About Me.
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The most concise way to describe myself would be as a jack-of-all-trades. In response, some would say "master of none" as as way to put this in a negative tone, sometimes followed up by "but oftentimes better than a master of one." All of those are later additions to the original phrase that I use with pride.
I'd argue that in most situations it is best to have a broad knowledge of all areas to better understand the intent of all when working on anything that requires collaboration. Often times, as someone whose primary role is an Entertainment Technician, I find that the technical side of a project and the creative side of a project are intricately woven together and that any small creative change has multiple small repercussions that splinter out into one larger problem for the technical aspects of the show. Having someone with a technical background that also has a strong basis of understanding of the creative side of the work is absolutely crucial for any creative team. This helps you avoid a moment where you have changed one small element that feels inconsequential, without consulting your technicians who come back with 10 different things that are affected by this change and needing time to resolve those things, potentially pushing back the launch of that change significantly. I feel very strongly that both "sides" of the theatrical world should have an understanding of each other to better communicate the needs of either party. (Designating "Creative" vs "Technical" is something I take issue with, but that's beside the point--all areas are "creative.") We all are working to complete the same project, and I bring a wide understanding of technical, directing, design, and story elements that I believe is essential for any project to have. |
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ABRIDGED WORK HISTORY
Des Moines Metro Opera
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EQUIPMENT FAMILIARITY
Show Control/Networking and Video Systems
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OTHER RELEVANT SKILLS
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