Overview
Ballet Nights is a fast-paced gala bringing ballet, opera, and chamber music together in a single programme. Each act had its own musical character and working method, requiring a flexible approach to cueing and communication. The production was built and delivered within a 12-hour turnaround, with minimal advance preparation.

Role & Cueing Approach
As Deputy Stage Manager, I worked across a wide range of music, from the operatic phrasing of Largo al factotum (The Barber of Seville) to the sharp, modernist rhythms of Hindemith’s Wild. Depending on the piece, this involved closely following classical scores and visual cues, or verbally cueing contemporary work using timestamped tracks. Remaining alert to performers’ timing and interpretation in the moment helped maintain clear transitions and overall flow.

Scheduling & Collaboration
Working to a tight schedule, I collaborated closely with artists and the creative team to structure rehearsals efficiently, adjusting plans as needed and prioritising essential technical work. Maintaining a calm focus under pressure supported safe working practices and a smooth delivery of the performance.

Reflection
I particularly enjoyed the pace and variety of this role. Moving between contrasting musical styles sharpened my awareness and reinforced the importance of flexible, performer-led cueing. Ballet Nights was demanding but rewarding, and representative of the fast-turnaround, collaborative work I enjoy most.