Our Wendy & Peter Pan wasn't about fairies and pirates. It was about grief, memory, and what it really means to grow up.

The adventures of Wendy, John, and Michael in the land of Neverland. This new version of the unmistakable Peter Pan legend is told through Wendy’s eyes, as she, along with her brothers and the Lost Boys, must battle pirates and jealous fairies in search of the happiness she longs for.

Directed by Migue Siman. Produced by Migue Siman, Chechi Santos, and Cristy Bardi.

Our entire cast, creative team and crew members on stage.

A Peter Pan That Hurt (In All the Right Ways)

From the start, we knew this wasn’t going to be the familiar Peter Pan. Our story opened in mourning - Wendy had just lost her brother. Neverland wasn’t a fantasy escape. It was her way of holding on, of searching for what was lost. That single change grounded the entire show in something deeper.

What surprised us most was how deeply the story landed with adults. Kids connected with the energy and the wonder. But for grownups, there was something raw and haunting in it—because most of us know what it’s like to wish we could go back… and realize we can’t.

Oscar Guardado (Capt. Hook) prepping his lines during rehearsals.

Flying, Fighting, and Figuring It Out

The technical stuff nearly killed us. This was one of our most ambitious pieces. Real swords. Real stunts. Immensely complicated flying sequences…

Our space wasn’t built for that kind of spectacle, so we found a workaround. We engineered and built our very own rigging system using cranes. It wasn’t glamorous, but it worked - and the actors flew. Across the room, over the audience. It was risky, scrappy, and full of heart. We wouldn’t have had it any other way.

We repurposed the rotating stage from Frankenstein, and staged scenes accordingly… but just two weeks before opening, the platform and it’s system broke forcing us to redesign entire sequences.

There were a dozen other things that didn’t go as planned. Most of them involving sparks and fairy dust. But the team kept going. That quiet resilience - that trust in each other - it was what made the show work.

Our Neverland

We decided early on to skip the Disney sparkle. For style and design we went full punk instead - all sharp edges with a punk aesthetic. No cartoon pirates, no cute fairies with glitter. Just people dealing with loss and trying to figure out what growing up actually means. It felt more honest that way.

The costumes and set had this punk edge that somehow still felt like a kid's fever dream. Bold colors, weird angles, these massive spiky wigs that looked like they belonged on a rock star. We wanted everything to feel real but slightly off - like you were seeing Neverland through a kid's eyes, where a cardboard box can become a pirate ship and confetti worked for fairy dust.

The trick was making it grounded enough that you believed it, but surreal enough that you remembered what it felt like to have an imagination that big.

What They Said

“Las peleas son buenísimas. Las espadas de verdad. […] los vi volar y no podía respirar. Es realmente mágico.”

“Lloré, soñé, me reí como un niño. Súper espectacular.”

“…de verdad no nos esperábamos ese nivel de producción.”

Final Thoughts

Looking back, this wasn't really about perfect flying effects or flawless choreography. It was about being in a room with people who trusted each other enough to tell a hard story. Peter says don't grow up. Wendy knows you have to anyway. The show reminded me why we keep making things even when - especially when - it's difficult.

Some stories are worth the broken equipment and the last-minute panic. This was definitely one of them.