South Pacific

John W. Engeman Theater | Northport, NY

Scenic Carpenter / Stage Technician

May 10, 2025 - June 29, 2025​

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About the Production​​

South Pacific, composed by Richard Rodgers with lyrics by Oscar Hammerstein II and a book by Hammerstein and Joshua Logan, marks the first production I worked on from initial build to final turnover at the John W. Engeman Theater in Northport, New York. As a Scenic Carpenter and Stage Technician, I worked closely with a skilled team of carpenters, painters, and electricians under the guidance of our resident Technical Director, Timothy Moran. Together, we brought to life a richly layered set design by scenic designer Kyle Dixon, under the direction of Hunter Foster.

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The set demanded both craft and creativity: We constructed a corrugated metal and bamboo-plank proscenium and two accompanying portals, each joint meticulously wrapped in twine for texture and cohesion. A fabric drop, installed on the upstage face of the first portal, was ripped away at the top of the show, transforming the stage and immersing the audience. Upstage, we built a series of platforms to create a stacked dock structure, anchored by a moveable center platform. There were several scenic sliders, including a shack built from wooden slats and wired for electrics, as well as a curtained terrace perched above the stacked dock. Overhead, two flying signs—Bill’s Laundry and a string of lanterns—were rigged on track and wired with electrics. Their installation requiring detailed planning and interdepartmental collaboration to ensure both visual impact and performer safety.

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Dixon’s design also called for two highly functional set pieces: a spinning laundry unit and a working onstage shower. Led in construction by Dennis Kaydanov, both required thoughtful engineering, precise carpentry, and extensive troubleshooting to ensure both safety and aesthetic integration. These pieces tested our ability to merge functionality with theatrical illusion, a satisfying puzzle from both a technical and creative standpoint. ​Another highlight of the process was shaping the third portal and ground row to evoke a stylized Pacific jungle. Working alongside fellow carpenter Shannon Carlson, I carved and textured palm trees, a volcano rising in the distance, and layers of foliage that framed the scene like a living painting. The goal was to create depth and movement, allowing the scenery to transform with every cue of light. Each element of Dixon’s design was carefully considered to respond to and enhance the lighting, shifting the tone and texture of the stage as the story progressed.

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Perhaps the most gratifying part of the process was witnessing how light, designed by John Burkland, played with the scenic elements throughout the show. Backlit jungle textures transformed the stage during twilight sequences, while sequins embedded in the water ground row shimmered with movement and glow. Light pierced through sheer curtains and bamboo slats, creating dynamic silhouettes and ethereal ambiance. Lanterns flickered in the foreground of a deep star drop, and shadows danced across the stage in the haunting “Turkey Drop” scene, each moment a testament to the seamless interplay between structure, material, and light.

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It was an honor to work with the scenic team on this production. I was especially grateful for the leadership of Shannon Carlson, who mapped out the build and led the load-in process with care and expertise. I had the pleasure of assisting Dennis Kaydanov - helping bring his complex ideas to life and learning from his process. I worked closely on many builds with Theodore Lau, the newest addition to the shop, whose enthusiasm and adaptability made him feel like a long-time member of the crew. Working with our Scenic Charge Artist, Orion Forte, who brings our builds to life, was a joy. I assisted them with base coats and washes and learned from him as our structures gained soul through paint. I was trusted with growing responsibility throughout the build, often directed on tasks but given the freedom to lead elements of the construction myself. My hands got dirty, my knowledge expanded, and my respect for the process deepened.

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I look forward to many more productions with this incredible team.​​