As the curtain prepares to fall for the final time tonight, I am filled with gratitude and pride reflecting on the incredible journey of Into the Breeches. This heartwarming, laugh-out-loud, and inspiring production has been a standout in the season, and it's hard to believe closing night is already here.

From opening night to now, audiences have been captivated by the unforgettable performances delivered by this fantastic cast. Every actor brought their character to life with authenticity, humor, and heart. Their chemistry on stage made each scene sparkle, delivering not just entertainment but a powerful message about courage, community, and the resilience of the human spirit.

A huge round of applause goes to director Lisa Devine, whose expert guidance and creative vision shaped Into the Breeches into a polished, seamless production. Lisa’s dedication to the story, her attention to every detail, and her deep care for the cast and crew made this show not just a success, but a joy to be part of.
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As we take our final bow tonight, I want to thank everyone who came out to support the production. Your laughter, applause, and kind words have meant the world to us. Into the Breeches has been a celebration of theater’s power to bring people together, and we are so grateful you joined us on this journey.

Peter Wolf (1918-2005) was a renowned American set designer who has made significant contributions to the theater world, particularly in the realm of Broadway, regional theaters, and touring productions. He was known for his innovative and visually stunning designs, often bringing a sense of grandeur and dramatic atmosphere to the productions he worked on.

Wolf had a notable stint with Dallas Summer Musicals at the Music Hall at Fair Park, where he contributed his talents to a variety of productions. His time with the company is marked by his ability to transform spaces and create immersive environments that support the storytelling of each production. 

His work with Dallas Summer Musicals includes some of the company’s high-profile Broadway-style productions. Wolf’s set designs for these shows have helped elevate the performances, making them more visually striking and enhancing the overall experience for the audience.

​Clink the links below to learn more about Peter Wolf:
Dallas Observer
Play Bill
Internet Broadway Database (IBDB)

Read my friend's blog post (Clare DeVries) on these drops by clicking here. 

So when designing the set for Into the Breeches at Mainstage Irving Las Colinas, I wanted to create an environment that not only encapsulated the spirit of 1942 but also paid tribute to the art of theater set design itself. This led me to an exciting, yet nostalgic decision: centering the entire design around vintage drops from the late Peter Wolf.

Peter Wolf left behind an extraordinary collection of painted drops. These pieces, once used in iconic productions, carried with them a timeless beauty that perfectly suited the period of Into the Breeches. Set in 1942, the play takes place during a pivotal moment in history—World War II—and showcases the resilience of a group of women producing a theater production while their male counterparts are off at war.

Incorporating these decades-old drops into the design felt like the natural choice for a show so deeply rooted in history. I carefully selected Wolf’s drops from previous productions, considering their colors, textures, and overall style, to give the audience the feeling of stepping into a vintage, wartime theater space. 

However, in order to allow these vintage drops to truly shine, I made the decision to scale back on the construction of physical sets. Rather than building large, elaborate structures, I focused on minimalist set pieces that would complement and frame the drops rather than compete with them. The set became a supporting character to the painted backdrops, with simple furniture and props that didn’t overpower the visual impact of the stage’s backdrop.

This approach allowed the vibrant, detailed work of Peter Wolf to take center stage. It created a sense of intimacy and realism, as if the audience were peeking into a bygone era, witnessing a live performance from a time when painted drops were the primary way to transform a stage. The result is a set that feels both authentic and timeless, transporting the audience into a 1942 theater while also celebrating the artistry of set design and the legacy of Peter Wolf. By integrating his drops into this production, I was able to create a unique connection between past and present, honoring history while showcasing the enduring power of visual storytelling.
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The experience of working with these vintage pieces has been incredibly rewarding, not only for the impact it has on the visual narrative of Into the Breeches but also for the opportunity to pay tribute to the late Peter Wolf. It is a reminder of how design, like art, can transcend time and continue to inspire future generations.

The image above captures the final scene of Into the Breeches, where the vintage drops play a pivotal role in setting the mood and atmosphere. The blue proscenium arch from The Sound of Music frames the stage, evoking a sense of grandeur and nostalgia. The red, white, and blue banner, originally from George M, adds a patriotic touch, perfectly fitting with the 1942 setting of the play. Lastly, the ship drops from Wonderful Town bring a sense of movement and transport, alluding to the broader world outside the theater. These carefully selected drops not only enhance the visual storytelling but also serve as a tribute to the rich history of theater design.

The show is running now through March 22nd, 2025 at the Irving Arts Center presented by MainStage Irving Las Colinas and Directed by Lisa Devine. 

Click here for showtimes and tickets.

It’s hard to believe, but Into the Breeches is heading into its final weekend! Designing the set for this heartfelt and funny production has been such a rewarding experience. Under the direction of the incredible Lisa Devine and presented by the talented team at MainStage Irving-Las Colinas, this show has truly delighted audiences at the Dupree Theater in the Irving Arts Center.
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If you haven’t seen it yet, there’s still time! Join us for one of our last performances and experience the warmth, wit, and resilience of this charming story about a group of women determined to keep theater alive during wartime. I’m so proud of how this production came together, and it’s been a joy seeing audiences laugh, cheer, and maybe even tear up along the way.

Click here for tickets.

What’s Next?
While Into the Breeches takes its final bow, I’m already hard at work designing my next set for MainStage Irving-Las Colinas—this time for the classic backstage comedy Noises Off! Directed by the brilliant BJ Cleveland, Noises Off opens in July, and it’s sure to be a chaotic, laugh-out-loud riot from curtain up to curtain down. This show is a designer’s dream (and challenge!) with all its moving parts—literally. I can’t wait for you to see what we’re building behind the scenes!
Whether you’re joining us for the final weekend of Into the Breeches or planning ahead for Noises Off, thank you for supporting local theater. Your laughter and applause are what make it all worthwhile.

See you at the theater!

My next show, Into the Breeches!, is coming up soon, and I’d love for you to join us! I will be at Opening Night on Friday, March 7, at 7:30 PM at the Irving Arts Center (3333 N MacArthur Blvd, Irving, TX 75062).

To kick off the evening, I'm hosting a pre-show cocktail and appetizer reception at The Ritz-Carlton Las Colinas(4150 N MacArthur Blvd, Irving, TX 75038) starting at 5:00 PM. It’s just a quick 5-minute drive to the theater, so you’ll have plenty of time to enjoy some bites, sip on a drink, and mingle before the curtain rises.

🎟️ Get your tickets here: Purchase Tickets
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Hope to see you there to celebrate Opening Night with us!

As a set designer, there’s something uniquely fascinating about seeing how other companies interpret shows I’ve designed. Whether it’s a local community theater, a regional production, or even a Broadway revival, each staging offers a fresh perspective—sometimes familiar, sometimes wildly different.

Recently, I had the chance to see another production of Spamalot. Having won a Column Award for Best Original Set Design for my version, I was eager to see how another creative team approached the same world. The differences in staging, set pieces, and overall aesthetic were very different. While my version leaned into a storybook-meets-Monty-Python absurdity, this one emphasized a more minimalist approach. It’s always fascinating to see what elements are universal and which are reimagined.

Similarly, Phantom (not the Phantom of the Opera, but the Maury Yeston and Arthur Kopit version) remains one of my favorite projects. When I worked on it, I focused on the gothic romance and grand scale of the Paris Opera House. Another company’s production I recently saw took a completely different route, an in concert version with no scenery. While a concert version focus on the music it reminded me how much a set can influence an audience’s emotional journey through a story.

It’s easy to get attached to our own designs. After all, we spend countless hours drafting, constructing, and perfecting them. But seeing other designers’ takes on the same shows is a reminder that theater is a living, evolving art form. No two productions are ever truly the same, and that’s what makes this industry so thrilling.