On a recent afternoon on 42nd Street in Manhattan, a mythological bird was preparing to take flight.

Backstage at the New Victory Theater, a black-clad puppeteer put on an elaborately stylized mask and stepped into a beam of light, throwing the shadow of fluttering hands onto a large scrim.

Nearby, two other performers were gearing up to practice a sword fight. Then the music started, and a crew of nine began a full run-through of “Song of the North,” an elaborate shadow puppet staging of stories from the 10th-century Persian epic the “Shahnameh.”

From the audience, the show unfolded like a seamless animation. But backstage, the next 80 minutes were half ballet, half mad scramble, as the performers grabbed hundreds of different puppets, props and masks stacked on tables and, with split-second timing, jumped in and out of the light beams streaming from two projectors.