It’s not often that a high school interest predicts the course of your career, but for Shannon Fraser (Cabinetmaker '07), that’s exactly what happened. Fraser’s interest in the theatre was sparked after taking a drama class in high school. After graduating, she worked as a junior apprentice at Alberta Theatre Projects, where she “learned the inner workings of a theatre, from the office to backstage.” Then, she worked for six years in various roles for a few Calgary theatre companies, pursued cabinet making at SAIT, and then began working at F&D Scene Changes. This Calgary-based firm is internationally renowned for transforming the mundane into the magical.

The firm employs 120 creatives who tirelessly work on set design, welding, carpentry and other disciplines to create scenery for theatre, TV, and film projects; elements for theme parks; and displays for museums, libraries and malls. Some of their clients include Cirque du Soleil, Universal Studios, Netflix and HBO. As a project manager, Fraser works with her team to ensure projects are completed and installed in venues around the globe.

In an email interview, Fraser and LINK writer Giselle Wedemire discussed Fraser's path to F&D and what it’s like to work for such a unique company.

What led you to pursue cabinet making?

While working in props on and off for about six years, I developed an interest in furniture and woodworking. With the limited available work (and pay) in Calgary theatre at the time, I decided to pursue a trade, and cabinet making was the most appropriate for my interests.

What has your path with F&D been like?

I started working at F&D in 2004 as a carpenter’s assistant. I quickly moved up to assistant head carpenter and eventually assisted with purchasing and estimating. As time passed, I adjusted to more office-based roles and added safety coordinator to my list of jobs within the company. From there, I moved to technical manager and, finally, project manager.

How does the work you’ve done over the years at F&D inform what you’re doing today?

Having worked in different roles within the company, I developed skills from multiple departments that contribute to my day-to-day understanding of our various projects. That knowledge helps me work more collaboratively with the entire team.

What is a typical day at F&D like for you? 

There is no such thing as a typical day at F&D. Some days, I am glued to my desk, and other days, I spend more time on the shop floor. Sometimes, I am sent to different cities around the globe to assist with installations in various venues.

What are some of the biggest challenges of your current role?  

I think the biggest challenge in the entertainment industry is timelines. They are always tight, but it never ceases to amaze me what we can do here in a very short time.

What’s the typical process when you start a new project?

Most theatre projects generally begin with talking to a venue representative, such as a technical director or production manager. They will have hired a set designer, and the goal at that point is to meet design intent and budget. That in itself can be a challenge sometimes. Generally, a kick-off meeting with the venue’s design and technical teams will be held to discuss ideas on build concepts, technical integration, and equipment locations.

How are new technologies changing your job?

Lighting technologies constantly change, making it nearly impossible to keep up, and 3D printing has adjusted how we approach prop and mould-making. In the past, we would have carved or sculpted a piece to make a mould. But with 3D printing, we can print it instead.

How does it feel when a project has been installed? Do you ever watch a show you’ve worked on as an audience member? How does that feel? 

It’s pretty rare for me to see a show that we have built live. I think in the last 20 years, I’ve only seen a handful of them. Seeing a complete set together on stage can be humbling, especially when it's been fully lit. 

What are some of your favourite projects you’ve worked on at F&D?

I can’t discuss all of them because of strict NDAs, but projects for the musical Wicked are always great to work on. We’ve been dealing with many of the same people from the beginning, and it opened on Broadway over 20 years ago. We have also worked with Center Theatre Group in Los Angeles for over 25 years, so the camaraderie between them and our team is pretty significant.