In this Process Portfolio Page, I will demonstrate all the work I put into this project regarding production and set building. As mentioned previously on my front page, this was one of my most important projects this year, as the director, Simone Martist, trusted me and gave me significant responsibilities. It gave for this project lots of time, effort, and care. It allowed me to evolve to a professional level, discover the role of a production manager, and realize how much I enjoy and fit into this position. The role of Production Manager for this show was particularly intensive due to the very short timeframe to create, organize, and construct everything, as the show was scheduled for the third day back after the holidays, during which studios and workshops were closed, and technicians were away.
I learned that I thrive in intense, fast-paced environments and enjoy working with so many creative talents. This experience highlighted my profound interest in bringing talents together, organizing all the elements needed to create a successful production, managing teams and people, and working collaboratively.
In this project, I had to organize, manage, and plan rehearsals, and act as the communication point for performers, tech teams, and the director, Simone Martis. I managed the entire tech team (set, lights, sound, and projection) to ensure everything ran smoothly and was correctly executed. I handled breaking down scripts and creating cue lists, supervised and organized all logistics for Tech days and rehearsals, and maintained contact with all technicians to prepare the show. Additionally, I supervised and assisted with set creation, specifically the 17-meter-long road hanging from the bars into the Platform Theatre, and managed all logistics related to it.
This project was intense and stressful due to its ambition and the short time we had to prepare (for both set creation and tech work), but I learned to navigate this environment, be resilient, solution-oriented, and find efficient solutions. I was fortunate to be surrounded by talented, hardworking, and reliable people, who I could trust to fulfill their tasks and roles.
Through this process portfolio, I will show you the steps and development of the production, highlighting my role, the successes, challenges, and solutions we found. I won’t discuss my Creative Projectionist work (which will be discussed in the Projection Portfolio Page). It is important to note that we realistically put together this Master's show (one hour long) in less than two weeks. We started building the set around March 30th, and the show date was April 10th. While Simone Martis was running rehearsals in parallel, all tech and set work was created and planned in the two weeks leading up to the show (due to the lack of access to studios, technician’s holidays, …) .
In terms of Tech and Dress Rehearsals (access to the Platform Theatre), we only had one hour on Monday (to create and structure QLab for sound and projection), Tuesday afternoon (from 14h to 18h – to rig the whole theatre, bars, projectors, bring in the set, and start programming lights and finish programming QLab), and Wednesday morning (we finished teching and programming the lights at 12h and had our one and only dress rehearsal from 12:30 to 14h). The show was the same evening at 20h. We had never worked in such an intense and short timeframe and managed to produce a very successful, neat, and ambitious production.
In the PDF on the left, you will find all the meeting notes, schedules, and to-do lists that structured the entire pre-production process. Throughout this page, I will highlight different sections of my portfolio with bits of those notes.
PRODUCTION AND SET PORTFOLIO
Initial Meetings - Scheduling and Rehearsals Planning
Overall Production Notes - Meetings - Scheduling - Managing (From Beginning to End)
SET PRODUCTION
SET DESIGN - How to realize ideas, Technicians Advise, Calculations and Plans
PRODUCTION PROCESS BREAKDOWN
Communication - Managing Teams
During the production, I played a crucial role in planning and communication. I helped Simone Martis manage his rehearsal schedule by coordinating his availabilities along with those of the other performers. I created an easily accessible schedule, booked studios and rooms, and established a timeframe for rehearsals and all technical aspects, including sound, projection, and set design.
What went well:
Simone needed an organized mind to help him structure his thoughts and collect information. My organizational skills were essential for creating clear and accessible schedules. I provided both a PDF version and a Google Calendar, which performers could subscribe to for updates. This system was highly successful as there was no confusion; performers knew where to go and when. This clear planning reassured Simone, as seeing his plan on paper helped ease his mind and provided a reliable format for everyone to follow. I pride myself in keeping good diplomatic communication skills. I kept good relation and communication with everyone, even in stressfull period, knowing how to navigate the tensions and high emotions a show like that can provoke. I feel like I have never been overbearing, or anxiety inducing to anyone, and was rather always reassuring, specially in the way to always try to find solutions instead of panicking, and always thinking forward.
Challenges and what didn't go well:
Some deadlines were ignored or forgotten by certain technical teams, particularly in set sourcing. This oversight led to a stressful situation with last-minute set and prop issues. The lapse was partly my fault, as I assumed tasks were being completed without verifying. This lack of communication taught me the importance of never assuming anything in production. I learned that it is essential to double-check everything and ensure everyone is on track and in good communication with the director or myself.
Solutions and next steps:
Despite the challenges, I quickly found solutions for the missing props and set pieces, such as the car setup, which included chairs, a steering wheel, pedals, and a deck. I devised multiple plans (A, B, and C) and ultimately found options that suited the production's aesthetic. For example, we used deep leather seats from the Platform Theatre and arranged a last-minute delivery for a steering wheel. Moving forward, I will ensure more robust communication and verification processes to avoid similar issues.
Set Supervision and Building
During this project, I was responsible for supervising the set-building and sourcing process, and ensuring the smooth execution of set rigging. Set Designer Ciara Holmes provided an inspiration image and the idea of creating a huge road hanging from the theatre bars. I then handled the logistics to produce this set efficiently and cost-effectively. This involved creating drawings and calculations to determine the precise amount of fabric needed and visiting the Platform Theatre to get accurate dimensions and a good sense of the space. I consulted with technicians, specifically Michael Breaky, to figure out logistics, gain access to the space and workshop, and address safety concerns, such as taping down the set to prevent tripping hazards. I also enlisted the help of Costume Designer Charlyne Fernandez to cut, measure, and resew the fabric. Together, we cut, painted, and textured the road.
What went well and why:
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We sourced textile from old black theatre curtains offered by the technicians. These curtains were cost-efficient, easily reworkable, and provided a good base for painting, eliminating the need for a second paint layer.
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Ciara's successful painting and texturizing effects created a realistic and vibrant road with nice textures. We experimented with different textural mixes provided by the technicians.
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After several stressful days, we rigged the road and delegated tasks to a team during the Tech rehearsals to handle last details, such as setting up a props table, while I managed and oversaw the entire Tech and Dress rehearsals. This experience taught me how to delegate effectively and keep track of the team's progress.
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The dimensions worked out perfectly, as the road fit the stage and bars just right.
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I also did a really precise breakdown of the script, highlighting every set descriptions, props mention and then gathering in one single document (see PDF above - Set Presentation), which then it way simpler and clearer for Ciara Holmes to source the needed props and prepare them for the show.
Challenges:
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A significant challenge was the lack of access to workshops. We had to sneak our 17m long road into the M203 room and work there when it wasn't occupied, which was impractical. We solved the messiness potential by borrowing and placing large plastic sheets underneath and around the road to preserve it.
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Creating straight lines was difficult because the dimensions were not perfect. Our middle lines were not perfectly straight, but we created a bump in the road to hide this imperfection, which worked well.
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The fabric crinkled because it wasn't stiff enough. We solved this by placing bamboo sticks behind the fabric and sewing them in to stretch it, which was very successful.
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Last-minute set sourcing issues arose due to a lack of communication between the Set Designer and the Director, particularly regarding budget and time frames. This resulted in missing car seats, but we found last-minute solutions that created a pleasing aesthetic in their simplicity.
Solutions and next steps:
This experience taught me the importance of supervision, communication, and resiliently finding solutions while always thinking forward. It also taught me patience, diplomacy, and the ability to delegate effectively by choosing reliable team members to avoid unnecessary stress.
TECH AND DRESS REHEARSALS
Process Images of Building the road
Time Management and Space Access - Compromise
Bars Departition
Negociations and Compromise
TECH AND DRESS REHEARSALS
Time Management/Space Access
Effective time management and space access were crucial for the success of our project. I created a clear, efficient, and easy-to-follow schedule for the final tech days and time allocation. Sharing the space with another director, Donna Kim, who had her movement performance right before our show, required negotiation for time partitioning and access to the Platform Theatre. We held meetings to discuss bars rigging, projector, and screen rigging, finding compromises and similarities in our setups to use the bars efficiently. (see my drawing below for bar departition). We had to share the Platform Theatre with Donna Kim’s Team: Monday Morning, Tuesday and Wednesday.
What went well and why:
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We maintained good communication, were respectful, and collaborated easily, making it simple to share space and time.
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Clear schedules were maintained even when changes occurred, ensuring everyone was informed and not confused.
Challenges:
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A last-minute change arose due to the impractical set-up and take-down times. It was illogical not to have two slots follow up (Tuesday afternoon and Wednesday morning). This conclusion, reached after discussions with technicians and considering the time strain, required changing Donna’s initial request. I learned to explain well, present arguments, and request possibilities diplomatically in order to be able to change her mind.
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This challenge was resolved through respectful collaboration, communication, and open discussion.
Solutions and next steps:
This experience taught me resilience and the importance of kind firmness in intense situations, using respectful and sensible arguments to convince others of a different plan.
It also taught me diplomacy and the value of compromise.
You can see here snippets of my conversations with Donna Kim, the compromise and agreement on the initial plan, and later on the change in plans, due to our important set that had to be taken up and down.
TECH AND DRESS:
Everything we worked for culminated in the final days of prepping for tech rehearsals, dress rehearsals, and the final performances. As the Production Manager, I was responsible for managing the entire tech team, including lights, sound, projection, and set. To ensure everything ran smoothly and to accomplish all necessary tasks within our limited time for tech and dress rehearsals, I developed a clear game plan that would update and repeat in a small pre prod meeting each morning. This plan included precise roles and tasks, which was essential for success in such an intense environment with so much going on. I made sure to delegate key roles to reliable members of the team whom I trusted to complete their tasks. Rigorous time management, action plans, and task lists guided me through those last three days.
It's important to note that we only had access to the Platform Theatre for one hour on Monday (used to structure QLab for sound and projection), Tuesday afternoon (from 14h to 18h for rigging the theatre, bars, projectors, bringing in the set, and starting to program lights and finish programming QLab), and Wednesday morning (finishing teching and programming lights by 12h, with our only dress rehearsal from 12:30 to 14h). The show was scheduled for the same evening at 20h. My clear planning, organization, and awareness of everyone’s roles and tasks were essential for efficient tech preparations for the show within the given timeframe.
What I Did and Successes:
To ensure the Tech Team was on the same page, I created a shared document of the script highlighting all the main sound, light, projection, and set cues. From this, I developed a summarized version in order of appearance for everyone to follow during the show. While it wasn't exhaustive and perfectly precise (as different teams added many sounds, cues, and elements), it provided a reliable structure to reference in case of confusion during the show or the dress. This decision and document proved highly successful, helping all tech teams maintain a consistent reference and structure, and be aware of the cues from different areas of work.
Another significant achievement was that we completed everything needed for the final show on time, despite the challenges. We only had time for one dress run, which is quite limited for such a large show, but we had no choice due to the allocated time. In retrospect, I wonder if there was a way to fit in two dress rehearsals, but realistically, I believe we all worked the very hardest, to our best capacity, giving our best effort to make the show a success, and I don’t see how we could have done anything faster without altering the quality of the show.
TECH PREPPING - LIGHT, SOUND, SET AND PROJECTIONS CUES
TECH ACTION PLANS - CUES AND ERRORS DRESS
FINAL DRESS AND PERFORMANCE
Challenges:
We only had one dress rehearsal, and prior to this, the show had never been run in its entirety with everyone together, especially with the set changes (even if there were only a few). This led to a lot of confusion, missed cues, people not being in the right place at the right time, and performers not finding their marks (see document with cue mistakes and notes on the dress rehearsal). This was really disheartening for everyone, as it was our last chance to practice a full run in the theatre. Everyone left the dress rehearsal discouraged, a bit panicked, confused, and high in emotions. Poppy Waxman (Assitant Director) and I sat through the rehearsal, noting every mistake to be ready for the notes session afterward. During the dress rehearsal, I was also in direct communication with the tech team, instructing them to adjust levels, check projections, and correct lighting mistakes or missing cues—there was a lot going on. Thankfully, everything tech-wise was figured out by the end of the dress rehearsal. The QLab was perfectly constructed, ready to be run cue by cue by the sound team, and all the lights had been programmed and were also ready. Performers, however, were more stressed, and spirits were a bit low.
Another challenge was that additionally our director Simone Martis, was performing his own show (thus impeaching him to make more notes and focusing on the direction of the piece) and in Donna's Kim show (running right before Worldeater. This meant that after our dress rehearsal at 14h, he had to go through a second dress rehearsal, Donna's. He couldn't be there for final notes and adjustments, so he relied on Poppy and myself to take over, and this is what we did.
Solutions and Arrangements are shown on next page.
Stage Directions Document
This project has been an immense learning experience and has had a significant impact in my professional development. Taking on the role of Production Manager for this production was not only a challenge but also an opportunity to test and refine my skills in planning, communication, and execution. I learned the importance of meticulous scheduling, efficient time management, and the ability to negotiate and share resources, all of which were crucial in ensuring a smooth production process. Collaborating closely with the director, Simone Martis, and the various technical teams, I gained insights into the intricate dynamics of managing a production, from organizing rehearsals to overseeing the set creation and overviewing technical aspects and technical teams.
One of the key lessons was the importance of clear communication, close collaboration and documentation. The successful implementation of schedules, shared documents, and structured plans, daily meetings and close contact kept everyone on the same page and minimized confusion. This experience underlines the necessity of being proactive, double-checking tasks, and ensuring that all team members are well-informed and on track. I also learned to delegate and lead people with a firm and gentle touch, to get tasks done efficiently.
The intense, fast-paced environment taught me resilience, adaptability, and problem-solving under pressure. Despite the challenges, such as limited access to rehearsal space, set struggles and last-minute changes, I learned to stay calm, find solutions, and lead my team effectively. This role required me to balance multiple responsibilities, delegate tasks efficiently, and maintain a positive and supportive atmosphere, especially during stressful times.
Ultimately, this project elevated my understanding of what it means to be a Production Manager. It highlighted my strengths in organization, leadership, and collaboration, and reinforced my passion for bringing creative visions to life. By navigating the complexities of this production, I grew more confident in my abilities and have reached a new level of professionalism. This experience has solidified my desire to pursue production management and has equipped me with the skills and knowledge necessary to excel in future endeavors.
Conclusion
Solutions:
To address these problems, we first gave everyone a big break to get some fresh air, refresh their minds, release stress, and eat. Afterward, we organized a detailed notes meeting with everyone involved, lasting an hour and a half, to get everyone on the same page.
Before the meeting, I finished a stage direction document that I had been working on and finalized after the dress rehearsal. This document was printed and posted on both sides backstage, containing scene numbers, visual references, descriptions, and clear notes of actions and cues, breaking down every important stage detail.
This document was reviewed with the entire cast and tech team during the notes session after the dress rehearsal, helping to resolve any confusion experienced during the dress. Poppy Waxman (Assistant Director) and I went scene by scene, using the stage direction document, breaking down everyone’s roles, actions, and cues to ensure everyone was aware of their responsibilities, and knew exactly their positions and actions at all point during the show.
The document proved to be essential, as no more mistakes were made during the show. It helped Poppy and me keep track during the show and ensured everyone was in the right place at the right time, especially the stagehands for set changes. It was essential to have something well-structured, clear, and easy to read and interpret in a few seconds, which contributed to the smooth run of the final show.
Graphic Design for Background Poster: Nina Hermans