David E. Liddell
David E. Liddell
Stage Manager
Stage Manager
A performer’s instincts.
A stage manager’s control.
Broadway · International · Las Vegas
Magic Mike Live LV
One Night for One Drop
Steve Wynn's Showstoppers
BAZ
Criss Angel Mindfreak
Criss Angel Mindfreak Live
Cirque du Soleil - Beatles LOVE
Cirque du Soleil - "O"
Spiegelworld - Absinthe
Calix
IBM / Red Hat
Carnival Corporation
Hasbro
West Side Story
CATS
Disney's Beauty & the Beast
Tokyo Disneyland
Int’l Brotherhood of Teamsters
BBC Studios
From the stage to the calling desk
I spent years where the spotlight lands — swinging tracks on Broadway in Beauty & the Beast and CATS, and touring Europe in West Side Story. Learning a dozen tracks at once teaches you a few things: precision, how to keep a lot of information organized, and what it feels like to stand in the dark waiting for a cue you have to trust.
Now I’m the one giving that cue. As a stage manager and show caller, I’ve run some of the most technically demanding shows in Las Vegas — Cirque du Soleil’s “O”, The Beatles LOVE, Criss Angel MINDFREAK, Steve Wynn’s ShowStoppers — and today I call Spiegelworld’s Absinthe, packing a one-ring circus of world-class acrobatics into a tent on the Las Vegas Strip, every single night.
None of that happens by accident. That’s the job: the calm behind the spectacle. Hundreds of cues a night, calling lights, sound, and automation while tracking every performer and every moving piece of steel, with zero room for error. I keep the show under control so the artists can step on stage and do the one thing they’re there to do: perform.
I spent years where the spotlight lands — swinging tracks on Broadway in Beauty & the Beast and CATS, and touring Europe in West Side Story. Learning a dozen tracks at once teaches you a few things: precision, how to keep a lot of information organized, and what it feels like to stand in the dark waiting for a cue you have to trust.
Now I’m the one giving that cue. As a stage manager and show caller, I’ve run some of the most technically demanding shows in Las Vegas — Cirque du Soleil’s “O”, The Beatles LOVE, Criss Angel MINDFREAK, Steve Wynn’s ShowStoppers — and today I call Spiegelworld’s Absinthe, packing a one-ring circus of world-class acrobatics into a tent on the Las Vegas Strip, every single night.
None of that happens by accident. That’s the job: the calm behind the spectacle. Hundreds of cues a night, calling lights, sound, and automation while tracking every performer and every moving piece of steel, with zero room for error. I keep the show under control so the artists can step on stage and do the one thing they’re there to do: perform.
DAVID E. LIDDELL · LAS VEGAS
DAVID E. LIDDELL · LAS VEGAS
What I run
Show calling
Precise cueing of lighting, sound, automation, and performers — keeping the tempo and safety of the show in my hands.
Production coordination
Aligning cast, crew, and departments through rehearsals, put-ins, and nightly performances so everyone is on the same page.
Safety & incident response
A calm, prepared head when something goes wrong — protecting performers, crew, and audience first, every time.
Communication
Clear, direct, no-drama communication between creative vision and technical reality — on headset and off.
Performer’s eye
Years on stage as a dancer mean I know exactly what performers need to feel supported and safe.
Consistency
Documentation and discipline that keep a long run as sharp on night 500 as it was on opening.
Show calling
Precise cueing of lighting, sound, automation, and performers — keeping the tempo and safety of the show in my hands.
Production coordination
Aligning cast, crew, and departments through rehearsals, put-ins, and nightly performances so everyone is on the same page.
Safety & incident response
A calm, prepared head when something goes wrong — protecting performers, crew, and audience first, every time.
Communication
Clear, direct, no-drama communication between creative vision and technical reality — on headset and off.
Performer’s eye
Years on stage as a dancer mean I know exactly what performers need to feel supported and safe.
Consistency
Documentation and discipline that keep a long run as sharp on night 500 as it was on opening.
Show calling
Precise cueing of lighting, sound, automation, and performers — keeping the tempo and safety of the show in my hands.
Production coordination
Aligning cast, crew, and departments through rehearsals, put-ins, and nightly performances so everyone is on the same page.
Safety & incident response
A calm, prepared head when something goes wrong — protecting performers, crew, and audience first, every time.
Communication
Clear, direct, no-drama communication between creative vision and technical reality — on headset and off.
Performer’s eye
Years on stage as a dancer mean I know exactly what performers need to feel supported and safe.
Consistency
Documentation and discipline that keep a long run as sharp on night 500 as it was on opening.
Certifications & credentials
Actors’ Equity
Member, AEA
OSHA 10 / 30
Workplace safety
CPR · First Aid · AED
Certified
Active Shooter training
First Responder training
Resume
Member, Actors’ Equity Association
Let’s talk
Booking a production, building a new show, or need a caller who keeps a cool head when the rigging is live? Send me a note.
Member, Actors’ Equity Association
