Some people fall into this industry. I knocked at the stage door of my local theatre in 2003 and the rest is history. Over more than two decades, I've built a career that spans the full breadth of live production — from the intimacy of boutique cabaret experiences, to the scale of major festival stages, from band practice with my school mates out on the verandah surrounded by curious farm animals, to mixing front-of-house on national tours and stepping into the production office coordinating a hundred moving parts.
Born in Melbourne, but growing up in Central Queensland, I always had a fascination for sound, creativity and how stuff works. I went deaf as a small child thanks to a condition called glue ear, that was thankfully repaired after two rounds of microsurgery on both my ears. Always having a resilience and determination to use my imagination and figure things out, I would churn through books, craft supplies and anything I could build or dismantle. After the surgery fully restored my hearing, I would tinker and make noise with any instrument I could get my hands on and eventually taught myself how to play guitar and bass. Living on an 80 acre property on the outskirts of town meant organising band practice at my place was an easy ask - no grumpy neighbours to worry about. I did my school based work experience in a recording studio and music shop in Rockhampton (foreboding!) and from there I went on to volunteer as part of my local theatre's Friends of the Theatre program. I started where most do: loading gear, running cables, sweeping and mopping the stage, learning the craft from the ground up. Musical theatre had me hooked from a young age as well, having seen the famous Australian production of The Pirates of Penzance with Jon English, June Bronhil, Marina Prior and Simon Gallaher. And of course, the Disney classics. So much Disney.
The Work
As a production manager, she is the person who makes the plan and holds it together when the plan changes. Budgets, schedules, crew, logistics, technical riders — she has managed them all, often simultaneously, often under pressure. The show always goes on because someone made sure it could.
On the road, Ali is the constant in a constantly moving operation. She handles the business of touring so artists can focus on performing — advancing venues, managing travel, keeping the team on track, and solving the problems that nobody planned for.
Across the Industry
Ali's experience crosses disciplines in a way that is genuinely rare. She understands the technical demands of live audio because she has spent years on stage and behind the console. She understands the logistical complexity of touring because she has lived it. That breadth is not just a list of credits — it is a way of thinking about production that makes every project stronger.
She has worked with independent artists and major acts, in regional venues and national touring circuits, on one-off events and extended runs. The scale changes. The standard doesn't.
How She Works
Prepared
Every show is different. Every show deserves the same level of preparation.
Collaborative
The best productions happen when everyone in the room is working toward the same thing.
Calm under pressure
Live production is unpredictable. Experience is knowing how to respond, not just react.
Honest
Clear communication, realistic expectations, and no surprises on the day.
9 Lives Productions is the professional home for artists, venues, and organisations who want a production partner who has done the work and knows how to do it well
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