Host Anna Robb sits down with Tania Ordoñez Prieto, Senior Manager of Entertainment Technical Operations at Celebrity Cruises. From staging Broadway hits in Mexico to building new theatres at sea with Cirque du Soleil, Dragone, Disney, and Celebrity’s latest ships, Tania has shaped shows on a global scale. As one of the few female technical directors in the cruise industry, she shares insights on leadership, innovation, and the resilience it takes to create world-class entertainment at sea.
Enjoy this inspiring glimpse into their conversation—and don’t forget to join us next week for the full episode.
How did you first get into technical direction on cruise ships, and what makes working at sea unique?
Tania:
I started my career in Mexico, working on major Broadway musicals like Mary Poppins and Wicked. Later I moved into large productions with Cirque du Soleil, Dragone, and Disney. Early on, mentors advised me that cruise ships were a great place to gain hands-on experience with cutting-edge gear. That was true for me—working on Disney Fantasy exposed me to new systems, which eventually led to roles with Cirque.
After spending time on land in large-scale productions, I returned to cruise ships with more perspective. The difference is that on land you might only build one or two theatres in a lifetime, but at sea, the pace is so fast that I’ve already been involved in four new builds. Each ship gives me the chance to experiment with the newest technologies and constantly refine the process. It’s a blend of scale, speed, and technical creativity that keeps the work exciting.
What’s different about building and running a theatre at sea compared to one on land?
Tania:
In many ways, a theatre is a theatre—there’s a stage, seats, entrances, and exits. But at sea there are unique constraints:
Height limitations: Unlike land-based theatres, we can’t always build the fly space we’d like, so we must be creative.
Safety and fire regulations: Fire is the biggest hazard at sea, so every cable, door, and zone must follow strict standards. Something simple on land requires more engineering on a ship.
Ship movement: Theatres must account for the constant motion of the vessel. Equipment like battens must be adapted with rails and safeguards.
Efficiency: Crew sizes are smaller, so we rely on timecode automation and systems integration to make shows manageable with fewer people.
While the goal is still to deliver amazing experiences, the design and operation must be adjusted for maritime realities.
What are some of the biggest challenges you’ve faced in cruise ship theatres?
Tania:
One issue that’s unique to cruise ships is sound leakage into guest cabins. Theatres and clubs are surrounded by living spaces, and sound travels through the steel structure of the ship. Guests need to sleep, so we run extensive acoustic tests during commissioning. We measure sound in cabins, use decoupling techniques, and employ digital processing to eliminate resonant frequencies.
Another challenge is logistics. Everything has to fit through small hatches and storage spaces. We’re constantly solving puzzles about how to build large sets in tight spaces, load them onboard, and make them disappear efficiently during strikes. These challenges make the job both demanding and rewarding.
What do you look for when hiring crew, and why do you think cruise work is a good career path?
Tania:
My team recruits and trains the theatre technicians. We don’t just look for years of experience—we want people who are curious, willing to learn, and familiar with relevant tools and software. The cruise ship environment is very “sink or swim.” You have to be flexible and resilient. Even if you’re hired as a sound tech, you may find yourself helping with set changes, lighting, or costume quick changes.
That’s why cruise ships are such great training grounds. Young technicians can commit six months without heavy life obligations, gain hands-on experience in multiple areas, and build resilience. Many land-based employers, myself included, love hiring former cruise ship crew because they’re resourceful, adaptable, and understand every aspect of show production.
As one of the few female technical directors, how do you view leadership and what advice would you give to aspiring TDs?
Tania:
It’s true there aren’t many women in these roles—out of about 200 technicians on my team, maybe 20 to 30 are female. I’ve always been a natural leader, even as a child, so for me leadership wasn’t about fighting for space but about stepping into responsibility with confidence.
My advice to younger professionals is:
Be authentic. Don’t change who you are to fit a mold of what a leader should look like. If you’re shy, you can lead quietly; if you’re outgoing, that’s fine too.
Own mistakes. Leaders don’t always have the answers, but credibility comes from taking responsibility.
Understand your “flavor” of TD. Technical directors mean different things in different contexts—on Broadway, in concerts, on ships, or in film. Choose your lane and specialize.
Stay current with IT and integration. Today’s TDs must understand how lighting, sound, automation, and video systems communicate. It’s not enough to know just one area anymore.
Key Takeaways:
Mega Shows vs. Ships: Large-scale productions like The House of Dancing Water run on vast teams, detailed SOPs, and countless contingency plans. Cruise shows can’t match that scale, but they borrow best practices in safety and efficiency to elevate operations at sea.
Early Foundation: Tania’s career launched in Mexico, where translating for Broadway touring crews gave her direct access to technical training—opening doors to automation and complex systems.
People First: Her favorite part of the job isn’t the tech or the cues—it’s the community of creative, resilient, and passionate people who make every show possible.
Industry Change: She wishes world-class productions weren’t limited by English as the dominant working language. Breaking language barriers—potentially with AI translation—could open opportunities for more technicians worldwide.