Issue link: https://digital.copcomm.com/i/1400113
positive test…" "This show just pushed…" "I heard one of the guards is sick…" The constant chatter and whispers every day were terrifying. Yet the crew still needed to deliver as usual. The way we did in the before times, prior to the pandemic. Production management was there for us in a way that allowed us to bring on additional team members when we needed them or make suggestions about how to be safer. We had to learn and adapt in real time without a roadmap. But we did it, we made it to the other side. We designed, shot, wrapped, aired, and many of us moved onto our next projects. Now as I sit here preparing a presentation with the Kenan executive and creative team for season two, I think back to where I was just a year and some months ago, hopeless on this new Zoom thing. A time when we naively thought we would be shut down for a mere two weeks and be back to work. The Kenan journey coincided and overlapped with a strange time in the world at large and I surprisingly found it was the most rewarding and emotionally charged of my career. The production pulled it off , creating sets worthy of pride but more importantly, we proved that the collaboration and shorthand we cherish in the Art Department can instinctually adapt and change on a massive scale from being a bonus to the essential ingredient during a once- in-a-lifetime global pandemic. Many aspects of production have changed, some forever. We may no longer have a communal crafty table of treats, but the emphasis on how our collective health and well- being is essential to the success of a project and to our Art Department family is one that I hope I'll keep front of mind moving forward. ADG E Gar y Kordan, Production Designer Tricia Robertson, Art Director Arthur Chadwick, Aga Szostakowska Set Designers Henr y Kamp, Maybelle Pineda Graphic Artist Julie Drach, Set Decorator D F