Alex Shenton Parkin

Education

Equipment

My Equipment/Kit:

I can use:

About me

My experience in live entertainment has been varied, tasked with a wide array of roles, including a main concentration in the lighting and sound areas. After a number of years working in these positions and obtaining a sound knowledge of how the industry works and functions, production management was the natural progression for me. Through my unique background in international touring, it has allowed me great insight into how to work in new and challenging environments.

From 2002 until 2013 I was actively involved with Sunderland Empire Theatre in the UK, both as part of their youth training program and then being offered a position as a casual crew member in the lighting, sound, stage, and flying departments working on a number of commercial shows that toured through the venue. This opportunity to learn in a leading national arts institution allowed me to gain invaluable experience and kickstarted my touring career in the performing arts industry.

By 2013, I joined the lighting and rigging team for Fineline Lighting, working on a number of large festivals including Eden Project in Cornwall, Sunfall Festival in London, Shambala Festival in Northhamptonshire, and Glastonbury in Somerset which holds 79 stages and a general attendance of removed each year.

During this time, I also took on the position of Head of Lighting and Sound for the West End production of Brainiac Live at the Palace Theatre, produced by Dan Coleman LTD and was a lighting operator for a number of years at the renowned Shakespeare’s Globe Theatre.

By the summer of 2014, I began working as a lighting operator for Kneehigh Theatre for a multitude of shows. I soon was promoted to their Head of Lighting for their national and international tours and was the Associate Lighting Designer for the Off-Broadway run of 946: The Amazing Story of Adolphus Tips which premiered at St Ann’s Warehouse in NYC. Production management requires a high level of dedication, organization, attention to detail, and strong communication skills. Time management and the ability to work within budget are also vital. My experience working with Kneehigh gave me great opportunities to acquire these attributes working closely with a number of different production managers on budgets and also influencing schedules.

For the past eight years, I have had the opportunity of touring productions internationally; experiencing and adapting to new environments and cultures, and learning to solve different obstacles. I pride myself on my ability to create strong relationships with clients and suppliers. Through my numerous years of working in the arts industry on an international scale, I have forged long lasting relationships with people across the world including producers and presenters, freight companies, suppliers, and a multitude of crewing individuals with vast backgrounds.

After successfully managing the first UK arena tour of Nickelodeon’s Paw Patrol Live! for Life Like Touring, I was offered a fulltime position as Associate Production Manager based in Melbourne, Australia. Within eight months in this role, I was promoted to Production Manager of TEG Live / Life Like Touring. Paw Patrol Live! toured 30 different countries in 2018 - 2019 alone. As Production Manager for TEG Live / Life Like Touring, my duties include creating and updating technical riders for our productions, overseeing venue plans and drawings for national and international tours, approvals of all equipment substitutions, approvals of all crewing and staffing, implementing schedules, booking and overseeing freight, asset management of our productions in our warehouse including frequent inventory check and overseeing any maintenance or repairs in our workshop, and working with local Production Managers and Presenters to ensure each show is safe, financially viable, and of the highest quality for audiences.

In 2018, I oversaw the build and opening of Disney’s first pop-up mini golf experience inspired by the Pixar films, entitled Pixar Putt. The successful event debuted in Melbourne, Australia and has since toured Sydney, Brisbane, and Perth as well. As Production Manager, I am responsible for assisting with the new asset design to ensure national and international touring practicality, producing site plan drawings, identifying risk assessment and implementing a wind management plan, create method statements, equipment hires, overseeing all packs and freight, and managing onsite training for the build and running of the event. I also ensure to have regular catchups with the local event manager and implemented event reports that are circulated daily to include attendance numbers and any mechanical or attendee issues that arise.

In 2019, I had the opportunity to production manage the staged concert version of Sweeny Todd starring Broadway performer Anthony Warlow and Gina Riley from Kath and Kim. The show played in both Melbourne and Sydney. Challenges for this particular performance included frequently meeting with the creative team to ensure their vision was met whilst staying within the budget, advising and working alongside the Producer to create and maintain the pre-production and running budget, hiring all builders, crew, contractors, and equipment hires, booking the rehearsal studios and ensuring all props, set pieces and equipment or substitutes required was available in the room, overseeing all logistics and scheduling of the build, load-ins and outs, tech period, and repairs. I would also ensure show reports were circulated daily and attended all Head of Department meetings either in person or over the phone.

Recently, having completed the Australian Government Infection Control Training for Covid-19 and having been certified with the World Health Organization’s Public Health Preparedness for Mass Gathering Events, I have been developing and implementing new risk assessments and Covid-19 policies for productions and events.
Additional skills:
I am a competent musician and am able to read score to a high standard.
Referees:
Contact for Referees

License & Passport

Skills

Secondary Job Title	Chief Electrician
Job Titles	Stage Manager, Production Manager, Production Supervisor, Production Support, Sound Operator / Engineer, Lighting Tech / Operator, Lighting Designer, Electrician, Theatre Technician, Automation / Flying
Years in industry	6+ years
Organisations / Memberships	BECTU (UK), PLASA (UK)
Work Permits	EU