My work in technical theatre sits at the intersection of design, production leadership, and education. I don’t just run shows. I build systems, train people, and develop students until they are capable of running complex productions independently.

In practice, my role is best described as:
Teaching technical theatre while leading student teams toward full ownership of the production.

Most of my technical work has taken place in school and university contexts, but at a professional scale: a fully equipped 600-seat proscenium theatre, multiple performance spaces, and productions involving large casts and crews. My role consistently combines hands-on technical responsibility with long-term mentorship and infrastructure development.

Roles & Responsibilities

Across real productions (both university and secondary school mainstage work), I have taken on or overseen:

•  Venue Development & Infrastructure

• Lighting Design and Operation

• Set Design and Construction

• Props Design and Props Management

• Stage Management

• Production Management

• Rigging and fly systems

• AV, projection, and media integration

• Health & Safety and risk assessments

• Crew supervision and student training
  
  

While I often collaborate closely with colleagues, I am typically the lead decision-maker for technical planning, design choices, workflows, and crew structure.

Teaching & Mentorship

Almost all of my technical theatre work is educational in nature.

I designed and implemented a four-year Technical Theatre curriculum, including:

• A Technical Theatre Honours track

• A dedicated Stage Management track

Students trained through this program have gone on to:

• Study Stage Management at the Royal Conservatoire of Scotland

• Enter theatre programs at institutions such as Mountview Academy of Theatre Arts, Belmont University, University of Melbourne, Washington University, UNC Chapel Hill, and more. 

• Work confidently in technical roles beyond school productions
  
  

My core teaching philosophy is simple:  students learn best when trusted with real responsibility.

All major productions I oversee are student-run, with my guidance shifting from direct instruction to consultation as their confidence and competence grow. By performance week, my goal is to be mostly unnecessary.

Scale & Production Complexity

• Mainstage productions

  • 600-seat auditorium

  • Multiple-night runs

  • Cast & crew often exceeding 100 pax

  • 1,500+ audience members across a production
    
    

• Smaller and studio productions

  • Cast & crew of 60+

  • 300–500 audience members

  • Multiple performance spaces
    
    

• Immersive and site-specific work

  • Full-building promenade productions

  • Up to 18 simultaneous scenes across multiple locations
    
    

Technically, many productions are cue-heavy, involving lighting, projection, media, automation, and complex transitions. One notable example was The Wind in the Willows, which involved extensive construction including vehicles, boats, large scenic elements, and highly detailed technical coordination.

Venue Development & Infrastructure

Beyond individual productions, I have played a major role in developing and upgrading theatre facilities, including:

• Major lighting system upgrades to modern digital DMX

• Replacement of curtains, legs, and drapery with professional fire-retardant systems

• Reorganization of workshop spaces, props rooms, and theatre storage spaces

• Supervising construction of building improvements (such as proper spotlight booths)

• Renovation of changing rooms and green room spaces

• Accessibility improvements, including ramp installation

• Introduction of modern staging systems to replace outdated ones 

• Design and construction of a dedicated Drama Studio
  
  

Philosophy

My technical theatre work is guided by a few core principles:

• Technical work exists to serve story (and good spectacle is only possible through solid technique)

• Students learn best when trusted with meaningful responsibility

• Collaboration between performers and crew is essential

• Good technical teaching builds confidence, not fear

• Safety and clarity always come first
  
  

If there’s one thing I want people to understand about my technical work, it’s this:

I know how to run technical theatre and I know how to teach it. These are two skills that don’t always come together.