The World's Largest Disco is an iconic annual event held in Buffalo, New York, the Saturday following Thanksgiving. It's known for its electrifying atmosphere, vibrant 70s-inspired fashion, and unforgettable music. As one of the largest and most exciting disco-themed events in the country, it attracts thousands of attendees who come to dance under and immerse themselves in nostalgic energy. My role in this massive production involves a wide range of responsibilities that contribute to the show's success and create an unparalleled experience for guests.

The production process is an impressive feat that requires meticulous planning and execution. Load-in begins two full weeks before the show, kicking off with a pre-rig at 6 a.m. We work a full 12-hour day to fully rig the 104 chain motors and float them to prepare to hang the lighting, audio and video. I spend the following days building out the event space, with one dedicated day to setting up the VIP room, which features a live band and lounge areas. Attention to detail is paramount as we spend the remaining days fine-tuning every aspect of the setup.

On Thanksgiving morning, I handle the lighting for a band at the Turkey Trot after-party using the GrandMA3 lighting console, held on the convention center's main floor. After the festivities, the team transitions back into show mode, shifting the floor from the Turkey Trot event to Disco-ready perfection. Friday is spent focusing lights and making final adjustments in preparation for the big show.

The main event features an upstairs dance floor with immersive lighting and visuals, while the VIP room downstairs offers an exclusive atmosphere complete with a live band. During the show, I am on one of the two GrandMA 3 Full Size consoles and handle lighting north end of the convention center as well as all special effects, blinders, and cryo.  

The entire experience is a testament to the dedication and craftsmanship of the production team, with months of planning culminating in an unforgettable night for thousands of disco enthusiasts. Load-out, which takes two full eight-hour days, is just as demanding, ensuring the venue is cleared and restored to its original state. Being a part of such a large-scale production is an incredible experience, combining technical precision, creativity, and teamwork to create a legendary event year after year.

My lighting design experience began in high school, where I served as the lighting designer for numerous musicals, gaining hands-on experience in all aspects of theatrical lighting. These productions included Moon Over Buffalo, In the Heights, William Shakespeare - The Musical, Something Rotten!, and La Cage Aux Folles. I was responsible for light hangs, rentals, soldering, LED tape wiring, and managing data and signal flow. I also handled addressing and patching fixtures, ensuring seamless communication between lighting systems. This technical foundation allowed me to develop a comprehensive understanding of lighting design and its crucial role in storytelling.

Programming for these productions honed my skills on various lighting consoles, and I became fluent in using industry-standard systems, including ETC EOS and GrandMA 2 and 3. My work extended beyond high school as I transitioned into professional environments, where I filled in as the opener lighting designer for several tours and bands. I have also designed for theater, corporate events, concerts, and dance shows, bringing a dynamic and adaptable approach to each project.

My expertise allows me to craft immersive and visually captivating experiences tailored to the needs of each performance. Whether working in a theatrical setting, corporate space, or high-energy concert environment, I take pride in using my technical and creative skills to elevate every production to its fullest potential.

Throughout my set construction and scenic design experience, I have demonstrated a strong ability to bring creative visions to life through meticulous craftsmanship and problem-solving.

One of my most notable achievements was singlehandedly constructing a full stage arch, including a large proscenium arch and a smaller arch for the broadway show Something Rotten!, ensuring both structural integrity and aesthetic precision. 

My expertise also extends to building detailed door frames and stairways, which require a keen eye for measurements, angles, and stability to ensure functionality and safety on stage. Whether working with wood, metal, or other materials, I take pride in creating durable, visually compelling set pieces that enhance the storytelling and immerse audiences in the production. 

My hands-on experience in scenic construction has equipped me with the skills to tackle complex projects and deliver high-quality results under tight deadlines.

With over 200 weddings and countless private events under my belt by the age of 21, I've built a strong reputation for delivering unforgettable experiences. My journey began at just 16, as a sophomore in high school, when I took on my first wedding. That early opportunity sparked a passion for creating seamless and memorable celebrations. Since launching my business, I’ve proudly celebrated with over 1,000 clients, from intimate gatherings to large-scale events.

What sets me apart is my dedication to treating every client like family. I take the time to understand their unique vision and ensure that every detail is thoughtfully executed. My goal is simple: to craft an experience that leaves guests talking for years to come.

Thanks to this client-first approach, I’ve earned a reputation for excellence and consistent five-star reviews on Google, Facebook, and Zola. I’m also proud to be a preferred vendor at five top local wedding venues, which further speaks to the trust I’ve earned in the industry.

Whether it’s a romantic wedding reception or a dynamic private celebration, I bring unmatched lighting, sound, and production expertise to elevate every event. From the first consultation to the final send-off, I’m dedicated to creating moments that matter.

My experience with dance recital lighting began during my junior year of high school, when I had the opportunity to collaborate with a local dance company that hosted its annual show at my school. I was tasked with designing the lighting for the show. I meticulously crafted detailed lighting plots and completely rehung the school’s lighting grid to accommodate the production's needs. The show featured three different age groups, each requiring its own distinct lighting design, and I programmed over 200 cues per show—a total of 600 cues—within a tight four-day timeline.

By my senior year, the school was preparing for major construction, which included stripping the entire house lighting grid. This presented a significant challenge, as I had to source and rent my own lighting equipment. Undeterred, I once again designed, hung, and programmed a comprehensive lighting setup from scratch. The success of these productions led to a recommendation for another high-profile project with a dance company performing at Shea’s Buffalo Theatre. There, I utilized the ETC Geo console to program over 1,000 cues for three separate shows.

Since then, I have expanded my portfolio to include programming and designing for around four dance recitals annually, working with cutting-edge consoles like ETC EOS and GrandMA3 at various venues across Western New York. My deep understanding of dynamic cueing, signal flow, and creative lighting design ensures that each production is visually stunning and precisely tailored to enhance the artistry of the performers.

Beyond live event production, I have had the opportunity to design and implement permanent lighting and audio systems for a variety of venues, including churches, wedding venues, and other meeting spaces. These projects require a deep understanding of architectural integration, long-term functionality, and system efficiency to ensure reliable and visually compelling solutions.

I have worked closely with venue owners, designers, and contractors to create custom lighting systems that enhance both aesthetics and functionality. Each installation is tailored to the space’s unique needs, whether it’s accent lighting for a historic church, dynamic stage lighting for a performance venue, or ambient lighting to elevate the atmosphere of a wedding hall. I typically start and assess venue needs, designing lighting layouts that balance creativity with practicality. I spend a great deal of time choosing appropriate fixtures, from moving heads to LED architectural washes, and then implementing structured cabling solutions, including DMX and power distribution, for seamless control. Then comes the programming. I have utilized platforms like ETC EOS, GrandMA2, and GrandMA3 to create intuitive and versatile lighting control solutions.

In addition to lighting, I have been involved in permanent audio system installations, including projects at the Riviera Theater, where I assisted in hanging and configuring several PA systems. These installations required precise acoustical analysis, ensuring sound coverage was even and effective across various spaces. It is very important to ensure for optimal sound dispersion and clarity in large halls and auditoriums. I also have experience running and terminating balanced audio lines, configuring DSP (Digital Signal Processing), and ensuring minimal interference. 

These installations provide long-term benefits for venues, improving overall lighting and audio quality and ease of use for operators.

I joined IATSE Local 10 as soon as I turned 18 while still in high school. My first-ever show was Trans-Siberian Orchestra in December 2021, during my senior year. I still remember telling my teachers that I had to miss school to work the show—they thought it was so cool!

From that moment on, I kept working as much as possible. By the summer of 2022, just before my high school graduation, I was officially accepted as a member and placed on the E list. I continued gaining experience, learning from seasoned professionals, and taking on more responsibilities.

In November 2022, I took my first rigging call, which was a major turning point for me. Since then, I have been actively rigging with Local 10, expanding my expertise in stage production and event rigging.

I've had the opportunity to work on major tours and productions, including: Drake, Shania Twain, Post Malone, Harry Styles, Zach Bryan, Garth Brooks, Motley Crüe, Metallica, The Goo Goo Dolls, WWE and more! The list is way too long to list here, but these are some  of the bigger stadium and arena shows I've done. I've also done countless Broadway shows, amphitheater concerts, and convention center galas. 

Today, I’m on the D list and continue working my way up to the C list, gaining experience with every event. Working with Local 10 is something I truly enjoy—it’s a great balance between my own business, school, and my passion for live event production.

I have extensive experience in designing, rigging, and executing production for corporate galas, fundraisers, and custom events at a variety of venues across Buffalo and beyond. My work has been featured at events like Festival of Trees (shown to the right), along with numerous corporate celebrations and fundraising events. I specialize in lighting design,but am always handling everything from video walls, projection, and high-quality audio setups as well. 

In addition to programming and operation, I have been responsible for the rigging and structural design of these productions, ensuring that all elements are safely and efficiently integrated. My experience covers a wide range of event styles, from black-tie galas to large-scale corporate productions, where I focus on delivering seamless and visually cohesive designs. 

I have a lot of experience with custom rigging and swaging as well. Doing these customized gala type shows, clients typically want something new and unique. For example, each year I swage disco ball rigging and other banners to hang. For auto shows and other events hanging scenery, I hang and custom rig everything. For example, I have hung a 4'X4'X4' aluminum cube and other light up neon signs for the Buffalo Auto Show. These are just some examples of projects I have worked on. I have gained extwnsive ballroom rigging knowledge from working in this environment.  

I have lots of experience in audio engineering, working across live events, permanent installations, and sports productions. I was part of the team that installed an L-Acoustics system at Buffalo RiverWorks, ensuring optimized coverage and high-quality sound for the venue. 

In addition to event production, I serve as the in-arena A1 at the University at Buffalo, managing audio for basketball, football, and all other sporting events, handling everything from front-of-house mixing to broadcast audio. I am proficient in Audio Architect, LA Network Manager (LANet), and most professional audio consoles, allowing me to adapt to different system configurations and workflows. 

My experience spans corporate events, concerts, and large-scale sporting productions, where I focus on delivering clear, balanced, and immersive sound. 

I enjoy mixing for live events and working with others behind the scenes to execute a professional show. 

I have extensive experience in arena rigging and bridle math, working across multiple venues and productions. I have rigged for four different IATSE unions and serve as one of the head riggers at the Buffalo Convention Center. My home venue is KeyBank Center in Buffalo, NY, where I have rigged numerous arena shows, handling everything from hanging rigging points to developing rigging solutions for complex productions.

Spending over 1,500 hours per year on rigging, I am highly experienced in bridle math, running chain motors (16 ft per min), building steel structures, and marking floors for accurate rigging layouts. I have worked extensively with load testing motors, designing and assembling various types of bridles, implementing fall arrest systems, and executing the full arena rigging process. Whether it’s a 3-legged bridle, skip bridle, motor bridle, or H bridle, I have a strong understanding of how to properly execute rigging for live entertainment in different venues.

I work closely with Paul Orzechowski on installation projects at KeyBank Center, including rigging cameras for the Buffalo Sabres and repairing fall arrest systems. Through these experiences, I have gained a deep understanding of the challenges and safety requirements in large-scale rigging. I have seen and done a lot in the world of arena rigging and am always looking to expand my knowledge. I anticipate obtaining my ETCP Arena Rigging certification in 2026 once I finish school.

I have extensive experience in theater rigging, working on a variety of productions and installations in venues ranging from high schools to professional theaters. My work includes weight loading for shows, complete fly system makeovers, and the installation and maintenance of counterweight systems. I have worked on swaging and redoing steel for batten and arbor systems, both single and double purchase, ensuring proper function and safety for theatrical productions.

Beyond system maintenance, I have been involved in multiple fly rail installations and replacements for theaters and schools throughout the area. My expertise includes custom rigging solutions using turnbuckles and eye bolts to safely hang scenery, drapery, and other theatrical elements. I have also handled permanent sound cluster installations, ensuring optimal coverage and integration within theater spaces.

Each project requires precise calculations, attention to structural integrity, and adherence to safety standards. Whether it's rigging a complex set piece, reinforcing an aging fly system, or completely overhauling a theater’s rigging infrastructure, I bring a comprehensive understanding of theater rigging mechanics and weight distribution to every job.