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Special New York City Section A Tale of Two Scene Shops Inside the operations of two companies that make Gotham their primary focus. By Lisa Mulcahy The Broadway mounting of Cat On a Hot Tin Roof is a recent Showman Fabricators client. Shown here is a set from the show. For both Broadway and Off-Broadway, scene shops occupy a central role in the backstage operations. Scenic crafters must constantly supply the sets, fabrications and backdrops that serve as the core of every production. They also help designers realize their creative visions, put out technical fires at the drop of a hat — and do it all on tight deadlines. Hudson Scenic Studio, Inc. and Showman Fabricators are two New York City-based scenic shops that exemplify this. Let’s take a closer look at how both operate and why they’re very much at the top of their game. On The Hudson When Hudson Scenic Studio, Inc. began in 1980, the company had a goal: to be the Northeast’s number one in scenery fabrication. Growing from a five-employee staff working out of a tiny 5,000-foot space, the company expanded rapidly from a straight-up scenery-building business to a multifaceted operation, encompassing painting and mechanization. Today, under the leadership of CEO Neil Mazzella, Hudson Scenic’s 72,000-foot Yonkers facility has produced work for hundreds of Broadway shows, including Cats, The Lion King, Chicago, The Phantom of the Opera and Mamma Mia. Clients also include the major TV networks, Madison Square Garden, the New York Metropolitan Opera and Lincoln Center, among others. A former production and stage manager with experience working on rock concerts, cruise lines, clubs and special events, Ellis had been well aware of Hudson Scenic’s reputation prior to his position as project manager. Working for a company that is in such high demand has given him a keen firsthand insight on what is expected of him on a project, particularly one that is high profile, such as a Broadway show. “If we provide the designer and the production with what they want and need, and are on time and on budget, then that translates into a degree of success,” says Ellis. “The ultimate success of any show beyond that is in the hands of the producers, the ticket buyers and the muses.” The latter statement has ironic meaning for Ellis in light of a recent project he worked on — the pre-Broadway Mambo Kings, which featured a set by Tony Award-winning designer Riccardo Hernandez but never made it to New York due to abysmal out-of-town reviews. Ellis derives great joy in helping designers translate their vision into an actual set. Yet making that art a reality routinely calls for long hours. Ellis’s typical workday starts between 7 or 8 a.m. His first order of business is checking on the progress of ongoing jobs. “The pieces of the show might be spread out among the iron shop, carpentry shop, paint shop, set electrics or automation,” he explains. “Discussion with the production managers and the various departments, on all levels, provides a good picture of the status of the job. Once a show hits the floor, there are a lot of very talented people to shepherd it along.” Next, Ellis makes a stop on the second floor to check in with Hudson Scenic’s engineers toiling on the technical specifics of numerous projects. “Large and small sets require detailed planning, and that process is addressed here,” he notes. Then it’s up to the office to review new projects on the horizon. “If we have received a new bid package, several hours will be spent going through the drawings and coming up with estimates for the new show,” he says. Fortunately for Ellis, he can multi-task. “All the while, we are fielding calls from varying sources asking for help with anything from a painted drop to a piece of automation to a 36 April 2007 • www.stage-directions.com
full-scale trade show installation,” he continues. “If there are shows loading in, or tech rehearsals, part of the day might be spent at the theatre. Productions have their own crew who take on the responsibility once the sets leave the shop, but there is always some element that needs just a little more attention. Someone from the shop is always available in those instances.” Courtesy of Hudson Scenic Studio Show Your Stuff Founded by Robert Usdin and Michael Cioffi in May 1986, Showman Fabricators, Inc. is renowned for its technical innovations, which include cutting-edge wood and metal fabrication techniques, automation, electrical services, graphics and scenic art. The company’s work has graced scores of Broadway productions, including 42 nd Street, The Vertical Hour, Contact, Take Me Out and Chita Rivera: A Dancer’s Life. They also work in television, live events, corporate promotions, cruise ships and museums. Mark Viola, Showman’s vice president, has been with the company since its start. He is also a member of the faculty in SUNY Purchase’s design technology program, and has taught at Yale and the North Carolina School of the Arts. Viola came to Showman after meeting Cioffi and Usdin at SUNY Purchase. The association would be fortuitous for Viola. “Mike and Bob graduated in 1984, and I graduated in 1985,” recalls Viola. “We were all technical direction majors in the design technology program. Mike and Bob essentially started the company by renting a small space with a table saw, and less than a year later, I came on board. We all wore many hats. I was the lead carpenter/draftsperson/purchasing agent/Johnny-on-the-spot kind of guy. Now, instead of six guys in a garage swinging hammers, we’re about a 120 guys swinging hammers!” Showman’s initial disadvantage ended up working strongly in the company’s favor. “We really came on the scene during a crossroads Hudson Scenic staffers work on a backdrop for the national tour of The Color Purple. www.stage-directions.com • April 2007 37
Page 1: SALUTES NEW YORK CITY • A TALE OF
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Page 10 and 11: www.stage-directions.com Publisher
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Page 15 and 16: Barbara Hauptman, executive directo
Page 18 and 19: Light On The Subject By Kevin M. Mi
Page 20 and 21: On Broadway By Bryan Reesman Good C
Page 22 and 23: Theatre Spotlight By Robert Woltman
Page 24 and 25: School Spotlight By Robert Woltman
Page 26 and 27: Vital Stats By Kevin M. Mitchell Fr
Page 28 and 29: Theatre Space By Solange De Santis
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Page 44 and 45: Resource Roundup Back It Up Looking
Page 46 and 47: Biz Talk By Jacob Coakley Once More
Page 48 and 49: The Play’s the Thing By Stephen P
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