Joe Crowley has been Head Carpenter at SHN’s Orpheum Theater in San Francisco for the past  two years. Previously, he was Head Carpenter at the Golden Gate Theatre from 1997-2006. Joe began his career at the San Francisco Opera in 1972. A native San Franciscan, Joe attended Saint Ignatius High School and graduated from University of California at Davis with a degree in History.

How long have you been working in theater?
Since 1972; exclusively with SHN since October 1997.

How did you become a theater carpenter?
A combination of schooling, on the job training at the San Francisco Opera and A.C.T, and fortune smiling upon me.

When did you become the Head?
I was selected Head in October of 1996 after an interview process with SHN management that was meant to ascertain a level of knowledge and experience, not only for theatrical know-how but for the qualities necessary to supervise others.

What are your responsibilities?
The Head Carpenter is charged with the maintenance and security of the rigging systems in the Orpheum stage house, the use of the stage and trap rooms, as well as simple repairs in and about the stage and front of house. The head carpenter (along with the Staff Flyman) simply put, facilitates and coordinates the hanging of scenery and lighting, as well as the erection of deck scenic elements, inclusive of a false floor (i.e. show deck), with a Road Show Carpenter and his assistants for load ins and outs. During the run of any attraction, he is charged with assigning jobs to local stagehands for the running of carpenter and fly cues for a show, the execution of his own cues and, in the SHN model, responsible for the handling payroll for all departments.

When a show and its crew arrive for the load-in, they are essentially entering an empty theatre; each show brings everything, right?  Could you elaborate?
Correct. Most Road Houses across the country are essentially a blank canvas (empty, except for requisite rigging and space requirements necessary to any particular production) awaiting the “arriving show” to fill the canvas with physical elements and images essential to that attraction. Included in the physical elements, are of course, Drops, Scenery, Lighting and Lighting control, Sound amplification, Audio enhancement technology, and Properties for actors’ manipulation. When a show loads out, our space is returned to the “blank canvas” state, ready to host the next production!

What’s the greatest challenge of your job?
It may be trite, but all challenges are actually exciting opportunities to practice our craft.

The favorite part of your job?
Working with extremely talented professionals and personalities, the Local and Road technicians, and some of the latest scenic technology that is so important to the newest Road Shows of today. Oh, yea, the Actors can be great, too!

How has technology changed your job since you joined SHN?
Technology evolves faster with each passing moment. It has been a boon to the industry in that Road Shows are more sophisticated now than ever before, thereby giving the paying customer more “bang” for their buck and allowing that “Broadway” experience, in terms of effects and spectacle, in a Road House.

Your favorite show?
Recently, several actually — The Producers, Avenue Q, Drowsy Chaperone.  All smart, funny with tremendous dialogue and all great “escapes.”

The most challenging show you’ve worked on and why?
Legally Blonde at the Golden Gate Theatre, which needed an unbelievable amount of space for the shows’ scenic elements to operate.  For instance, the 18’ x 21’ trap center stage cleared the stage support steel by only 1/2 inch. The show was supposed to go to the Orpheum but it clearly wouldn’t fit so then it shifted to the Golden Gate and barely squeezed in.

If you could be any other member of a production (on stage or back stage), other than Head Carpenter, what would that be and why?
Frankly, I have one of the best jobs on the planet, surrounded by excellent colleagues and would be hard-pressed to consider any other position! Cop out? No. The truth? Emphatically, yes!

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