The first smell on set is rarely paint or sawdust. It is coffee. Burnt at the edges, riding the air with cheap pastries, clinging to costume wool and gaffer tape. Someone is pouring oat milk into a paper cup under a flickering fluorescent tube. Someone else is quietly fishing the last gluten-free bar from a crumpled box. It is 6:12 a.m. The call sheet is ambitious. The food plan is not.
Feed people well, and they carry the show with you. Feed them badly, and they survive it in spite of you.
Catering for cast and crew is not a side task. It is stagecraft for the body. The short version: know exactly who you are feeding and what they can eat, hire or assign a person whose only job is to manage food, design menus that default to inclusive options, schedule meals with the same rigor as lighting cues, and build a backup plan for when everything goes sideways. Treat food as part of the experience, not an afterthought, and your cast and crew will arrive sharper, safer, and kinder. Ignore it, and you will watch morale erode between the craft table and the cold pizza box.
Feeding people is part of the set
Think of catering as a moving set: changing through the day, full of props, clearly marked, and designed around the people who inhabit it.
The first mistake many productions make is treating food like a single line item in a budget: “Catering: X per head.” That number tells you nothing about timing, storage, allergies, waste, or how actors in heavy costumes will eat without ruining their wardrobe. It says nothing about the stage manager who cannot leave the console for more than 5 minutes, or the rigger who needs calorie-dense food, not lettuce.
Food on a production is not a perk. It is infrastructure.
You are not simply “ordering lunch.” You are creating a system with moving parts:
- Information: who eats what, when, and where.
- Logistics: how food travels, stays safe, and stays visible.
- Experience: how it feels to eat on your set.
Ignore any one of those, and the whole thing collapses in tiny, frustrating ways: the vegan sound designer stuck with plain lettuce, the hypoglycemic stagehand fainting in tech, the actor trying to pick sesame seeds off a bun because no one remembered their allergy.
Start with a food profile, not a menu
Before you choose a single dish, you need a clear map of your people. A “food profile” is simply a structured way to know who you are feeding, what they need, and what will put them at risk.
Here is the bare minimum you should gather from every cast and crew member before rehearsals or build begin:
| Category | Questions to ask | Why it matters |
|---|---|---|
| Allergies | “Any food allergies or severe intolerances? Please list severity.” | Risk of anaphylaxis, cross-contact rules, separate prep areas. |
| Dietary pattern | “Do you follow any food pattern? (vegan, vegetarian, halal, kosher, etc.)” | Menu design, protein sources, supplier choices. |
| Medical needs | “Any medically relevant needs? (diabetes, celiac, etc.)” | Timing of meals, sugar content, gluten control. |
| Cultural / religious | “Any cultural or religious food needs we should respect?” | Avoiding disrespect, building trust, menu planning. |
| Preferences | “Foods you strongly avoid or cannot face while working?” | Morale, food waste, snack choices. |
Collect this with the same seriousness as emergency contacts. Store it in one place. One trusted person should manage it: producer, company manager, or dedicated catering coordinator.
If you would not guess a performer’s medical history, do not guess their diet.
Make this information visible to whoever is buying or preparing food, but keep the names private where necessary. A simple approach: create coded totals:
– 4 vegan
– 7 vegetarian
– 3 halal
– 2 kosher-style
– 1 celiac (strict gluten free)
– 2 nut allergy (anaphylactic)
– 1 sesame allergy (anaphylactic)
– 3 dairy intolerant
You design menus against these numbers, not against vague notions of “most people eat everything.”
Allergies are not preferences
The most dangerous sentence on a production: “Can they just pick it off?”
If you have anyone with:
– Anaphylactic allergies (nuts, peanuts, sesame, shellfish, egg, etc.)
– Celiac disease
– Severe dairy or egg allergy
then your catering logistics must be as precise as your rigging. That means:
No guessing, no “probably fine,” no unlabeled sauces, no food set on shared trays without thinking about crumbs and spills.
You need:
– Clear labeling on every dish: ingredients and allergens.
– Strict separation of allergen-free items from the rest.
– Separate serving utensils.
– A plan for emergency response: where the EpiPens are, who can call emergency services, a clearly posted procedure.
If your caterer looks annoyed when you mention this or brushes it off, choose another caterer. This is not a creative difference, it is a safety standard.
Designing menus that actually work
Once you have your food profile, you can design menus that feel generous without exploding your budget. The trick is to design from the edges in: start with the most complex needs, then fill the center.
A well designed menu does not make the vegan line feel like a consolation prize.
You want to avoid the old pattern: meat-heavy dishes at the center, one sad vegan tray in the corner. Instead, think like a set designer who builds a flexible structure.
Build from inclusive anchors
Plan each meal around “anchors” that most people can share, with smaller adjustments for specific groups. For example:
– A grain base: rice, quinoa, millet, or gluten free pasta.
– A vegetable center: roasted vegetables, salads, stews.
– Separate proteins: legume-based, dairy-based, and meat-based.
So one lunch line might look like this:
– Main base: herbed rice and lemon roasted potatoes (vegan, gluten free).
– Vegan protein: chickpea and spinach stew.
– Meat protein: roast chicken with herbs.
– Optional dairy side: feta and yogurt sauce served separately.
– Salad: mixed greens with simple oil and vinegar; more elaborate toppings on the side.
The majority of the line is automatically safe for vegetarians, vegans, gluten free folks, and many religious diets. Meat eaters add the chicken. People avoiding dairy skip the sauce.
You do not need three completely separate menus. You need one thoughtful structure.
Timing, portioning, and the myth of “leftover pizza”
Good menus fail if timing and volume are wrong. A 14-hour tech day with two small meals is not kind or safe.
Think in rhythms:
| Time | Food need | Notes |
|---|---|---|
| Call – 2 hours | Light breakfast | Fruit, simple carbs, protein, good coffee/tea, non-dairy options. |
| Mid-morning | Snack buffer | Nuts, bars, cut fruit, veg, hummus. Low sugar + some sweet. |
| Lunch break | Main hot meal | At least 30 min seated. Protein, veg, carbs. |
| Mid-afternoon | Energy support | Avoid only sugar. Add protein snacks, savory items. |
| Night (if long day) | Second light meal | Soup, sandwiches, hot rice dishes. Comfortable, digestible. |
Never assume “they can just snack through” a 10-hour rehearsal.
Portioning: people in physically heavy roles (riggers, stagehands, dancers, movement performers) need serious calories. So do people under stress. Under-ordering looks thrifty on paper and expensive in morale.
A practical approach:
– Order for at least 10-15% above your headcount for main meals.
– Over-order on fruit, vegetables, and simple snacks; under-order slightly on dense desserts.
– Track what comes back uneaten for 2-3 days, then adjust.
Avoid leaning on pizza and similar “default” foods more than once per week. Many people cannot or will not eat it: gluten free, dairy free, vegans without proper toppings, people watching salt intake. Also, it crashes energy: a heavy slice at 1 p.m. leads to slow cues at 3:30.
Craft table as set design
The craft table is not a random pile of sugar and crumbs. It is a constantly visited mini-set that silently communicates how much you value your team.
Picture two tables:
– Table A: crumpled bags of cheap chips, a tray of cookies, open soda bottles sweating over a nest of cables.
– Table B: clear sections: fruit, sliced veg, some salty snacks, some sweet snacks, labeled jars of nuts and seeds, water and tea at one end, waste and recycling bins arranged neatly.
Both cost similar amounts. Only one feels intentional.
The craft table becomes the emotional barometer of the day.
Treat it like a stage element:
– Place it where people can reach it between cues but not in the middle of traffic.
– Keep it clean: assign a person to reset it every break.
– Label items clearly for allergens and diets.
– Keep water the most visible drink.
For long days, rotate items so the table does not feel stale and repetitive. Even small changes help: a different fruit, a new spread, sliced boiled eggs, roasted chickpeas.
Logistics: where food meets reality
Artistic good intentions collapse quickly under poor logistics. Great menus need a physical plan.
Assign a food lead
One person should own food on your production. Not as a side job buried under emails, but as a defined responsibility.
If food belongs to “everyone,” it belongs to no one.
This food lead:
– Communicates with caterers or suppliers.
– Knows all dietary and allergy information.
– Plans timings with the stage manager.
– Checks deliveries for accuracy and labeling.
– Oversees temperature safety and storage.
– Manages waste and leftovers.
In a small company, this can be a producer or stage manager, but it must be in their contract or agreement so it is not treated as an invisible favor.
Make space in the schedule for this person to do the work. They cannot call cues and lay out lunch at the same time.
Space, storage, and safety
Food storage is not glamorous, but it is where many productions quietly fail. Lukewarm chicken, dairy left out, unlabeled leftovers: this is how you get sick crew.
Plan for:
– Fridge space: for dairy, meat, sauces, cut fruit, and leftovers.
– Dry storage: sealed bins for bread, snacks, coffee, tea.
– Separate allergen-free shelf or container for critical items.
– Enough tables for serving lines and a separate craft area.
– Hand-washing or sanitizing near food.
If you are in a found space, warehouse, or site-specific location, do not assume there will be:
– Reliable power for fridges.
– Safe, clean surfaces.
– Running water near the stage.
You may need:
– Rental fridges or coolers.
– Food-safe folding tables.
– Large insulated containers for hot food.
If your lighting plan needs power, your fridge does too.
Do not store open food near paint fumes, dust from set building, or costume alterations. Fabric fibers, sawdust, and solvents have no place in someone’s sandwich.
Serving flow: choreograph the line
Think of meal service like blocking. Where do people enter? Where do they exit? Where will they stand holding plates?
Poor service flow wastes time and irritates hungry people. Good flow makes breaks feel longer than they are.
Basic principles:
– Start the line away from doors to avoid blockages.
– Place plates and cutlery far from the hot trays to prevent bottlenecks.
– Put main items first, sauces and extras later.
– Drinks at the very end or on a separate table.
– Provide multiple trash and recycling points with clear labels.
For large casts or crews, consider staggered calls:
– Tech crew and stage management 5-10 minutes early.
– Lead cast in the center.
– Background or ensemble cast overlap.
This respects the people who cannot eat at any other time because they are physically tied to setup or teardown.
Dietary restrictions in detail
Some dietary needs are often misunderstood or half-remembered. That leads to costly mistakes and resentment that lingers longer than any lighting note.
Vegan and vegetarian
Many productions treat vegans and vegetarians as an afterthought. A lonely tray of pasta with basic tomato sauce will keep someone alive. It will not make them feel valued.
Good vegan options are often good for everyone: hearty stews, grain bowls, roasted vegetables, curries, stir-fries with tofu or legumes.
Consider:
– At least one protein-rich vegan main at every main meal.
– Vegan dessert options at least half the time, not never.
– Vegan spreads on the craft table: hummus, nut butters, plant-based cheeses.
If the only vegan option is bread and salad, you did not plan. You improvised.
Vegetarians are usually easier to accommodate, but do not drown everything in cheese as a lazy fix. Heavy dairy in hot conditions or under costume is not kind.
Gluten free and celiac
Gluten free preference and celiac disease are not the same. Both deserve respect, but celiac requires strict control of cross-contact.
For celiac:
– Separate serving utensils, never shared with regular bread or pasta.
– No “just pick the croutons off.”
– Clear, trusted suppliers for gluten free bread and baked goods.
– Consider separate bread baskets and toaster.
For gluten free preference or intolerance:
– Base your meals on naturally gluten free anchors often: rice, potatoes, polenta, quinoa.
– Keep at least one gluten free snack at the craft table that is not just fruit.
Label all sauces and dressings. Gluten hides easily.
Religious and cultural needs
Halal, kosher, and culturally specific needs are about respect, not convenience.
For halal:
– Either provide certified halal meat or plan strong vegetarian/vegan options so no one is pushed toward non-compliant food.
– Keep halal meat separate in storage and serving if you provide it.
For kosher:
– Many people on set will accept “kosher-style” food (no pork/shellfish, no mixing meat and dairy), but some will need fully certified meals.
– Discuss with the person what they actually follow. Do not guess.
For other cultural needs, the simplest route is honest conversation:
– “We want you to feel safe and comfortable eating here. What do you need us to avoid or include?”
Then write it down and treat it as seriously as any other constraint.
Health and performance-related needs
For dancers, fight performers, and anyone with physically intense roles, food is part of injury prevention. Sudden sugar spikes and heavy fat right before movement can slow reflexes or cause nausea.
For people with:
– Diabetes: predictable meal times, low sugar options, access to quick glucose if needed.
– GI conditions: avoid very spicy, very greasy, or very acidic options as the only main dishes.
– Mental health medication: some meds interact badly with caffeine, grapefruit, or alcohol; some cause appetite swings.
If someone shares a health need, listen, ask brief clarifying questions, then design quietly around it.
Catering in unusual spaces: immersive and site-specific
Immersive theater and site-specific work often throw catering into chaos: tunnels, crypts, rooftops, warehouses, forests. No normal kitchen. Audiences wandering through spaces. Limited backstage.
If your show lives in a parking garage or an abandoned office, your catering cannot pretend it is in a black box with a green room.
Key questions before you secure the venue:
– Where can food safely live?
– How far is that from the performance area?
– Is there water? Drainage?
– Are there fire regulations that affect heating equipment?
– Where will people actually sit and eat?
You might end up with:
– Pre-packed meals instead of buffet lines.
– Staggered eating times with labeled boxes.
– Insulated containers carried in shifts from a remote kitchen.
In some immersive shows, the audience also eats. In that case, your cast and crew catering must remain clearly separate:
– No shared trays between audience food and crew food.
– Clear labeling to avoid audience accidentally eating allergy-safe items meant for cast.
– Hygiene controls: performers touching audience surfaces should wash or sanitize before touching food.
If performers eat “in character” as part of the show, ensure:
– The food is safe to eat repeatedly, every show.
– Portions are controlled so no one makes themselves sick trying to keep up a visual gag.
– Alternatives are available if an actor’s needs change mid-run.
Night shoots and unconventional hours
Night shoots, overnight builds, and immersive shows that run late create different food patterns.
Coffee is not a meal.
For work that runs past midnight:
– Bring in a real “dinner” equivalent at a sensible midpoint, even if that is 1 a.m.
– Offer warm, simple food: soups, stews, rice bowls, baked potatoes.
– Reduce caffeine options toward the end of the call so people can eventually sleep.
When body clocks are confused, warm simple food feels like light.
Be careful with sugary energy drinks at night. They can create a cycle of jitters and crashes that is bad for both safety and emotional stability.
Budgets, trade-offs, and where not to cut
Food is expensive. So are broken morale, increased sick days, and accidents from low energy. You will have to make choices. Some are sensible; some are short-sighted.
Sensibly frugal choices:
– Simple, hearty menus over fancy variety.
– Bulk fruit instead of only packaged sweets.
– Big pots of stews, curries, and rice dishes instead of individual boxes from high-end places.
– Reusable plates and cutlery where dishwashing is possible.
Short-sighted cuts:
– Cutting breakfast “because people can eat at home.”
– Skipping the second snack on long days.
– Offering no real vegetarian or vegan protein “to save money.”
– Ignoring allergy-safe options and assuming people can “just bring their own.”
If you cannot afford to feed your cast and crew at a basic level, your production is over-scoped.
Combine meals with smart scheduling. A slightly longer, well respected lunch can prevent many tiny delays later when people drag themselves through cues.
Communication and culture around food
Food is not only fuel. It is community. It can draw your company closer or reinforce cliques and hierarchies.
Clear rules, kind tone
Set a simple food policy and share it with the call sheet or welcome pack. It can cover:
– Meal times and duration.
– What is provided, what is not.
– Allergy and labeling practices.
– Expectations about cleaning up after oneself.
– Rules about taking food home.
Avoid treating people like children, but also avoid vagueness that leads to conflict. An example:
“Please respect those with dietary restrictions by not taking labeled allergy-safe items unless they match your own need. We plan portions carefully so everyone is fed.”
Encourage people to speak up if:
– Labels are missing.
– They feel unsafe around certain foods.
– Meal timing clashes with key cues or tech.
You might not always be able to change things, but listening and explaining decisions calmly prevents resentment.
Hierarchy and who eats first
This is a sensitive one. Some productions automatically let leads or creative teams eat first. Others do the opposite, letting crew go first because they have less control over their timing.
My view: prioritize by practical need, not ego.
– Stage management and tech crew who must return to gear or consoles quickly.
– Performers in heavy makeup, masks, or costumes that require extra time.
– Then, everyone else.
If you treat your director like royalty and your crew like an afterthought at lunch, you will see it play out in the work.
When things go wrong
Even with meticulous planning, there will be days where catering fails: late delivery, power outage, wrong order, someone new with a serious allergy.
Plan B food
Always keep a small emergency cache of shelf-stable, inclusive food. It can live in sealed bins and only be touched when needed.
Good Plan B items:
– Canned soups and beans (with clear ingredients).
– Shelf-stable plant milks.
– Rice cakes and gluten free crackers.
– Nut butters and seed butters.
– Shelf-stable hummus or similar spreads.
– Long-life fruit (apples, oranges, pears).
– Simple granola bars with clear labels.
Emergency food should not feel like punishment. Just a quieter version of regular meals.
If a delivery is late:
– Announce it honestly, with a revised time.
– Offer snacks and hot drinks.
– Avoid vague “soon” promises; give real updates.
Learning from each production
After the run or shoot, review catering the same way you review cues and design:
– What was consistently eaten quickly?
– What was left untouched?
– Did anyone report feeling unwell after certain meals?
– Were there allergy or dietary complaints?
Ask for feedback in a short, anonymous form or informal conversation. You do not have to please every personal preference, but patterns will emerge:
– “Too much bread, not enough protein.”
– “Vegans felt sidelined.”
– “Snacks ran out by 4 p.m.”
– “Cold food at late-night calls was hard.”
Then carry these notes forward. Feeding people should get easier, not reinvented badly every time.
Food as part of the artistic experience
You are working in set design, immersive theater, and arts. You understand that the world you build offstage bleeds into the one onstage.
Imagine:
– A rehearsal room where the food table is as considered as the mood board.
– An immersive show where cast meals mirror the aesthetic: rustic stews for a folk story, sleek bento boxes for a futuristic piece.
– A backstage corridor where the smell of a warm, thoughtful meal replaces the stale scent of stress and takeaway.
Care in catering does not shout. It hums under everything, like a well-tuned dimmer or a smooth scene change.
Your cast and crew will not always remember the exact menu. They will remember how easy it felt to eat. How safe. How seen. And that quiet memory will thread into how they hold a prop, how they listen to a cue, how they carry your world for the audience.
Catering is not separate from design. It is design for bodies that are working hard to bring your vision to life. Feed them with the same attention you give light, sound, and space, and the work itself becomes steadier, richer, more human.
