Theaters
The part of a campaign you can stand in front of — marquees, blades, and facade wraps that turn a Broadway house into the show, from the Minskoff to the Longacre and the Shubert. Designed at Serino Coyne, under each show's art direction.
- Client
- Disney Theatrical, Shubert Organization & others — including The Lion King, Macbeth, and Some Like It Hot
- Agency
- Serino Coyne, New York
- My role
- Senior Designer — adapting each show's approved art into marquees, blades & facades and taking them through production, under the show's art direction
- Scope
- Marquees · vertical blades · box-office & facade wraps · environmental graphics
- Disciplines
- Large-Format & Environmental · Production · Art Working
Overview
A marquee is where a campaign becomes architecture. The key art has to survive being blown up three storeys, wrapped around a corner, lit at night, and read from a moving cab — while still feeling like the same show you saw on the poster.
Across productions I've handled the theatre-exterior end of the campaign — adapting each show's approved art into marquees, blades, and box-office facades, then taking them through production and install. The work below runs from Times Square marquees to a full lobby environment, redesigned inside and out.
One show,
five storeys tall.
Each house is its own problem — sightlines, lighting, landmark rules, and the walk-up moment.
The Lion King —
Minskoff lobby redesign.
For the show's 25th anniversary, the Minskoff lobby was reworked into its own environment — African-pattern glazing and a farewell wall that greets guests in the languages Pride Rock has been staged in around the world.
If the poster is the promise, the marquee is the doorway — the last thing a passer-by sees before they decide to walk in.