Every once in a while, a production’s needs spur our artistic staff to fascinating creative solutions to the problems of staging a show. For Alfred Hitchcock’s The 39 Steps, the challenge has been how to navigate 4 actors through all the different scenes and characters of the film while keeping things moving FAST.

I happened across one of the solutions to that problem in our canteen this morning. It looks like this:

I want to crawl inside and live there. But what IS it? Here’s a hint.

This beautiful, elaborate construct of wire hangers, craft paper and foam core will be lit by cunningly hidden lights, throwing larger than life shadows onto various parts of the stage scenery and thereby helping our Puppet Designer Sarah Freschette to bring one of the many chase scenes in the show to life.

What I love about it is the way this solution references the long shadow of, well LONG SHADOWs in Hitchcock-ian suspense movies while solving a very practical production problem- how to stage a chase scene when you’ve run out of actors to chase/be chased.

The 39 Steps opens next Friday. Until then, you will find me sneaking into the cantina, staring for long hours like a transfixed five year old with a new toy, imagining my own shadow play Hitchcock movie, with me as the Hitchcock blonde.

Apollo just launched, How to Disappear is in rehearsals – but we’re already deep into the design process for the next few shows.  Russell Parkman (Pillowman and The Underpants) has some very cool ideas for Crazy Enough down in the studio.

Bill Bloodgood (Beard of Avon/12th Night ) is designing the three delicious acts of Earnest.

In this webisode of PCS Backstage, we take you into the rehearsal process with Chris Coleman, talk with costuming about those amazing pull-away dresses,  and talk shop with Don Crossley and Chris Rousseau.  Enjoy!

[flash http://www.youtube.com/watch?v=YysY4uwBp_k w=425 h=344]

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Final dress tonight. It’s late and I should be in bed sleeping but Owen Carey our photographer took photos at our final dress and sent me this.  It looks like I am sitting all alone, peacefully waiting for the actors to come on – but in fact there are about ten people sitting behind me with computers, scripts, cables, wires and headsets.  When the house lights are out it looks like a long cockpit in an airplane.  The set is by Bill Bloodgood and lighting by Daniel Ordower.  We are all looking forward to a day off before the big push next week of rehearsals and previews.  Can’t wait to have audiences.

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The Beard of Avon and 12th Night began rehearsals on Saturday with a brief design presentation from Bill Bloodgood, the set designer; and Deb Trout, costume designer. Both sets use major elements of the same set and costumes, with variations for each. Kim Crowe, our dramaturg for both shows has created a website for the company to access research about the period. You can peruse it as well at www.upstartdramaturg.com.

Ken Albers (Mr. Tarleton in Misalliance) plays the theater producer, John Heminge and Lord Burleigh in Beard; and Sir Toby in 12th Night. Cate Davis, plays Anne Hathaway in Beard; and Maria in 12th Night. Cate and Ken spent many years in the acting company at OSF, and this morning shared that this is the 75th play they have worked on together!

Daniel Harray plays a distraught playwright, Fitch, in Beard and Sebastian in 12th Night. Brian Thompson (The Fantasticks, Pride and Prejudice) plays the Theatrical producer Condel/Sir Francis Bacon in Beard and Malvolio in 12th Night. Brian actually played Malvolio many, many years ago as a student in college (Northwestern?) – and is tickled to have another shot at it.

This is the 12th Night costume sketch for Antonio.

And for Sir Toby.

Ben Buckley (left), our only Portland native, plays Geoffrey/Ludibundus/Cleopatra/Kate in Beard and Valentine/Soldier/Priest in 12th Night. He’s going to be a busy guy. This is his first PCS show. Jennifer Lee Taylor (Elizabeth Bennett in Pride and Prejudice) is playing Viola in 12th Night and the Minstrel/Player in Beard.

Today we spent time around the table discussing Beard of Avon. I like to start at the end of the play and work our way back to the front. For me, it’s easier to see the relationship of the events if you go back to front.