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came to them: Michael Crawford’s EFX. Harris
took on the role of executive producer
for this show.
“That job was unique because each scene
was the equivalent of one entire Broadway
musical, and it really stretched the capability
of the company. It was quite a special time. We
grew up.” They had to—the proscenium was
110 feet wide and there were 200 High End
Systems Cyberlights and 300 Vari*Lites being
used.
Reflecting on the go-go 1990s, Harris says
what was previously a craft industry with
some technical aspects like hydraulics, etc.,
suddenly became highly technology-driven.
He points out that the Jules Fisher’s original
Chicago had 220 fixtures and eight winches,
making it an extraordinarily complicated
show for its day. But if that show was produced
today, there would be 1500 lights and
50 winches.
The next discipline for Harris to tackle was
theme parks.
“We pursued that theme park market because
it was another place to apply our craft,”
he says. “All these transitions were learning
experiences for the positive. They might not
have always been financial successes, but
many of the forays out of theatre were not initially
financially successful. But it’s almost like
traveling abroad in terms of experience and
growth. There’s a certain magic in each area
of the market that we participate in. And the
theme park industry was totally different.”
The theme park market door swung open
because of two big non-traditional shows he
worked on: Beauty and the Beast, where he
was production supervisor, and EFX. These
two experiences gave him a new perspective
on the world because
the companies that
put on these shows,
Disney and MGM,
had something most
Broadway shows are
lacking: resources.
He marvels how
he was working with a
company that pulled
together $1.5 billion for
a hotel. “I’m just a guy from Broadway where
you have to scrape, borrow, beg and steal to
get a show produced!” he laughs. “MGM and
Disney taught me there were other ways to
do what we do.”
This continued growth in all areas allowed
him to found Production Resource Group
(PRG) in 1996, and the other companies were
placed under that. There was a bit of a buying
spree in the following years, and leading
lighting and audio companies were brought
into the fold, including Production Arts, Vanco,
Bash, Cinema Services, Promix, Electrotec,
Lighting Technologies, A-1 Audio, Production
Lighting Systems, Light & Sound Design, Four
Star and Westsun.
Soon PRG had 16 offices in the U.S., Canada,
UK and Japan.
He says that he noticed a phenomenon in
the 1990s where the industry’s entrepreneurs
of yesteryear were at the point of getting out
of the business, and they were either handing
it down to their kids with decidedly mixed results
or just closing the doors. PRG filled that
gap and quickly became the 800-pound gorilla.
And Harris is not apologetic about it.
“There was a lot of criticism and angst
about this big monster called PRG, but at the
end of the day I think we were a necessary
‘evil’ because we allowed certain people to realize
all the equity in their business over their
lifetime,” he says. “So it was unique in the ‘90s,
and I saw an opportunity to grow our business.
They say if you don’t continue to grow,
you die.” He saw a growing need for more
integration of everything, more turnkey operations,
and a move away from the a la carte
approach.
“I think for a
long time people
will still buy things
individually, but in
some areas there
will be more integration
in what
we do and how
we do it.”
“Still a Lot to Do”
While flattered at the Parnelli, the youngest
recipient of our industry’s most prestigious
award is a little uncomfortable with it.
“I’m still a young man, and there’s still a lot to
do,” he laughs.
With 1500 people working with him
worldwide, he notes how far he’s come. A
single issuing of paychecks is more than what
the company used to make in a year.
Understandably, the personal challenge
is keeping it fun. On the morning of the interview
for this article he had just been to
a meeting of a new Broadway show, and he
says that part, the production side of theatre
or a corporate event or a concert “is something
I actually don’t get enough of.” Otherwise,
he’s trying to drive the Queen Marysized
ship, making the right decisions about
the future and keeping pace with the everchanging
market. The modest Harris does allow
himself one bragging point:
“One of the things I do is work for the
people at this company. This is bold, but the
best people in the industry are with us. We
still have all the original inventors of Vari-Lite
and Stage Command, and just have a wealth
of knowledge here that is second to none.”
That indulgence aside, he’s not that interested
in reflecting on the history of the business,
and you won’t hear a moan about how
things were “better” in the “good old days.”
“A lot of people would say no, things
aren’t as good as they were in this business,”
he shrugs. “But I say the world is about
change. We change everyday—emotionally,
spiritually. I think what happens to the entire
industry enhances the experience in certain
ways that are all for the positive. Like the
original Chicago. I don’t know if more recent
productions are better or worse—just different.
Live entertainment continually reinvents
itself. And I think audiences overall are more
entertained today.”
Few who know and worked
with him are surprised at
his success.
“I always thought he had very special
quality,” Cohen says, on the phone . He was
always wonderful with people, and has a very
even keel as far as ego is concerned. And he
seems to understand highly complex business
situations and technical situations, and
has been able to mold those together—thus
you have PRG today, which was built mostly
on his back. He had some difficult moments
too, of course. But he’s resilient, an extremely
hard worker with a high degree of integrity
and a God-given talent.”
Harris will receive the Parnelli Lifetime
Achievement Award on October 20, 2006,
at the Venetian Resort-Hotel-Casino in Las
Vegas during LDI. Past honorees include
Patrick Stansfield, Bob See, Chip Monck,
Mike Brown and Brian Croft. For more information
and to make reservations, go to
www.parnelliawards.com.
Jere with his father Joe Sr.
32 PLSN SEPTEMBER 2006
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