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Drew Yenchak

John Wascavage, who plays H.G. Wells, and Taylor Chalker, who portrays Amy, rehearst for "Time After Time."

"I felt part of the reason it was set in San Francisco was to do car chases on those hills, and I knew we wouldn't be doing those," Mr. Cole said, laughing.

The show takes other detours, including motivation for the Ripper's heinous crimes. He also is haunted by a chorus of his victims.

"You can get away with murder in film," Mr. Saver said, pun intended, but you can't throw in a car chase to divert a savvy theater crowd.

Mr. Saver is a teaching artist-in-residence at Point Park University, which provided the cast, crew and theater -- "They are the producers of this production," Mr. Cole said.

It was about a year ago that Mr. Barre, a veteran director and Tony-nominated actor (for the 1989 musical "Starmites"), joined the team. He had hoped to work with Mr. Cole since a previous project fell through due to scheduling conflicts.

"I was really drawn to the piece," Mr. Barre said. "It succeeds on so many levels. I have a habit of calling it a good, old-fashioned, contemporary romantic sci-fi thriller."

Also aboard was Steve Orich, the arranger/orchestrator for performers, films, and TV series, plus shows such as "Jersey Boys." Some of the "Time After Time" tunes got a concert treatment, accompanied by piano, at a Massachusetts benefit, with Broadway stars like Fox Chapel's Christian Borle ("Spamalot," "Legally Blonde") singing as Wells.

For this first full-scale production with orchestra, Point Park Conservatory students populate the cast, including John Wascavage as H.G. Wells, Taylor Chalker as Amy and Michael Campayno as John Leslie Stephenson (the Ripper).

Last Wednesday, all were gathered at the Playhouse's Rockwell Theater, where scenery and musicians were introduced to the rehearsal process.

Before heading to their respective perches for rehearsal -- Mr. Saver with the musicians, Mr. Barre directing onstage traffic from the center of the theater, Mr. Cole going back and forth between them, taking pictures and notes -- the trio sat at a round table in a room several flights above the Playhouse theaters and discussed their congenial collaboration.

They alternately finished each other's sentences, talked over each other and ceded the floor. Asked if there was a tie-breaking vote to settle disagreements, Mr. Saver jumped in first.

"It's never come to that because we're all about the same thing: making the show as good as it can possibly be and keeping it honest."

An example would be Mr. Saver changing his tune to serve the characters and keep the show "as timeless as possible."

"One of the things I've said before to Steve is, wouldn't it be interesting if John and H.G., when they come forward, if they sing in a contemporary vernacular? But why would they? They only know from whence they come. So you have to find something that rings true, rings honestly. That idea lasted about 15 minutes. It didn't resonate at all."

What you do find are tunes associated with specific characters crossing over, particularly in the case of H.G. Wells, as the characters grow and learn from each other.

All of these ideas are evolving and keeping the student cast on its toes. Mr. Cole said that there were changes on 30 pages of the script after the first rehearsal.

Last week, the trio descended the steps and Mr. Barre led the cast as it was introduced to the multilevel set -- asymmetrical steps that can represent more than one locale in the same scene -- bordered by projection screens. Mr. Barre, miked so he could be heard from the audience seats, advised them to get comfortable with the steps and "put safety first."

The actors then went through their paces as Mr. Barre stopped and started and stopped again, asking actors to retrace their steps and then make note of new marks, before beginning anew. Calculus might be a breeze compared to creating a role from scratch, learning lyrics and lines, and remembering where to be at every moment.

"I told them from the first day, you're not here just for your talents but for your minds," Mr. Barre said. "I really want them to engage us in what works for them and what doesn't. ... We've learned from them, too."

During the run-through, the actors maneuvered around and through a false-proscenium wall, with openings that will become doors, in front of the staggered steps. As the musical opens, it defines London streets and Wells' home.

The actors were asked to work at a fast clip or retrace their steps, as Mr. Barre conducted traffic control.

The director and his collaborators say that it helps that they are all detail-oriented, and that they watch each other's backs to serve the piece.

One thing they all agree on is that the book and movie were merely starting points. Mr. Cole hasn't seen the movie in more than 10 years.

It would be a mistake to be too reverent to the source material, he said, "especially in musical theater. If you look at the film, there are some holes which are covered beautifully by car chases. ... I think theater audiences are smart. If something doesn't ring true, they will not be listening in the next scene."

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