Backstage Stars: meet Assistant Stage Manager Kate Pallesen

You may not have spotted her onstage, but if you've been to a Calgary Opera show in the last few years, you know Kate Pallesen's work. As an Assistant Stage manager, Kate is among the crucial team of artists who hustle backstage, and make the magic truly happen. For anyone who's into how things are made, our exclusive inside look at the work of stage managing an opera is a fascinating insider's scoop:

What's unique about stage managing opera, compared to theatre or film/television?

Kate Pallesen: "As an Assistant Stage Manager for Calgary Opera productions, my role backstage varies somewhat compared to straight theatre or musicals. One of my main roles in opera is cueing entrances; no matter if it's for a principal singer, a chorus member, or a supernumerary, there is an ASM following along in the score, giving cues for every single entrance. In theatre and musicals, actors generally take their own entrances, unless a stage manager cue is needed for a specific technical reason or staging moment.

"There are also generally a LOT more people to track backstage in opera — having five principals, 40 adult chorus, a dozen or so children's chorus, and a handful of supernumeraries is a normal count of onstage performers for an opera and an astronomical number for straight theatre!"

What have you learned about opera singers since working on opera productions?

KP: "I have learned how sports-like the training is to be an opera singer; vocal cords are a muscle, you have to build up the endurance required to get through a full opera performance, and the rest of the body needs to be primed to support the voice. Not only are opera singers' voices strong; so are their cores!

"I have also learned that opera singers have to travel very often for their careers. In addition to travelling to perform, the amount of travel they do for masterclasses, auditions, and competitions is extensive."

What have been some highlights during your time working on Calgary Opera shows?

KP: "Everest, 2019: My first production with Calgary Opera, where I was the child supervisor and a light walker. Traversing that set for light walking was both terrifying and super fun! I learned a lot from the supernumeraries on that production, as they were all actual climbers themselves.

"La traviata, 2022: My first show as an Assistant Stage Manager with Calgary Opera and it was the largest-scale production I had ever done at that point in my career. It was a huge challenge at the time and one I was so proud to have overcome!

"Macbeth, 2023: The technical magic of Lady Macbeth's dress suddenly appearing to be covered with blood stains through a combo of UV paint on the costume and UV light during her aria was a highlight to both see and to hear the audience reaction.

"The Witty Squirrel School Tour, 2025: Myself and the McPhee Artists felt so fulfilled by the end of this tour; there's nothing like bringing opera to thousands of children who are the most grateful audience members in their responses of laughter, vocal exclamations, appreciative applause, and unpredictable Q&A questions!

"Ghost Opera, 2019 and Hansel and Gretel, 2026: I have always found the mixture of puppetry and opera to be a fascinating and effective combination. The first time we saw the Witch come to life in rehearsals for Hansel and Gretel this past season was so special!"

Do you have any Calgary Opera moments, either during rehearsal or performance, that you'll never forget?

KP: "For the final invited dress rehearsal of The Elixir of Love in 2024, there had been a scheduling mix-up that meant we were without a key supernumerary with only 30 minutes to the top of the performance. As I knew the super's full track from filling in for them during principal-only rehearsals, I was quickly thrown into a costume of whatever extra pieces the wardrobe team had on hand and was standing by to go onstage, which you can only imagine is nerve-wracking for someone always in the wings!

"Fortunately, our super was able to make it to the theatre in time for their first entrance, but I still spent all of Act 1 in my costume as I didn't have time to leave backstage to get changed, haha. It was a rollercoaster of a final dress rehearsal!"