Under a tight schedule, it takes eight weeks to replace one stage floor. Last summer, we had only five. And two enormous stages.
Life is not fair.
But, if you have a good sense of humor, it is funny.
Running The Straz takes an enormous amount of effort on what we call the “back end,” or, the aspects of show business that take place outside of the spotlights. The back-end includes building maintenance, groundskeeping, upgrading and repairing equipment, changing the umpteen thousand lightbulbs, replacing broken concrete on the walkways and other such things. We do our best to execute the work of the back-end during moments that are least disruptive to guests. Often, we get a slight lull in the action over the summer when we are between seasons. We dive into this lull tools a-blazing to address major projects, so when you arrive for the brand-new season you’re not greeted by backhoes, cherry-pickers and gates of orange construction netting. Instead, all is sparkly, shiny and ready to envelop you in a radiant bubble of wonderment, which is exactly why we’re here for you.
Last summer, we faced one of our greatest challenges yet. Because both stages sustained an exciting amount of action last season (compounded by the countless seasons before), replacing Ferguson and Morsani stages with upgraded materials landed on the top of the to-do list for summer chores.
Both stages. Ripped up, carted away, new flooring installed with tech upgrades, repainted and ready to rock and roll by Sept. 11. Which would have been okay if construction crews and our operations department had been able to start in June like normal. But, because we had Broadway summer shows and other gigs booked, the stages didn’t empty until the end of July.
Brand new Ferguson stage floor prior to being painted.
That circumstance left our intrepid and uber-busy Director of Operations C.J. Marshall staring down the barrel of a five-week deadline to replace both main stage floors on time and on budget before the biggest season in Straz history.
Insert sense of humor here.
“The first time we replaced Ferguson [stage], we had eight weeks to do it,” C.J. said. “So, yeah. It was a very, very tight timeline.”
C.J. sat down with pen and paper, sketching out a schedule of how to make it happen. He’d need three crews working about 20 hours a day, seven days a week. Then, maybe, the stages’ paint would be dry in time for Chicago to load in and the Hillsborough County Small Business Awards Show to set up on Ferguson.
Maybe. But there was no way they could do it if they had to complete the demolition, clean-up and prep before starting to lay the wood. “The flooring company normally sends about eight people to do the job. We had 22 people on-site. Once we demo’ed the initial 10 feet, the installers started working behind the demo team, starting to lay the new floor before the rest of the floor had been completely removed.” In this building-the-bridge-as-we-cross-it manner, crew relieving crew relieving crew, they steadily raced against the deadline that tick-tick-ticked on C.J.’s calendar with all the charm of the Doomsday Clock.
As with most theoretical calculations, C.J.’s were based on a perfect world. In addition to being unfair, life is also not perfect. “There’s so much of the floor we couldn’t see – everything that was underneath the top planks. As we demolished, we uncovered sections that had to be leveled or cleaned and re-cleaned. The crew would open the floor, and I’d see the condition and think that’s another three days; that’s another four days, all the while the date pushed closer to Chicago’s load-in. Would we make it in time? We had to. Somehow.”
Florida’s humidity, especially in the summer, invites mold and mildew like its throwing a block party. C.J. and his operations crew built a tent over the entire stage to create a negative vacuum; inside, they ran several air scrubbing and air sucking machines that cleaned the air of all dangerous spores. This set-up meant that not only were the floor crews sweating it out under an ambitious and possibly laughable deadline, they were doing it in Hazmat suits and respirators.
August came and went.
September arrived, bearing down on the looming arrival of Chicago. When the director of the Hillsborough County Small Business Awards Show arrived ten days before their event to check on the progress of the Ferguson stage replacement, he saw a giant plastic tarp draped over what appeared to be a half-finished stage – read: the other half was a rectangular hole – filled by men lumbering around in Tyvek suits using power tools. In essence, a scene straight from The X-Files. C.J. assured him all would be well, and the early days of September raced by.
“During this whole project,” C.J. says, “ … there were a lot of sleepless nights. But we made it on time.”
In fact, C.J. and his crews put forth so much effort, they finished two days ahead of schedule. There was plenty of time for Roxie, Velma and the outstanding small-business people of Hillsborough County to strut across our freshly painted, very dry, immaculately installed stages.
This cross-section of the Morsani stage shows the design details of a sprung floor.
“Ahead of schedule and on budget,” says C.J. “and we were able to install sprung floors on both stages as well as run about 12 miles of cable under Morsani stage to bring it up to digital standards, to give it a data and electrical infrastructure. Shows need connectivity on stage now, and we have it.” The sprung floors mean that a flexible brace under the planks provides “give,” like mild shock absorbers, to protect dancers’ muscles and joints from abrupt impact. The connectivity allows for access to power and network jacks without having to run temporary cables from set pieces to wall outlets. “I have to give a lot of credit to Ron Stevens of Trident Surfacing, who was our project manager, and Dave Reynolds, a Straz carpenter, who was our point person and really did a great job of keeping the crews going. We also couldn’t have done this project without the hard work of our production electricians, Leslie Bindeman and Jesse Perkins. We’re super excited about the new floors.”
So what happened to C.J. when they crossed the finish line 48 hours early?
“I left town and went and sat in the woods of North Carolina with no cell phone, no internet, no nothing for a week with my wife,” he laughs. “It was wonderful.”
Extraordinary Factoids about Our New and Improved Stage Floors
• Basketball courts also have sprung floors.
• The Morsani Hall stage floor can hold 9,000 pounds per square foot, about 50-70,000 pounds total.
• Both stages are Canadian maple.
• The Morsani stage is 9,500 square feet; the Ferguson stage is 5,000 square feet. That’s 14,500 square feet replaced in five weeks.
• The new floors should last about 20 years.
• Sprung floors also contain a little layer of neoprene, the same material of a wetsuit.
• The Morsani stage gets painted about four times a year because we have so many shows. There were 70 layers of paint on the old stage when they demolished it, adding up to almost a quarter inch.