Milwaukee, WI · Working worldwide

Production companies and agencies bring me in to run the room.

Over a decade of general sessions, trade shows, activations and festivals — planned on paper, then called from the headset. I take whatever seat the room is missing.

Project Manager Technical Director Show Caller Producer Stage Manager
Teddy Lyngaas at the comms position with a headset, calling a show from a lit production desk at the back of a general session room.

At the tech table calling cues

How the job actually works

The work happens twice. Once on paper, once in the room.

Everything I get hired for is one of those two halves — and most of the time it's both.

01 — On paper

Months of preparation nobody ever sees

Scope, budget, crew, gear, schedule, run of show. By load-in day the show has already been run a dozen times on a laptop, which is where the risk and the money actually live. Get this part right and the room becomes easy.

Project Manager Producer Technical Director
Prepro deliverablesRev. C
  • 01Scope, budget & vendor sourcing
  • 02Production schedule & load-in plan
  • 03Drawings & renders
  • 04Crew calls & labor plan
  • 05Run of show & cue sheet
  • 06Rehearsal plan & speaker prep

02 — In the room

A few hours where it only gets one take

Headset on. Standby, go, and the recovery when a laptop dies in front of eight hundred people. Nobody claps for the show caller — that's the point. If you noticed me, something went wrong.

Show Caller Stage Manager Technical Director
Cue sheet — general sessionLive
101LXHouse to halfGo
102VideoRoll open packageGo
103AudioSpeaker mic liveGo
104LXKeynote lookGo
105AllStandby transitionStby
106VideoPanel graphicsStby
Three operators at a video village production desk at the back of a packed general session, with a wide blue-lit stage in front of them.

The table at the back of the room — where the show actually gets run

What I do

The title changes. The job doesn't.

Production companies, agencies and brands bring me in directly. The title on the contract changes. The preparation and the outcome don't.

Rooms & seats — set where they usually sit FQP · 6 CH

CH 01

General sessions & town halls

Show Caller

+6

OnSolo

CH 02

Breakouts & multi-room

Project Manager

+2

OnSolo

CH 03

Trade shows & exhibits

Producer

+4

OnSolo

CH 04

Festivals & sports

Stage Manager

0

OnSolo

CH 05

Brand activations

Producer

+3

OnSolo

CH 06

Hybrid & live streaming

Technical Director

−2

OnSolo

Every channel is a room I've run. Faders sit where the work usually sits — general sessions loudest, streaming quietest, none of them off.

A packed marathon finish line seen from above, runners filling the street between grandstands. A talk-show style lounge set in deep purple light with two people seated on stage. A corporate general session with a blue scenic stage, side screens and a full audience. A broadcast-style news desk on a show floor with a camera framing two hosts. An outdoor festival stage at dusk under a curved canopy with a dense crowd in front. A hotel ballroom general session with dual screens and a full seated audience. A general session stage with a bold blue and yellow angular scenic wall and side screens. A live production console with multiviewer monitors and colourful graphics mid-show. A packed marathon finish line seen from above, runners filling the street between grandstands. A talk-show style lounge set in deep purple light with two people seated on stage. A corporate general session with a blue scenic stage, side screens and a full audience. A broadcast-style news desk on a show floor with a camera framing two hosts. An outdoor festival stage at dusk under a curved canopy with a dense crowd in front. A hotel ballroom general session with dual screens and a full seated audience. A general session stage with a bold blue and yellow angular scenic wall and side screens. A live production console with multiviewer monitors and colourful graphics mid-show.
A wide blue general session stage with a speaker and large presentation screens. A teal-lit panel set with lounge chairs, a lectern and a large content screen. Rows of press seating filled with laptops and reporters facing a stage. An empty general session room before doors, stage lit and chairs set in rows. A production console glowing at the back of a warm-lit gala ballroom. A trade show floor crowded with attendees between tall exhibit structures. A broadcast camera and monitor stack set up at the back of a bright meeting room. A busy attendee reception area with screens and exhibit signage overhead. A wide blue general session stage with a speaker and large presentation screens. A teal-lit panel set with lounge chairs, a lectern and a large content screen. Rows of press seating filled with laptops and reporters facing a stage. An empty general session room before doors, stage lit and chairs set in rows. A production console glowing at the back of a warm-lit gala ballroom. A trade show floor crowded with attendees between tall exhibit structures. A broadcast camera and monitor stack set up at the back of a bright meeting room. A busy attendee reception area with screens and exhibit signage overhead.

Why they call me back

Three core strengths I bring to every project

01

Client relations

I stay client-side calm and honest about what's possible. It's the reason most of my work is repeat work — straight answers, no defensiveness when something changes, and scrappy budgets that still get big-show feel.

02

Translation

A client says “can it feel bigger?” and a crew needs to hear “we're adding two upstage columns and re-cueing the open.” I work with technical teams to make your vision a reality.

03

Organization

A versioned run of show, one source of truth for the schedule, and a cue sheet the whole room can read. When something moves at 11pm, everyone finds out in the same document. First in and last out.

A darkened ballroom with an amber-lit stage under a wood slat ceiling, production console monitors glowing in the foreground.

Preparation is the only thing standing between a company and a room full of people watching nothing happen

What people say

The people who hire me, on hiring me

Production isn't my favorite part of meetings, but knowing you had everything completely under control in the General Session room allowed me to focus elsewhere without a second thought. That peace of mind is invaluable.
Audra S.
Meeting planner
Missing organizers, missing presenters, last-minute deck changes, impromptu main-stage Zooms and three concurrent breakouts over two days — Teddy and his team made sure we looked good, sounded good and could focus on collaborating.
Angela P.
Healthcare software company

About

Freelance, plug and play, anywhere

I'm a freelance live event project manager and show caller based in Milwaukee, working worldwide.

The job is the same no matter what the title says: figure out what the client actually needs, set expectations, then execute at or under budget.

Production companies, agencies, planners and brands hire me. Sometimes for the whole arc, sometimes for the two days that can't go wrong.

Get in touch

Let’s discuss your project.

If I’m not the right fit, I usually know who is.

Black and white portrait of Teddy Lyngaas in a grey suit jacket.
  • BasedMilwaukee, WI
  • EntityFifth Quarter Productions LLC
  • InsuredCertificates on request

Availability

Contact Teddy at tlyngaas@gmail.com to book directly.

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