para escucharlos. Así que empiezo agradeciéndoles, si- a ustedes. Nuestra audiencia. Se les extrañaba.
Hoy tenemos el gusto de transportarlos a 1920. El mundo está cambiando, hoy mas que nunca. Entre revoluciones industriales, guerras y crisis financieras, un joven inventor se le acaba de ocurrir una locura que cambiará como debatimos, como nos educamos y como nos informamos. Pero él no entiende. La que entiende es su contrincante - monitoreando cada paso, dispuesta a quemarte la casa.
Disfrutá de nuestra locura, Escenario Millennium es de esos hijos que no te esperas tener pero terminas amando. Date una vuelta por antesala, Valentina Miguel soñó un mural que no solo habla de quienes somos, y de donde venimos, sino que también nos deja claro lo que seremos: muertos sin arte.
Estas nuevas tablas vibran con ansias de sorprenderte. Y su elenco, ¡su elenco!, sueña con compartir este espectáculo que fue todo un reto deconstruir. Mi recomendación; las cosas se mueven rápido. Dejá el celular a un lado, olvídate de eso y de aquello. Y abrí el corazón. Por que más que pedirte que abrás tus ojos, necesito que los cerrés un segundo, y recordes aquellos tiempos en donde inventar era para todos y soñar era asi de fácil como gatear. Donde las grandes ideas eran desayunos, y tu fé una herramienta más.