Since January 2026 I have been Head of Operations at the Radnóti Miklós Theatre. Three venues, five premieres a year, more than two hundred performances. Before that I worked at the Vígszínház as Production Director, and in film production as a line producer.
What my job comes down to today: on opening night, everything is where it should be. The set, the crew, the schedule and the budget.
Season plan, rehearsal period, daily rehearsal schedule. Built backwards from opening night, with an owner and deadlines.
Sound economics is not high revenue, it is a budget planned well and kept in hand. What is left over can pay for a refurbishment.
What I could not find ready-made, I built. Callboard can now run the daily operation of any theatre.
[ ABOUT ]
I work as Head of Operations at the Radnóti Miklós Theatre. In practice that means I oversee a production's full lifespan, from the first steps through opening night to the daily set changes and the maintenance that follows. Three venues, five premieres a year, more than two hundred performances.
My day starts with overseeing the building's operation. Mornings are rehearsals and rehearsal planning, meetings; in the evening I mostly stay until the performance starts, sometimes I sit in and watch again.
Until 2018 I was Production Director at the Vígszínház, then until 2024 a line producer at UFA Hungary, where I oversaw the production and development of television series. Theatre taught me what film sometimes forgets: the crew is not support staff, it is one half of the performance. No director and no star, however great, stages a play alone.
| 2026- | Radnóti Miklós Theatre, Head of Operations |
| 2018-2024 | UFA Hungary, line producer |
| 2008-2018 | Vígszínház, Production Director |
Authenticity, identity, concept. My passion is my profession. Kitsch is what is there for its own sake, tasteful is what has a real concept behind it. The same goes for a joke, a set and a poster: whatever is not justified is empty.
A tight budget is not a burden, it is a push toward the better idea. An empty stage can be a magnificent one, if there is a vision behind it. But vision alone is not enough without the how beside it: execution, money, deadline, the person responsible.
I do not believe in the sanctity of tech week. Work the whole rehearsal period with a plan and discipline, and you will not be scrambling in the last one.
I hold a high standard and expect the same from others. I settle problems face to face with the person involved, never behind their back. When something grinds, I step in. I am patient, but not indefinitely.
Many people think I am a hard man to work with. As long as someone does their job well, they have no trouble with me.
Any content can be generated today with the help of artificial intelligence. Video, voice, faces. Theatre is one of the last places where real emotion from real people reaches a real audience and, even if only for one evening, turns it into a community. AI cannot render that.
[ EXPERTISE ]
Seven areas. Behind each one, concrete work and experience.
Track record: 2026- Radnóti Miklós Theatre, Head of Operations. 2018-2024 UFA Hungary, line producer. 2008-2018 Vígszínház, Production Director.
Season plan, rehearsal period, weekly and daily rehearsal schedules. I build the sequence backwards from the planned opening night, with an owner and a deadline. The weekly schedule informs, the daily one obliges - the two must not be mixed.
Sound economics is not high revenue, it is how well you keep to the resources you planned. Done well, something is left over, and that pays for a bonus, a repair, a rebuild. With public money, clean accounting is not caution: there is real delivery behind every invoice.
I do not enjoy confrontation, but when a production's order is at stake, I will do it. I have sent someone off a shoot or out of the theatre, and I have sat down next to someone just so my presence would keep them from breaking down. Hierarchy entitles nobody to violate another person's dignity. Humiliation is not a method, intimidation is not motivation, and artistic purpose is never an excuse.
Daily operation across three sites: main stage, rehearsal room, external venue. Whatever breaks down technically, or becomes unreliable, can cost tonight’s performance, so it cannot wait until tomorrow.
The old ways of selling tickets have gone out of fashion, while the supply is enormous and still growing. A small art theatre only stays visible if it approaches its audience differently. Theatre is made for the audience, not the critics, though it is not entirely independent of them either.
As a line producer I ran the production of television series and commercials. From breaking down the script to building the shooting schedule, firm and purposeful cost control, an empathetic approach to crew organisation. That mindset brought day-level planning and data tracking into my theatre work.
A spreadsheet model first, then a web system, today three applications in live use. I did not start out as a developer, but service design is close to me. I built the system for my own work, but with the right permission structure it can cover a theatre's entire operation.
[ CONTACT ]
Production planning, line producing, Callboard: email me.