Michael Iannelli grew up in Bergen County, New Jersey and began his theatre career as a professional Stage Manager, working regionally up and down the east coast. His career in Theatre Management has also included Producing and Adjunct Teaching Positions. During his time as a professional Stage Manager, Michael had a fondness for new works and large musicals. Ultimately, this led him to The REV in 2016, where he was hired to serve as Production Stage Manager for several new works including Austen’s Pride and Treasure Island. He took over as the Production Manager at the end of that year and was promoted to Director of Production and Operations in 2020.

In his time as the Director of Production and Operations, Michael has facilitated important growth and improvement and has impacted the organization in a myriad of ways. He oversaw the development and execution of several world premiere musicals, including Anne of Green Gables: A New Folk Rock Musical (subsequently at Goodspeed Opera House / 2022) and Marshall Pailet’s Loch Ness: A New Musical.  To date, Michael has served as the Director of Production for over 40 musicals.  He was instrumental in the design and installation of the Merry-Go-Round Playhouse’s new state of the art sound system, as well as critical technical upgrades in other key areas, focused on improving safety and efficiency. He is in charge of facilitating the design process, budgeting, and communication systems in place for each production as well as the hiring of over 50 seasonal production staff and designers each season.

In 2020, Michael worked closely with Producing Artistic Director Brett Smock to create and implement The REV’s Health & Safety Handbook. That document governed the organization’s COVID procedures and protocols and became a template for several other theaters during the pandemic. Additionally, Michael was The REV’s acting COVID Compliance Officer throughout the pandemic and spearheaded the safe reopening of the venue for streaming productions in 2020 and live productions in 2021. He managed the entire upgrade and renovation of the Playhouse’s HVAC system, the installation of the UVC filtration fans (currently hanging above you) and the delineation of COVID safety protocols for both The REV’s administrative offices and the Playhouse.  From year to year, Michael works to improve the company’s production quality and safety standards and actively promotes The REV’s diverse and equitable working environment. He is an advocate for employees and continuously strives to improve working conditions and rethink smarter ways to produce. 

Michael resides in Auburn with his wife Elysia, daughter Aurora, and their three animals, Athena, Parker, and Henry. In his free time, he enjoys making homemade pizza, exercising, and traveling.

He recently sat down with Producing Artistic Director, Brett Smock, and Artistic Associate, Kyle Adkins, to discuss his role.

What exactly is production management?
A combination of project management, systems management, and people management.

Michael Iannelli discussing fly rail safety during a backstage tour of the Merry-Go-Round Playhouse.When we use the word “production” in theatre, what does it mean?

“Production” is a word we use to encompass the entire process of preparing a show for an audience. From hiring to planning to building to rehearsing to performing to striking or taking it all down, every step is included.

What systems have you put in place here at The REV?
One of the most important is rigorous training programs. Some of our employees are just entering the industry and require mentoring, so these training programs allow them to be brought up to speed on not just how the industry works, but, specifically, how we work. In addition, I’ve worked to customize, improve and expand our onboarding policies and procedures, which all help to define how people work at The REV. We are focused on achieving optimal work/life balance. Similarly, I want to optimize the amount of financial and tangible resources they have to work with.

How do you maintain certain standards of excellence?
Stringent operating systems, expectations and discipline. Brett and I have a unique relationship – we’ve worked together for many years, developing a deep understanding of each other’s mindset and creative processes. Once I understand his vision and desired outcomes, I create the path for execution for everything production related. Then, it’s about applying a keen eye and continuing to listen and observe how the vision for a show is evolving.

^{The Hunchback of Notre Dame, 2022
Photo by Ron Heerkens Jr.}

“We want to deliver the highest quality artistic standards which truly defines our aesthetic here at The REV, so it’s on me to help create flow so that vision can become reality.”

- Michael Iannelli

Michael Iannelli and Techincal Director, PatrickCostello, loading in a live tree for the set of 2024 production,May We AllHow do you gauge success for yourself and your team?

In a few ways:

 1. By achieving what we set out to achieve – that is a single measure of success. 

 2. Always having strict metrics of evaluation – to determine improvement and growth.

 3. How much fun and satisfaction did our team have during the process? I have, and I think all of us who work here have, a strong desire for our theatre to be a guiding example of what theatre should be – creative, collaborative, joyous, and positive. I want us to be on the leading edge – and be a leader in the field, I’m not going to sit back and wait to be told what to do. If I’m nurturing our team, fostering creative ideas, constantly looking for newer and smarter ways to produce art, that’s when I’m leading. Additionally, we’re creating a process that is sustainable when it comes to work/life balance. You can’t expect anyone to do their best work without that.

What are the moments that most inspire you?
The moment during tech, when the engine is firing on all cylinders, and I can sit back and take a deep breath and watch everything unfold. Everyone I’ve hired is doing what they do best – and for that moment in time, nobody needs me – which means I’ve done something right. That’s the wow moment. Also, watching staff grow and evolve is incredibly gratifying. When someone comes in as an intern and works their way up the ladder to positions with increasingly more responsibility, it tells you that your systems are working and that feels good.  

What is your biggest challenge in the job?
Balance. Understanding that Rome wasn’t built in a day. Progress takes time, and patience is paramount.

What is most surprising about your job?  What wouldn’t people expect or know?
While you’re reading this, I’m already deep into next season – creating budgets, hiring designers, vetting ideas, listening to dreams, and scheduling.

What are some things you struggle with in this job?
Knowing my limits. Patience.

Can you share one logistical nightmare that you’ve encountered and solved?
One of the hardest things we’ve ever done was having a beach on stage for South Pacific. In addition to the logistics of the weight of water and sand on stage, we also had to consider how to keep the sand just wet enough to not be kicked up into the air and into the HVAC system, but just dry enough that it’s not sticking to everything, and everyone. Beyond that, you have to filter the water and keep it at a certain temperature because the unions that govern what we do on stage also have very specific protocols for natural, organic elements. I think we did a great job, but it was probably the biggest challenge I’ve ever had to deal with.

^{South Pacific, 2019
Photo by Ron Heerkens Jr.}

^{South Pacific, 2019
Photo by Ron Heerkens Jr.}