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.
​
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.
​
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.
​
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!

Designing the Controlled Chaos of Noises Off
There’s no other show quite like Noises Off. As a set designer, tackling this farcical masterpiece is both a thrilling and formidable challenge. Michael Frayn’s play is often called “the funniest farce ever written,” but behind the rapid-fire dialogue and perfectly timed entrances and exits lies a set that must be just as meticulously orchestrated as the performance itself. This will be my third time designing this epic show, and each time brings new lessons and refinements to the process.
​
The Duality of the Set
The biggest challenge in designing Noises Off is that the set is essentially two sets in one. The first act takes place in a traditional English country home—meant to represent the set of the fictional play Nothing On. But in Act Two, the entire set must be reversed to show the backstage area, revealing the chaotic inner workings of a disastrous theater production. This means constructing a revolving or modular set that can seamlessly flip between these two perspectives, all while maintaining structural integrity and a period-appropriate aesthetic.

Engineering for Comedy
Timing is everything in farce, and the set plays a crucial role in ensuring comedic precision. Doors must open and close with ease (or slam shut at just the right moment), stairs must be sturdy enough for frantic chases, and props need to be strategically placed to create mayhem. One misalignment or delayed movement can throw off an entire scene. During the design process, every door, window, and entrance is planned with the actors' blocking in mind to allow for maximum comedic effect.

Durability vs. Functionality
With a show as physically demanding as Noises Off, the set takes a beating every performance. The constant running up and down stairs, slamming of doors, and accidental (or intentional) destruction of props require a set that is not only functional but also incredibly durable. Materials must be carefully chosen to withstand nightly abuse while still looking realistic. Finding the balance between safety, durability, and the need for pieces to move or collapse in just the right way is key.

The Illusion of Spontaneity
One of the greatest ironies of Noises Off is that while it appears to be a play spiraling into complete chaos, it is, in fact, one of the most technically precise shows to stage. Every element—from the movement of the actors to the placement of a fallen prop—must be choreographed down to the second. The set must allow for this level of precision while still maintaining the illusion that everything is falling apart in real-time.

Final Thoughts
Designing Noises Off is a test of both creativity and technical problem-solving. It demands an understanding of not just set design, but also the mechanics of farce, the physics of construction, and the rhythm of comedy. But when it all comes together, there’s nothing more satisfying than watching the audience erupt in laughter at the beautifully orchestrated chaos happening on stage.
For anyone working on this show—be it the cast, crew, or designers—the result is a labor of love that proves just how much thought and effort go into making mayhem look effortless. After designing this production twice before, I can say with certainty that each experience has deepened my appreciation for the ingenuity and precision required to bring this play to life.

The Design Vision
One of the most thrilling aspects of designing Into the Breeches! is capturing both the setting of the 1940s and the whimsical, creative world of a theater in transition. The set needed to evoke the grandeur of a traditional theater space while allowing for intimate moments that showcase the characters' journey. I wanted to create a design that feels both nostalgic and imaginative — a space that transforms as the women's confidence grows and their production comes to life.

Challenges and Creative Solutions
A primary challenge in this production was balancing the dual worlds of backstage and onstage theatrics. We needed to seamlessly shift between scenes that take place in the theater’s rehearsal space and moments that capture glimpses of their ambitious Shakespearean performance.
​