We're hiring an Executive Producer to build the next chapter of the company.

Pace Live runs more than two hundred shows a year across five countries, owning every step from development to the box office, with founders holding West End and Off Broadway credits.

Regional and multi market touring is what we're best at. We know how to move a show across a country, fill houses others overlook, and make the economics work where most producers won't go. That is our unique position and the foundation under everything we build next.

What we're building now is more original work, more owned productions, and a bigger footprint across Australia, the United Kingdom and the United States. We've secured rights to new work and there's more in negotiation. This is the point where we stop being a touring company that produces and start being a commercial producing house that tours.

That's this role. You own the development pipeline and the capital behind it. You take productions from concept and rights through to stage, and you open avenues that aren't currently open to us.

Rightsholders, agents, estates, general managers, venue groups, presenters, investors. You need to be credible in those rooms on day one, because the terms you negotiate and the relationships you hold are the difference between a company that works and one that stalls.

There's a second part to it. As the scale of the work grows, so does the infrastructure under it. You'll help build the producing and commercial structures behind our productions, alongside the founders, so what we take to market meets the standard the industry expects.

You’ll report to the CEO and Producer, work alongside the Executive Producer and COO, and have an Assistant Producer supporting you, with the full weight of an established touring company behind anything you originate.

We're not looking for someone to run our existing tours. We have people who do that well. We're looking for someone to build what comes next.

This is a theatre role and it requires a commercial theatre producer with musical theatre experience. We're not open to adjacent industry backgrounds for this one.

Who We Are

We're young, we're growing fast, and we're hungry. The founders are in their thirties and still producing, and have been for over a decade from the ground up. Decisions get made in a conversation rather than a committee, and if you bring us something good you'll know inside a week whether we're doing it.

We're not a legacy institution and we're not trying to become one. There's a lot still to be written here. If you want to inherit something finished, this isn't it. If you want to shape what a company becomes, it is.

And we're on the Gold Coast, which is not the worst place to spend a bit of time. Beaches, sunshine, a serious international touring calendar, and a one hour flight to Sydney when you need to be in the room. Plenty of our work happens overseas, so you may be travelling regarless.

A Confidential Conversation

We understand candidates at this level are usually in current engagements and not openly looking. Every approach is treated in strict confidence. If you would rather have an informal conversation before putting anything in writing,



that is completely fine. Email us and we will arrange a private discussion with no obligation and no record.

What You’ll Actually Do

Original works and development

- Own the development pipeline. Assess what's viable, what's fundable, and what fits the company.
- Take our original productions from development to stage, in Australia and internationally.
- Identify and pursue new original work, including commissioning and working with writers, composers, and creative teams.
- Build the development process itself, so original work moves through readings, workshops, and out of town runs in a structured way.

Rights and licensing

- Lead and negotiate rights conversations with rightsholders, agents, and estates in Australia, the UK, and the US.
- Negotiate licensing terms, royalties, territory rights, and option agreements.
- Working with the Producer, identify titles that suit our markets, our audience, and our production capability.

Capital and investors

- Lead capital raising for individual productions, including SPV structures, investor documentation, and the raise itself.
- Build and maintain an investor base across Australia, the UK, and the US.
- Own investor relations and reporting to the standard a sophisticated investor expects.
- Work with the founders and our advisers on production financing structures across jurisdictions.

International markets and new avenues

- Build our position in London's West End and in the United States, including Off Broadway and Broadway pathways.
- Establish and manage relationships with general management companies in each territory, and hold them to account.
- Identify co production, transfer, enhancement, and licensing opportunities that open new markets.

Producing structures and infrastructure

- Help build the infrastructure a producing house at this level requires. General management, production accounting, investor reporting, contracting standards.
- Make sure our productions are structured to a standard rightsholders and investors accept without question.
- Work with our finance function on production budgeting, recoupment modelling, and reporting.

Commercial and creative leadership

- Own the production budget and the commercial case for every project you bring forward.
- Make the creative calls that sit with a producer. Casting approvals, creative team appointments, and the standard of the work.
- Work with production, general management, and marketing to bring each show to stage on budget and on schedule.
- Direct the Assistant Producer and build the producing team as the slate grows.

What Success Looks Like

Rights deals and raises do not close in ninety days, and we know that. Over the first twelve months we'd expect:

- Rights conversations live with credible titles and credible counterparties.




- At least one production moved from concept to a funded, dated commitment.
- An investor base for production capital that did not exist before you arrived.
- Production structures that meet the standard the industry expects internationally.
- Pace Live in rooms, markets, and conversations we were not in a year ago.

Who You Are

- You are a producer, not an administrator. You make decisions and you carry them.
- You are credible with responsible counterparties. Rightsholders, general managers, venue groups, and investors take you seriously in the room.
- You are commercially rigorous. You know what a production costs, what it needs to take, and when to walk away.
- You have taste. You can tell the difference between a show that will work and a show you'd like to work.
- You can raise money. You are comfortable asking for it and comfortable being accountable for it.
- You understand structure. You know how a production is supposed to be set up, and you can build that rather than just work within it.
- You are entrepreneurial, direct, and straight with people, including when the answer is no.

What You’ll Need

This role requires commercial theatre and musical theatre experience. It is not negotiable, and applications without it will not progress.

- Demonstrated experience as a Producer, Executive Producer, or Associate Producer on commercial theatre productions, with credits to evidence it.
- Direct musical theatre experience, whether original work, licensed titles, or both.
- A track record of taking theatrical productions from development or rights through to stage.
- Experience negotiating rights, licensing, option, or co production agreements.
- Experience raising production capital and managing investor relationships.
- Experience working with general management companies, and an understanding of what they own and what stays with the producer.
- Working knowledge of the structures behind commercial productions, including production accounting, budgeting, and recoupment.
- Established relationships across the Australian, UK, or US theatrical industry.
- Australian based with full working rights. International experience strongly preferred, particularly West End or US.
- Availability to travel domestically and internationally on a regular basis. Current passport essential.

Nice to Have

- West End or Broadway level show production credits.
- Experience with SPV structures, or equivalent production financing vehicles.
- Original musical theatre development experience, including workshops, readings, and out of town runs.

The Practicals

Hours: Full time. A senior role that does not run to office hours. Openings, industry events, and international time zones come with it.

Location: Australian based. East Coast preferred. Travel included, with regular time at HQ.

Travel: Potential for regular domestic and international travel, including the UK and the United States.

Remuneration: Senior package including production participation on projects you originate. Discussed directly and in confidence.

Reports to: CEO and Producer.

Direct reports: Assistant & Associate Producer as well as Company Manager.

#J-18808-Ljbffr

📌 Executive Producer (City of Gold Coast)
🏢 Pace Live
📍 City of Gold Coast