Today we’d like to introduce you to Marissa Galin Wayne.
Hi Marissa, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
Ever since I was a child, I have always loved art in all its forms. Growing up as a fine artist, I painted, sketched, sculpted, and crafted as early as I can remember. I was first published in 2005 on an International Postage Stamp after winning an art contest in 8th grade. The Magazine flew my family and me to New York City to participate in a ceremony and large parade. Around the same time, I found Theatre, although I was on stage instead of behind the scenes. Acting kick-started a passion in me that led me to pursue the art in High School. I was fortunate enough to go to Horizon High School in AZ that had awe-inspiring Drama and Choir programs. In the second semester of Freshman year, I joined the Construction Crew, where I found my love for fabrication. Throughout my time at school, I enrolled in every Drama class available, and by Senior year I was teaching the Technical Theatre class. I worked on every production put on by the school, holding positions from Construction Foreman to Technical Director to Assistant Director & Stage Manager. I lived and breathed theatre. I spent my nights and weekends in the shop and Auditorium, frequently left classes early (with Teachers permission, of course) to work on shows.
By Senior Year, I was teaching, directing, managing, designing, acting–you name it; I did it. I even joined Comedy Sports, our school’s competitive improv troupe, one of the most remarkable experiences of my High School career. And I owe it all to one woman; Joanie Colson. She was my teacher, director, and mentor. She believed in me and helped guide and push me outside my comfort zone into the person I am today. Although I never anticipated going into show business for a living (I thought I was going to be a Pediatrician,) I took a chance and applied to the Theatre Program at California Institute of the Arts. By April of my senior year, I hadn’t gotten an acceptance or rejection from CalArts, but other Universities were pressuring admittance. When I got my call from CalArts, I had already accepted another school, but they wanted me to come to visit the campus that very weekend. So, my father and I hopped on a plane to Burbank, and from there, my life changed forever. I accepted my offer to attend CalArts as the only new Stage Manager that came in that year.
While at CalArts balancing a 21credit schedule, I worked on countless projects in the Theatre, Dance, and Film schools, including student productions and class assignments. Shortly after my first semester, I decided I wanted to change my major. I switched to Technical Direction under the mentorship of Michael Darling. I got back in the shop, honed and improved my woodworking and rigging skills, learned metalworking, learned 2D and 3D CAD Softwares, engineered sets, managed crews, balanced budgets. On top of my assigned shows, I still held other titles on student productions such as Stage Manager and Creative Producer, as I enjoy many areas of the trade. Shortly after graduation, I took a job with LA ProPoint as a Technical Designer working in 2D and 3D modeling. I worked on various projects, from museums, theme parks, movies, construction, etc. However, ten months into my contract, I got an opportunity I couldn’t pass up. For graduation months prior, I had taken a trip to Oahu to celebrate and met a circus variety performer turned deep-sea fisherman, who had big plans to mount a Circus Variety show on the Island. I had given him my card explaining if he needed assistance getting the show up-and-running to call me.
Ten months later, I was on a plane to Oahu, relocating for what I thought was a minimum of five years to be the General Stage Manager & Technical Director. The plan was to produce an “Outer Island Preview Tour” with a 1200 seat European style circus tent on Oahu, Maui, and Hawaii, while our 5-million-dollar showroom was under construction at the Hilton Hawaiian Village in Waikiki. However, none of the gorgeous sacred grounds wanted us to stake a tent, so I convinced the Creative Producer to let me produce a version of the show in a ballroom at the Hilton. Within a few weeks, we had the show planned, installed, permitted, advertised, rehearsed, and ready for an audience. The show went off without a hitch, filling the ballroom every night for months. As progress on the grand showroom completed, we closed the ballroom production and focused on the new show, as new acts would come and go every few months. Unfortunately, the showroom production was not successful. Eventually, as production funding ran out, I had to leave the Island to pursue new opportunities.
Shortly after returning to California, I got an opportunity to join the Entertainment Production Team at Universal Studios Hollywood. I was to support Halloween Horror Nights as the Technical Supervisor for Special FX. I did everything from R&D and fabricate full FX to managing install crews. Despite the hard work, long hours, and the “bloody entrails,” I fell in love. I later took the position of Assistant Technical Manager. I supported many projects like HHN, eVe, Grinchmas, Wizarding World of Harry Potter events, and some that never saw the light of day. To say it was a dream job would be an understatement—we create joy, nostalgia, and horror for our guests, we do it with pride and passion, as a family. Also, getting to walk through the park in the early mornings or late evenings with no one else in sight are experiences I will cherish forever. Unfortunately, due to the pandemic, I was laid off from my position at Universal in August after trying so hard to mount a COVID-safe HHN event. In my spare time since then, I have been taking online courses for the Project Management Professional, as well as courses for Unreal Engine creating virtual environments.
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey have been a fairly smooth road?
Production and Show Business is not as glamorous as everyone expects them to be. Its long hours; the longest I’ve ever spent on site was 46 hours straight without leaving. You work hard, miss or skip meals, never get enough sleep, and miss essential milestones and experiences with family, including holidays. I spent over a year without seeing my family. Sometimes, you even put in all this effort for a production that a guest will never see. And it can weigh on you when you dedicate your entire life to something that will never take shape. I’ve had many people try to stand in my way, telling me that I “can’t do it.” But I never saw them as obstacles, only inspiration to do better. Similarly, I’d run into many “challenges” on show site but never let them hold me back. It is always the motivation to solve the problem and get it done.
We’d love to hear more about your work and what you are currently focused on. What else should we know?
I am a Technical and Project Manager by trade, with a background in design and fabrication. Throughout my professional career, I’ve focused a lot on technical and mechanical design, including Automation. At Universal for Halloween Horror Nights, I mainly focused on puppet and performer integrated Effects and automated Effects, along with a team of highly skilled individuals. My work included creative and technical design, scheduling & budgeting, R&D, fabrication or fabrication oversight, installation, and operation of every FX. I would love to tell people I specialized in anything that “spit, smoked, burned, vomited, moved, sparked, you name it!” I am the proudest of the work that I’ve done at Universal, getting to see the awe and reaction of guests experiencing our work–that is why I do it. I’m always pushing for the best while maintaining a fun and productive atmosphere.
We all have a different way of looking at and defining success. How do you define success?
I define success as attaining goals while maintaining self. In the short term, success is the ability to juggle the numerous tasks that come with production life and seeing through to the objective. But it’s also essential to balance a healthy home life to ensure you can keep coming to work each day with the same invigorated energy. Success is the accomplishment, but it doesn’t always mean “good.” Sometimes, failure is a necessary outcome of an undertaking that will lead to a more significant future victory. Long term success is the achievement of one’s goals or dreams. For me, my first visit to Disneyland and my ride through Pirates of the Caribbean inspired me to want to create environments or experiences. 6-year-old Marissa and even 17-year-old Marissa would be incredibly proud of the accomplishments I’ve made so far in my career. Although it’s worth noting, success and dreams come on their timeline. Don’t be discouraged by your expectations for yourself; that will only hold you back.
Contact Info:
- Email: [email protected]
- Website: http://www.marissawayne.com
- Instagram: @mahrissugh
