Prior to being a stage manager, you were in productions like Fire of Anatolia as a dancer. What steered your career in another direction?

I always had an interest in the technical and coordination side of the job due to the different perspectives I got from my studies at a technical high school. As nice as it to be on stage, I was always curious about backstage. Besides, you can pursue dance up to a certain age; thus, I got involved in this world of backstage, which I love and am curious about as much as I love dancing. 

What kind of responsibilities do you have at PSM as a stage manager?

An event lasts around two hours, however this is just the tip of the iceberg; there are hidden aspects of it like the planning of the flow and the process of deinstalling. Since this process requires going forward step-by-step, we are talking about a longer time period in terms of an event. We must oversee all the stages along the way and supervise it’s application for everything to go smooth and as planned. Along with the comfort and satisfaction of the artists we host, one of our biggest responsibilities is to provide our guests with the best audio/visual experience possible. 

It’s a performance day at PSM. What awaits you during the day?

First, we inform the sound, light, video, and decor crews to start the installation and prepare the stage. After meeting with the artists and their technical team, we give them a brief on the flow of the event and Zorlu Performance Art Center. During the rehearsals, we take our final notes and apply any changes to be made and then do the final tests on the stage to give the welcome committee the OK to bring in the audience.

The most unforgettable moment from an installation process?

The moment when the chandelier was being tested on the installation of The Phantom Of The Opera. One of the most iconic decors of the show that I have always been a fan of was standing right in front of me. The tests that went on for days to make sure this 500 kilo chandelier falls safely from over the audience to the stage was one of the most magical moments for me. 

How do you approach a problem during production/installation?

You need to stay calm and collected. Our first objective is to quickly come up with safe and practical solutions to solve the issue and get back to our normal flow.

Was there a particular show where you wished you could be at the other side of the stage and experience it like the audience did?

We made 48 shows with The Phantom Of The Opera. I had 98 fly-ques to follow so I couldn’t take my eyes off of the decor, and the bars on the stage that holds the curtains and the lights. I would have really liked to watch this event by the audience. However, I can say that working as part of such musical was far more valuable for me than watching it. 

Which was the most unforgettable show for you?

I can’t make a distinction however if I have to give a name it would be Ludovico Einaudi for it was the first event on our stage. That’s why it is one of the unforgettable ones for me.

Which performance would you like to see on the PSM stage and work with?

Any event taking place on our stage is special for us. We have a venue where we can easily host musicals. I can say that School of Rock and Lion King showing on Broadway would be the musicals I would like to work with.

The most attractive aspect of being a stage manager?

To have the chance to meet a legend like Andrew Lloyd Webber, or discuss coordination on the same stage with High Jackman and become a part of the team of many admired artists and productions.

The most boring aspect of being a stage manager?

The dullness of the days without an event.