About Me

I am a 24-year-old Production Lighting Freelancer with industry experience in theatre, concert touring, and TV, dating back to 2016. My work has ranged from intimate black box theatres to 70,000-capacity stadiums across Europe, the USA and Canada, showcasing my adaptability across diverse environments.

Professional Experience:

As a Systems and Network Engineer in production lighting, I have been involved in high-profile projects, such as:

• Ricky Gervais: Armageddon (Wembley Arena, 2023)
• 50 Cent: Final Lap Tour (Europe, 2023)
• Bruce Springsteen & E Street Band: World Tour (Europe, USA, 2023; 2024)
• Fame Factory (Riyadh & Jeddah, Saudi Arabia, 2022)
• Lewis Capaldi (O2 Arena, 2022)
• Stereophonics: We’ll Keep A Welcome (Cardiff Principality Stadium, 2022)

In addition, my EOS programming credits include:

• The Book of Kells Experience (Trinity College Dublin, 2023)
• Gunnebo Slott Winter Lights (Gothenburg, 2023)
• Alice In Wonderland Pantomime (The Stag Theatre Sevenoaks, 2022)
• The Pirates of Treasure Island Pantomime (The Stag Theatre Sevenoaks, 2021)
• Plaques & Tangles (Jerwood Vanbrugh Theatre, RADA, 2021)

Education & Qualifications:

I graduated with a BA (Hons) in Production Lighting from The Royal Academy of Dramatic Art in July 2022. Additionally, I hold an NCRQ Health and Safety for Managers qualification, am first-aid trained, possess a valid IPAF ticket, and have a full, clean UK driving license.

Technical Skills:

• Lighting Systems: EOS, MA2, MA3, CuePoints, RoboSpot (incl. multi-device), Pathscape, Araneo, Wireshark, Depence, Capture, Lightwright, Vectorworks, Adobe CC, Microsoft Office.
• Operating Systems: MacOS, Windows OS (including Windows Server OS), and Linux
• Networking: Expertise in IPv4 configurations for production environments, with proficiency in Cisco, NetgearAV, MikroTik, UniFi, Pathway, and Luminex. Efficient management of sACN, Art-Net data streams, merges. Can demonstrate proficiency when working in environments that handle RSTP, LACP, VLANs, Unicast, Multicast, and Broadcast traffic, developing fault-tolerant network topologies.

I am keen to introduce more interconnected show-control systems, to further enhance the precision and synchronization of complex productions.

I believe that continually enhancing these skills is crucial as we move toward more interconnected, show-critical control systems.