Forget the high notes and sequined outfits, we’ve got the unfiltered insight into the crazy, camp chaos that is Eurovision. A runner turned director’s assistant, fills us in on what it’s like being part of the broadcast team. 

As it goes for televised events, it doesn’t get much bigger than Eurovision. 170 million live viewers, a production team of approximately 1,500 people, you’d imagine it’s a pretty straight forward operation… right? 

Obviously not. 

Maryana Pasalar Kyadzhui, has climbed the Eurovision ladder, from runner in 2017 and 2023, to directors assistant in 2024, and along the way, has seen first hand just how much effort, precision, and problem-solving goes into pulling off this show. Now she offers us a front row seat to the workings of Europe’s most dazzling event.

For us viewers, Eurovision is an evening of catchy songs with a touch of friendly chaos. But for the production team I presume that chaos kicks off long before the grand final? 

Of course. In 2023 I began working in March and stayed with the project until it wrapped up in mid May. It might seem like a long lead-up for just a week of televised events, but things only get more intense the closer you get to the contest. The build-up is essential, every detail counts.

And in those 3 months are there any production secrets that we may not know about? 

The days of simply standing on stage and performing are long gone. These days, staging feels closer to a cinematic experience. To help countries bring their artistic vision to life, we run what’s called stand-in rehearsals. Weeks ahead of the show, alternate performers, different to the actual contestant, take to the stage, in a mock rehearsal. Everything is replicated, from camera angles to choreography. 

The role of a runner always seems to cover a wide range of tasks, but what did a typical day on set look like for you?

Printing, and a lot of it. Running orders, camera cards, schedules, you name it we probably printed it. There were also plenty of phone calls regarding capacities research tasks, you know the usual running responsibilities. 

In Liverpool, as they were hosting on behalf of Ukraine which is my native country, I got assigned some more creative assignments, too, like translating lyrics for the research team. 

I’m sure there were a few odd jobs thrown your way too?

Definitely! The crew in 2024 in Liverpool was the largest I’ve ever worked with, and not everyone’s hotels had washing machines. So I ended up on laundry duty, researching the best laundrettes in Liverpool. Next time you’re watching the dramatic ballad on the stage, bear in mind someone along the way was looking up the top spots to clean their underpants! 

It sounds like a huge operation with lots of opportunities, how did you find yourself capitalising on them? 

One of the biggest perks of being a runner is exposure. You’re everywhere, seeing how it all comes together. If there’s a section of the operation you have a particular interest in, it’s so easy to connect with the people working in it. Every question you can ask someone is a good one, especially when you’re starting out, everyone is always happy to answer questions. I was in the gallery at every opportunity, observing and learning. 

For me, before I begin working on any project, I tap into my researching skills, mailing people, researching any of the show’s previous content, anything to further my knowledge on what I’m stepping into. Facebook and IMBD are my best friends!

You returned in 2024 as director’s assistant, how did you find the step up? 

To be honest it was a very big job. As a runner you should be functional and proactive with helping everyone. When I was director’s assistant, I was tied closer to a specific department in the gallery.

And what goes on inside there? 

It usually consists of the director and assistant directors, who call the shots. All performances are pre-scripted, with music scripts to adjust as you rehearse. Assistant directors call the shots, so that’s luckily not something to worry about. Also, all the camera angles during the songs are automated in advance of the live shows using camera a scripting app.

But what happens when something goes wrong, it can’t all be smooth sailing? 

Things always go off script! When something doesn’t go to plan, it’s all about addressing the issue depending on what’s happening and assessing how long you have to fix it. 

In live environments anything is possible. For example, in 2024 we had a situation where we lost a camera feed mid performance. In the heat of the moment, we had to think on our feet and cut to a wide shot. 

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