At the heart of “Charting Neverland” lies a simple truth: the stories we tell are the maps we leave behind. They remind us who we are, where we’ve been, and how to move forward. When we first began creating this show, I had no idea how deeply those themes would resonate.
Less than a year ago, “Charting Neverland” was just an idea — a spark born from questions asked by students in an after-school class. Together, we wondered: What if Neverland was fractured? What if Peter Pan’s shadow had been forgotten, and was now searching for something lost? What if memories had the power to shape the world around us? Those ‘what ifs’ became the foundation for a new musical, one that grew through collaboration, curiosity, and the creativity of young artists.
Creating “Charting Neverland” has been an adventure in itself. With each step, we uncovered something new — whether it was the emotional depth of Ash’s journey through grief, the clever alliteration of the Tinker Fairies, or the way Nana Wendy’s journal became both a map and a memory book. It was through that journal that we realized what this story was really about: the ways we hold on to those we’ve lost — not by clinging to what was, but by carrying their memories forward.
That spirit of collaboration has defined the entire process. Two University students, Guillermo Oviedo and Cameron Measom, reached out to me upon hearing of this project and offered to help write and expand the outline that our Youth Theatre students had started last spring. Their contributions were invaluable in shaping the show into what it has become.
Our production itself reflects this idea of connection and shared storytelling. University actors are working alongside our High School Conservatory actors and other youth from our broader community, creating a multi-generational collaboration that enriches the performance. Meanwhile, our Theatre Teaching Majors wrote a study guide that connects the themes of the show to the schools, classrooms, and students who will attend our student matinees.
But beyond what’s happening on stage, there’s been magic in the rehearsal room itself. I’ve seen young actors quietly film their favorite songs while they’re offstage, eager to keep practicing at home. I’ve overheard sweet compliments from students sharing which songs they love best. And just this week, the excitement of trying on costumes was almost electric — the kids’ energy was contagious, filling the room with laughter and excitement. These moments are reminders of why we do this work — the magic that theatre brings not just to audiences, but to the artists who create it.
In the end, “Charting Neverland” is a reminder that the maps we leave behind are more than just stories — they are gifts, passed from one generation to the next. They are how we find our way forward, even when we feel lost. And for that, I am grateful to every artist who helped chart this particular course.
Charting Neverland
Adapted and Directed by Penelope Caywood
March 21-22
Kingsbury Hall