Productions

House LX technician supporting a high-volume programme of live performances with daily changeovers. Lighting load-ins and strikes, rigging, focusing, patching, basic programming, and operating during shows. Regular collaboration with visiting designers, touring crews, artists, and performers. Occasional AV operation via QLab, some interaction with GrandMA and Avolites — but mostly focused on ETC busking. The pace is relentless and the standards are high. This is where the discipline lives.

A two-week run covering lighting operation, daily rig checks, prop preparation, costume maintenance, and technical upkeep alongside in-house staff. The dual role demands split attention — one eye on the board, one on everything else. Every night the show needs to land the same way, and every day something different needs fixing before it can.

Technical placement with a small Catalan theatre during Erasmus. Lighting maintenance and repair, replacing lamps and fixtures, preparing equipment, assisting with stage setups, and supporting daily theatre operations. Contributed to the technical preparation and operation of a Catalan stage production while helping with general venue administration. A different language, a different workflow, the same instinct — figure out what's needed before anyone has to ask.

Supported multiple productions during the Dublin Fringe Festival, including POP BABY: Octopus Children, Pea Dinneen: Raising Her Voice, Alison Spittle: BIG, Wet Mess: Testo, and Croí Glan: Change. Fringe pace — different show, different crew, different demands every day. You learn to read a room fast and adapt faster.

A staged-in-the-round interpretation of Shakespeare's tragedy, designed to give the audience a voyeuristic view into the royal family of Denmark. I was involved in set construction, installation, and technical preparation of the performance space, as well as assisting with the lighting and sound design and setup. In-the-round is unforgiving — there's nowhere to hide, no angle the audience can't see. Every technical decision is exposed.

A stripped-back, atmospheric take on Shakespeare's classic. I operated QLab for audio cues throughout the run and was involved in set design, construction, and final strike. This piece required technical precision, a strong sense of tone, and tight coordination with lighting design and stage management. Dark material, minimal staging — the kind of production where atmosphere does most of the heavy lifting.

A multi-piece performance night featuring contemporary, tap, and ballet choreography. I operated sound via QLab and supported light cue programming as well as designing. Dance demands a different kind of attention — the cues live in the music and the body, not the script. Timing accuracy, collaboration with choreographers, and a keen eye for atmosphere and dynamics onstage.

An intimate performance exploring identity, grief, and letting go. I contributed to set build and design, and operated both lights and sound in two of the four performances. This piece taught me the power of subtle transformation and sharpened my eye for detail in minimalist design. Sometimes the smallest shift in light changes everything about what an audience feels.

Short film shoots in collaboration with technical theatre and third-year student actors. I handled AV operations, set adjustments, and camera assistance across multiple shoots. Filming is a different rhythm to theatre — conditions change in real time, and flexibility and problem-solving are the only constants.

A selection of smaller-scale projects and rehearsals — from assisting with sound and light cues to supporting quick set shifts, set building, and stage management duties. None of these were headline work, but every one of them sharpened the toolkit and added something new to the practice. The small jobs are where you build the reflexes.