Today we’d like to introduce you to Philip Lupo.
Hi Philip, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?
I got my start in theater as a child in Titusville, attending theater camps from a young age. Though I initially started on stage, I remember always trying to pick a seat in the house near the lighting console, fascinated by how they worked on cues. That curiosity eventually led me backstage, and when I transitioned from performing to working as an assistant technical director, I found myself overseeing lighting, sound, video, and stage/production management.
Looking back, it was one of those classic early career jobs—you work long hours, get paid next to nothing, but learn an immense amount. Without any formal training at that point, I taught myself multiple disciplines within the industry while also discovering just how deep my passion for this work ran. Along the way, I also absorbed valuable lessons about arts management and business from Steven Heron, the Artistic Director at the time.
While working at that theater, I made the decision to pursue a BA at UCF while also working full-time. Juggling both was one of the most difficult things I’ve ever done, especially since I had little support from either institution. After a falling out with that theater, I decided to start freelancing—and that’s basically where I am today. I’ve been fortunate to work with many theaters, arts organizations, and theme parks in the area, and over time, that freelance work evolved into running my own design and production firm.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
It was anything but a smooth road (some say it’s still not a smooth road to this day). I always knew I wanted to freelance, so while working at my first theater and trying to finish school, I also started taking on freelance gigs around town, operating under the philosophies that “it’s who you know” and “work begets work.” That period of my life was defined by exhaustion—I was constantly overworked, juggling multiple jobs and barely making ends meet.
Imposter syndrome was another major challenge. A lot of my early career was built on learning by doing, and even though I went to university for theater, their amenability to permitting me to take the basic design courses (usually reserved for the BFAs) was minimal, at best, and the remainder of the courses proved less than helpful—at least in terms of practical, hands-on knowledge. I think imposter syndrome is something that plagues many people in this industry, but it was especially difficult for me since I felt like I never received the training that I feel some of my peers did.
On a more personal note, depression runs in my family, and it has been something I’ve struggled with as well. The pressure of running a design firm in such a niche, underfunded, and high-stress industry—where we’re constantly balancing artistic integrity with logistical and financial realities—has been a recurring challenge. Even as I’ve gained success within our community, the struggle of making a living in an industry that often undervalues creative labor remains a constant, and the underlying depression that can both foment the imposter syndrome and also make putting pen to paper to be creative often takes a significant toll
As you know, we’re big fans of PL Theatrical. For our readers who might not be as familiar what can you tell them about the brand?
I run PL Theatrical, a small design and production management firm. Because of my varied background, we handle a wide range of production services—lighting, sound, scenic, video, and production/event management.
What sets us apart is the level of care and attention we bring to every project. I’ve spent years in the trenches, running events and productions, and I understand how even the smallest details can make or break a show. That hands-on experience translates into a company culture where no project is treated as “just another job”—we care deeply about the work, the artistry, and the people involved.
More than anything, I’m proud of the reputation we’ve built for quality and reliability. This industry is full of unknowns, and having a team that can adapt, problem-solve, and execute at a high level is something I take great pride in.
Alright, so to wrap up, is there anything else you’d like to share with us?
Only that, as much as this industry can be challenging, it’s also incredibly rewarding. There’s something special about collaborating with artists and technicians to bring ideas to life—whether it’s a small theatrical production or a large-scale event. I’ve been lucky to carve out a space in this field, and I hope to continue growing, innovating, and creating for years to come.
Contact Info:
- Website: pltheatrical.com
- Instagram: @philiplupo
Image Credits
Photo creds: Matt Murphy (@murphymade), Ashleigh Ann Gardner (@word_bird)
