Issue link: https://digital.copcomm.com/i/1504681
sky. The tenement and its fire escape now sat underneath the bridge. It was the first time we'd done something that was specific to a real place and incorporating both main sets as one. This combined dual-set approach led the way to how the current Grand Central design was handled. By this time after a few brief staffing changes, Joe DeTullio had joined our team. Before Joe came on board, the Art Director was Peter Baran for three seasons, starting in 1994. Eugene and I met Peter in Toronto working at the CBC while we were up there designing Kids in the Hall for Lorne. Joe had been part of the NBC page program and had interned with us, becoming the department coordinator. Until he came along, we had never had a proper filing system for all our drawings from show to show. His organizational skills were sorely needed. He and Eugene bonded over their shared love of wooden boats and Joe started working with him on his theater projects up in Rhode Island, like Hal Prince's Broadway revival of Showboat. Like me, Joe had studied to be an architect and his knowledge of carpentry and construction was an excellent fit. He's also a skilled Model Maker, which didn't escape Gene's notice since working in model form was key to his way of designing. Joe became an Art Director and eventually given a shared credit as Production Designer. On show weeks when Eugene would come down from his home in Providence, he would stay at the Yale Club on 44th and Vanderbilt. I was periodically at The Cornell Club just up the street, so we'd walk back together from NBC after rehearsals, often stopping for dinner. The Yale Club is just across from the side entrance to Grand Central and the Campbell Apartment Bar, C. BON JOVI PERFORMING ON THE 2001 MUSICAL STAGE. DANA EDELSON/ NBC. D. THE CURRENT WEEKEND UPDATE SET WITH COLIN JOST AND MICHAEL CHE. WILL HEATH/NBC. C D