Career Advice Scene Shop Work?

Eric00001

Member
Hi all, I've been a member of this forum for a while, but created a new account because some people I work with use this resource and I don't want to make it known that I'm looking for a new opportunity yet...

I've been working as atd/master carp for a small producing theater for 2 years, and worked as a carp on overhire gigs for many small producing theaters while in school for technical theater. I was on the box pusher call list for the local union, but I don't have a lot of experience in any of the other areas of this industry. I'm looking to branch out and was thinking about trying to find work in a scene/production shop.

Does anyone here work for this type of company? Could you offer any insight into the differences in operations between an independent shop and producing theater? Do they follow the same sort of production processes/build schedules? Like I said I've never worked in this kind of environment so any insight will be helpful.

Thanks everyone
 
I haven't worked as a floor carp in a scene shop, but I have worked for them in an overhire capacity, and I have many friends who work or have worked in shops. The best answer I can give you is that - it depends on where you are, as well as the size of the shop. I know a few guys who work at Hudson Scenic here in New York, arguably one of the busiest independent scene shops in the country. In a shop like this, everything is segmented and departmentalized, and each floor carp will specialize in one main department. Apparently, it's quite common to have no idea what piece or even what show you're working on at the time - you show up to work and get a partial drawing on it, you build it, then you repeat until the day is over. Elements are assigned to people based on availability and skill, and a piece may bounce between many different departments or people without anyone knowing who did the rest of the work. It's a very assembly-line model that stresses efficiency, and while the pay is well above that of smaller shops (and comes with IATSE affiliation), many people don't enjoy it simply because of how impersonal it can be - I know more than one guy who has gone to see a Broadway show with his family, and was surprised to see a piece that he built a few months ago up on stage. These shops also seem to specialize a lot - there are shops that you go to for Broadway, and there are shops that you go to for Corporate, and while they can obviously cross over, most of the work tends to be in their area of specialization.

On the other hand, I also know a few guys who work at very small shops serving the New York area. Most of these shops are owned by a single guy, and they specialize in building shows for off-Broadway. In most cases, these shops can really only handle one medium-sized show at a time, or maybe two if they really squeeze. There are usually only a handful of carpenters who work steadily for these shops, and additional labor is overhired on a daily basis as needed. In these shops, everyone knows what's going on, and what show they're doing, and it's very likely that the person who did the drawings may also be the one building certain parts of the set. The pay is generally lower, and the work more sporadic, as even the "full-time" laborers may pick up side work when they can, or not be needed for a few days at a time during slower periods. In my experience, this model of shop tends to be fairly similar to a shop at a theatre, with a main difference being that you're building for many different theatres instead of just yours. Sometimes these shops will be contracted to load in and maintain the set as well, making it even more similar.

Also, keep in mind that the above represents the two extremes, and only what I've observed in New York. I'm sure there are many other shops out there that are a mix of the two extremes. Hopefully someone else will come along who has more experience than I in this area.
 
Thanks for the info, my fear was that they generally operate like you described Hudson, more like factory work on an assembly line. I talked to a buddy in Pittsburgh who did some overhire work with a shop and said it was similar in its impersonal approach. I'd lean towards a shop that would allow me to see a project through from start to finish. I find it more involved and take more pride in it. Anyway, good info and thanks
 
Depends what you are after really. We have a large scene shop up here that while producing Broadway sets also does stuff for restaurants, homes, retail, and has a very large contract with Universal Studios Parks. So, you could find yourself doing just about anything. Architects love scene shops because they don't know how to say no. However, their employees (minus the design guys) work 8-5. Most of them are more craftsman and would be totally lost onstage. They know how to do their craft well and that is about it. They are not stagehands building scenery, they are just specialized carpenters.

Now, if you want the more "hands on" approach, there are tons of small scene shops out there. They tend to be more of the "all in" type deal where the 8-5 is not a guarantee. If you want that personal touch I would probably try to avoid this market and go work for a theatre instead. Either way, pay is going to be low unless you bring some real specialized skills the table.
 
Followup, I ended up getting a job as shop foreman at Scenery First in Philadelphia. Been here for 2 months and its been great. In my role I still get to see a project through from drawings to load-in, but so far it seems to lack the headache of teching a show. Thanks for the advice.
 

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