There are busy weeks, and then there are Courtney weeks.
One recent stretch included a delayed flight to Dallas, an early morning event the next day, a drive to Austin, another event back in Dallas, a flight home, a four-hour drive to Grand Rapids for a Saturday program, and a flight to Greenville, South Carolina just two days later.
For Courtney, that's simply part of producing events across the country.
She's been with The Go Game since 2016, first joining as a planted actor and referee before becoming a Game Producer the following year. After relocating to the Bay Area, she traded stepping into the action for orchestrating it, building experiences that invite people to do something most adults don't get enough chances to do: play.
Over the years, she's found herself gravitating toward events that blur the line between game and story. A recent favorite transformed Gaylord National outside Washington, D.C., into a fully customized Adventure, complete with local actors playing original characters throughout the venue. The result wasn't just another team-building event. It was an experience participants could step into, interact with, and genuinely get swept up in.
It's that kind of immersion that Courtney loves most. When people stop worrying about getting the right answer and start leaning into the moment, something shifts. They become part of the story instead of spectators.
Then there are the Lip Dubs. While Adventures are built around storytelling, Lip Dubs are all about execution. Every camera move, transition, and cue has to be planned in advance. By the time participants arrive, the camera route has been mapped, choreography has been worked through, and every group knows where they're meant to be. On the day of the event, it's less about creating something from scratch and more about keeping dozens of moving pieces in sync.
It's a format Courtney has returned to throughout her time at The Go Game. One production in 2023 still stands out, not because it was the biggest event she'd ever produced, but because of the team behind it. Dance captains, production staff, and the client all came together with a clear plan, allowing the day to unfold the way everyone had hoped.
Looking back on nearly a decade with The Go Game, it's the variety that stands out most. One week might mean building an immersive Adventure filled with planted characters and unexpected interactions. The next could involve choreographing a Lip Dub or producing an entirely different experience for a new client in a new city.
No two events ask for the same approach. Every venue comes with its own quirks, every client brings a different vision, and every production calls for a new way of thinking. That's what keeps the calendar full, the work fresh, and no two weeks quite the same.
