In the Summer of 2025, I worked as Co-Audio Supervisor, prepping and installing the reperatory system which consisted of a Main LCR system with 2 delay zones, 4 fill zones, and 5 surround zones for a total of 33 speakers in the house, in addition to a variable foldback system for each show. I worked in a production audio role on several shows, managing getting the pit orchestra up and running, managing utility feeds (backstage program, page, recording, SM program, in-ear mixes, etc.), and auxiliary rental needs. I also worked as A1/Advance audio for several productions, mixing the shows, building console files, and sending out rental packages. I had the opportunity to work with fantastic designers, stage managers, and talent in a unique place where top-level talent and education-level technicians coexisted to put on some phenomenal shows.

A big part of pre-season was getting the reperatory system rental package put together in Long Island City to be shipped to Cape Cod. The system was able to fit in one box truck and was loaded in in the span of around a week. The system evolved throughout the season to meet the needs of different productions, with network infrastructure expanding and power infrastructure becoming more robust to deal with unreliable city power during show conditions. Part of my task as production audio/advance audio was to prepare video and com packages per show to meet the technical needs of the performances. We utilized bundles of cable to make cable paths more efficient and labels more accurate.

Working as a FOH engineer gave me a lot more time behind a desk, working on optimizing my mixscript and programming workflows. We generally used all 72 channels on the Yamaha CL5 on each show, and were able to leverage DSPs and auxiliary consoles to fill gaps in output capability. Being advance audio for the shows I was mixing gave me around a week and a half to prepare any rental needs, system documentation, and scheduling for a 25-hour changeover into a two day tech process before opening to an audience of 542. Working on an expedited schedule gave me chances to make time-saving choices and prepare for issues in advance. I was able to hand over materials to the rest of my team at the start of the tech process and compartmentalize responsibility to keep the team moving and the tech process running.

overhire Work with IATSE Local 417 (Raleigh-Durham-Fayetteville, NC):

Wild Kratts Live, On Your Feet 2024, How the Grinch Stole Christmas, Mean Girls, MJ The Musical, Wicked, Duke Graduation, Moulin Rouge, Choreolab 2023, Les Miserables, NCO Porgy & Bess, Jagged Little Pill, Book of Mormon, Dancing With The Stars: Live!, Come From Away, Anthony Hamilton, TINA: The Tina Turner Musical, On Your Feet 2022, To Kill A Mockingbird 2022

overhire Work with iatse local 574 (Greensboro, NC):

Elf the Musical, Christian Nodal, Stevie Wonder, & Juliet, WWE 5/20/2024, Dan + Shay 2024 Tour, Ringling Bros 2024 Arena Tour, Dude Perfect, Frozen, WWE 5/15/2024, Beetlejuice, Les Miserables, Bruce Springsteen 2023 Tour, Ain't too Proud

overhire Work with iatse local 635 (Winston-Salem, NC):

Goose, Brantley Gilbert 2024 Tour, Tim Walz 9/17/2024, Merlefest 2024, Old Crow Medicine Show

In this production, I worked with the electrics crew and the sound crew during load-in, I was A2 during the runs, and I worked with the sound crew on the load-out.