Raised on a steady diet of horror films that inspired him to re-create the gore and spatter of Tom Savini and Ted Raimi in his own backyard, it’s unlikely that Brian Petre ever thought he’d someday be responsible for completely different kind of spectacle. Now, instead of movie makeup and blood packets, Petre spends his days wielding airbrushes and welding torches. As the Scenic Maintenance Coordinator for Cirque du Soleil’s “Varekai” show, it’s Petre’s job to make sure every set element -- from the props and costumes to the stage and rigging – not only looks new but functions properly, every day the show is on tour.

“I joined Cirque after establishing a career involving all aspects of live theatre,” says Petre. “I started off as a stagehand for similar shows, and utilizing my skills from Art Institute of Pittsburgh I quickly worked my way into pre-production and design for various shows and even amusement park rides. I was the conceptual designer for several theme park shows, which are still going on today, as well as stage managing and maintaining those very shows.”

Even as he gained the experience necessary to maintain various aspects of live shows, nothing could truly prepare Petre for the enormous task of care taking an entire Cirque du Soleil production.

“The responsibilities of being part of a traveling show are astronomical,” says Petre. “I recall my first day when the Technical Director was showing me around, and as we stood center stage of the enormous set of Varekai, I asked him, ‘So, what exactly is my responsibility?’ And he just opened his arms as wide as he could and said, ‘This.’”

“This” is the entirety of the Varekai experience, a production that involves over 160 people, dozens of tents, trailers, and pieces of moving equipment, handcrafted headpieces that cost $8,000 to create and complicated rigging structures designed to support the weight of dancers and acrobats, whose every move through the air relies upon a series of safety hooks and fasteners the size of a nickel.

“Cirque du Soleil…a big name, a big set, and a big job,” says Petre, “but I knew I could handle it.”

His first task was to refurbish the scenic elements, which were showing signs of wear after two straight years of touring.

“I first started out by fixing all of the technical aspects of the show – possible ‘show stoppers.’ Then, after a brief course in welding, and with designs from AutoCAD, I starting making new storage racks for most of the scenic elements to protect them. Then came the hard part: making everything look new.”

To accomplish this, Petre referred to the original designs for the show… only to find that some of the information was outdated, most was in a foreign language, and all of it needed to be recomputed. As a result, the original Set Designer, Artistic Director, and various support personnel were flown in to recreate the original magic of the set, under Petre’s direction.

The challenges didn’t stop there. As Petre says, “Some of my more recent achievements are, without doubt, things that can’t be taught, but only learned in the industry, and with this show.” For example, he’s repainted nearly the entire set, but had to learn how to utilize automotive paints and their procedures. Building chairs designed to support human body jugglers – one of Varekai’s most eye-popping moments – poses a different kind of problem altogether.

“Every compound angle [in the chairs] counts for a possible shift in the weight distribution of an act, meaning possible serious injury when done wrong,” says Petre, who considers the act among his favorites. “And here I am, about to build not one, but two of these specialized chairs. Working closely with the trainers and acrobats went well, but to build these supportive chairs was more than just a challenge; it was a test. Mathematics, tool and trade skills all played a part.” And once the chairs were built, who was going to upholster them? “That’s right, yours truly,” says Petre. “Yet another trade learned on the road…”

Being part of Cirque du Soleil also means being part of an extensive family. The cast and crew of Varekai often tour with their spouses and children, which necessitates the creation of a mini-city for the show’s support staff to inhabit behind the façade of the tents. Performers, managers, lighting and sound technicians, teachers, accountants, physiotherapists… everyone has a role to play in the production, and it doesn’t take long to become indoctrinated in the circus life.

“We set up the tents in three days, and then go over the details for another two,” says Petre. “And then, when the show’s over, all of this has to come down in two days. At that point, you’ll see teachers and accountants driving forklifts and moving pipe. It’s a family, and everybody pitches in.”

Over the course of his career, which has spanned 12 years, 20 states and 7 countries, Petre has strayed far from his original inspiration of splatter movies and homemade squibs. It’s not a path he could have envisioned, but it’s certainly one he’s proud of.

“From Art Institute of Pittsburgh to Cirque du Soleil, it’s definitely only for those who like to take challenges,” advises Petre. “If you do, be ready for it. In this industry, you have to know what it takes to get the shows running. It’s showbiz; the show must go on!”