Denver, Colorado
We are an experiential production company in Denver. We don't quote you equipment and we don't book you a ballroom — we design and build the show: the set, the light, the content and the performers, as one thing.
02 — What we actually sell
Rooms get built, not decorated. Scenic flats, custom bars, plinths, millwork, drape and branded architecture — drawn in elevation, fabricated, and trucked in.
The hardest thing on this list for a rental house or a wedding planner to copy.
A plot, not a package. Key, rim and haze; moving heads and gobo breakups; architectural wash tuned to the actual materials in the room; pixel mapping onto the set we built.
Light is what makes a $40,000 room read like a $200,000 room on camera.
LED, projection and projection mapping — with the content made for the geometry it lands on. Show-opens, generative visuals, real-time feeds, recap films.
Almost no COGS, and nobody local sells it well. The most under-exploited category in the market.
Aerialists, dancers, live painters, stilt walkers, roaming characters — cast and choreographed into the light plot and the run of show, not booked as a bolt-on.
Denver's corporate market thinks live performance means a DJ. The city's actual talent pool sits unbooked.
03 — Casting
Costume is set design that walks. A mirror-suit figure moving through a cocktail hour does more for a room than another truss of fixtures — and it photographs. Every character below is a format we cast, dress and choreograph into the plot.
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05 — The room matters first
We start every project with the venue, because the venue decides what is possible and what it costs. This is the working shortlist inside the city — capacities, published rates, and what we'd actually do in each one.
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06 — Within an hour
Drive forty minutes and the options change completely. Brewery buyouts with production floors as scenery, a castle on a private island, and dinner built around two sandstone monoliths at Red Rocks — available, oddly, only from November to March.
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07 — Money, up front
08 — How it runs
Paid, standalone, two weeks. Objective, audience, venue longlist, budget architecture. You own the output whether or not you continue with us.
Concept, renders, elevations, floor plan, light plot, run of show. You approve a picture of the room, not a description of it.
Fabrication, content production, casting and rehearsal, permits, vendor contracting, technical riders and rigging surveys.
Load-in, focus, tech rehearsal, doors. One production manager on comms, one stage manager on the book.
Strike, diversion reporting, recap film and stills, and a debrief against the KPIs we set in week one.
09 — Questions we actually get
Three to six months for most 25–250 person events, and nine to twelve for a September–October or December date. Denver's peak runs late summer through the holidays, and the small number of genuinely distinctive rooms — Union Station's Great Hall, Blanc, SKYLIGHT — clear out first. Design and fabrication want eight weeks minimum on top of the venue hold.
Usually you need neither — but only if you pick the venue carefully. Most licensed venues serve under their own licence, and a licensed caterer can extend theirs to an unlicensed space. Colorado's Special Event Permit is the route people assume they'll use, and it is restricted to non-profit organisations, so it is not available to a corporate host. Tents are the trap: in Denver a permit is triggered at 200 square feet, well below the 400 sq ft threshold out-of-town producers usually assume.
Amplified sound is generally permitted 8:00 am to 10:00 pm, with an 85 dB(A) ceiling measured at the receiving property. Exposure for getting it wrong runs to $5,000 per day. Some venues advertise "no curfew" — that is their internal policy, not a waiver of the city ordinance, and the distinction matters when a residential building sits across the street.
Yes, in three specific and manageable ways. Haze and fog hang differently in thinner, drier air, so atmospherics need re-timing on site rather than trusting a cue sheet from sea level. Combustion engines and generators lose output and must be sized up. And visiting talent — particularly singers and aerialists — should arrive a day early. What is not true, despite being repeated constantly: one drink here does not equal two. That effect is real at 10,000 feet, not at Denver's 5,280.
Yes, and roughly half of our work starts that way. We'll ask for the venue's technical pack, rigging policy and vendor list before quoting, because those three documents determine most of the price. If the room has an exclusive AV provider or forbids ceiling rigging, we design within it — but you should know before you sign, not after.
25 to 250 guests, with projects starting at $60,000. Below 25 the production overhead stops making sense for you. Above 250 you want a company structured for volume, and we will happily name one. The band in between is deliberately where the whole business sits.
Next — Bring us the date
Tell us the date, the headcount and the number you have in mind. You'll get a real reply from a person who has produced the kind of show you're describing — not a form letter and a rate card.