I actually worked twice on J.M. Barrie's "Peter Pan" for the Intiman Theater. First as a Technical Directing Intern, and then as a part of the Fly Crew two seasons later. Since the show was going to run for five seasons as the theater's Christmas show, the set itself had to be built a little differently than most theater sets, since it had to be able to be broken down each year and rebuilt the following year.
This meant that the set itself had to be more permanent than most sets are, and as a result this was a much bigger, and more intensive job. So while continuing to build the other shows that year, we also built the Peter Pan set over the span of nine months in a huge warehouse to the south of Seattle, then transported the set pieces north for the production.
In addition to these challenges, the set itself was technically complex. Made up of three separate sets configured on tracks to roll center stage, the set pieces themselves also broke apart into subcomponents. The design required successfully overcoming such engineering and artistic challenges as subdivided raked ovals, complex hardcut drops, second-tier platforms that had to be weight bearing, but only supported from one side, creating realistic looking trees, and carvings of animals.
Along with the normal production tasks of producing blueprints, fly schedules, and such, my primary work was on Hook's Ship, and NeverLand. I created all the carved sconces and skull's on the ship, as well as helping to build the mast, floors, back panel, and the fanning ship railing. On Neverland I helped in creating the carved creatures like giant butterflies, the trees and raked oval base, as well as cutting a complex pattern into one of the main harddrops.