2020 Annual Report

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MAESTRA FOR THE WOMENFOR WHO THE WOMEN MAKE WHO MAKETHE THE MUSIC MUSIC IN THEIN MUSICAL THE MUSICALTHEATER INDUSTRY THEATER INDUSTRY 2020 ANNUAL REPORT

2020 ANNUAL REPORT from the WELCOME FROM THE FOUNDER WELCOMEFebruary 15, 2021 Founder I want to tell you how important Maestra has been for soThis many, including has me,been during thisa yearunbelievably of difficult recalibrating and expectations and surprising year. Our launch event was scheduled for March 30th, 2020. When the doors to Broadway closed on We were so excited to launch March 12th, we canceled everything and hustled to refundturning all of the tickets challenge as quickly as possible. into We opportunity.thought we would reschedule in about a month, but as of this writing,Maestra theaters acrossat an the event country originally are still closed. scheduled We have not for March 30th, 2020. We thought we gathered together in person for nearly a year, our communitywould is hurting, reschedule and Maestra it about still hasn’t a month officially later. launched. As of this writing, theaters across the

Except that we have. On April 2nd we moved our NYC-based,country in-person are stillmaster closed, class series and online, Maestra and our still Virtu hasn’t- officially launched. al Technical Workshop series was born. We knew the online classes would be a great way to provide support to our membership, keeping them engaged in skill-building and music-making as the pressures of unemployment increased, but we were amazed to discover something that Exceptseemed even more that important: we we have were providing. Last communiApril 2nd- we moved our master class series ty. Just as important as the educational subject matter weonline, offered wasand the our vitality Virtual of connection: Technical seeing Workshop each other, series was born. It turned out the networking, building common language and purpose from the little boxes on our computer screens. Within months, our reach was global, our donations were increasing,classes and our were Directory a great membership way to was keep exploding. our members engaged in skill-building and music-making as the pressures of unemployment increased, but just as important In the last year, we’ve put conversations about equity at the forefront of all that we do. Our industry is struggling to figure out how to re-open, but we are very loudly saying thatwas we the can’t vitality just reopen, weof have connection: to reinvent. We’re gather seeing- each other and building common ing statistics and amplifying inclusive voices that demandpurpose our industry from think thecarefully little and boxes thoroughly on ourabout computer issues of screens. Within months our racism, sexism, ableism, ageism, and intersectionality. Week after week the country’s major newspapers report that the pandemic has been harder on women than men, andreach the situation was isglobal, even more our dire donations for women ofwere color. increasing, Maes- and our Directory membership tra’s big question right now is this: when the industry “comeswas back,” exploding. who will the decision-makers be, and will they be advocating for us?

We’re not waiting for the future leaders to emerge; we’re Today,building wethem. are We saying envision loudlya theatre that industry we that can’t centers just reopen, we have to reinvent. women and people of color in the music departments of everyWe’re show, demanding but also we demand that our an industryindustry that think uses Mae carefully- and thoroughly about stra’s standard as a bar by which all other departments evaluate their own inclusivity. Never again do I want to hear, “We wanted to hire a woman, issuesbut we just of couldn’tracism, find sexism, one.” homophobia and transphobia, ableism, ageism, and intersectionality. Maestra’s big question right now is this: when the industry You will find her at Maestra. “comes back,” who will the decision-makers be, and will they be advocating for us?

We’re not waiting for the future leaders to emerge; Georgiawe’re Stitt building them. We envision a theater industry that centers women (Accompanied byand photo people of Georgia) of color in the music department of every show, but we also demand an industry that uses Maestra’s standard as a bar by which all other departments evaluate their own inclusivity. Never again do I want to hear, “We wanted to hire a woman, but we just couldn’t find one.” You will find her at Maestra.

Georgia Stitt

1 Maestra envisions a world in which

women and non-binary musicians* have Mission - Laura to provide EQUITABLE ACCESSLift page 2 ,of Marketing Deck VISIBILITY, and CREATIVE IMPACT in the musical theater industry.

In this future, at least half of all music-related theater jobs and leadership positions are filled by qualified women and non-binary musicians, decidedly inclusive of people of color. Women are historically and consistently under- represented in musical theater. Maestra provides support, visibility, and community to the women who make the music in the musical theater industry. By delivering on our mission, we will be a catalyst and driving force to help achieve gender equity in our business.

* In 2021 Maestra has begun working to ensure our vision has expanded to include our non-binary colleagues. Please stay with us as our language evolves! Mission

2 & VISION Making a 1,021 2018 Difference for the Music , MAESTRA’S IMPACT , Makers 3 MAKING245 A DIFFERENCE FOR THE MUSIC MAKERS of167 the Maestras on the Directory people receive Maestra’s 1member021 profiles are searchable in the have self-identified as People of weekly newsletter global Directory 3,245 Color people receive Maestra’s weekly newsletter

1,021 member profiles are searchable on the Global Directory

Maestra Mentorship launched167 in 2018 in of thepartnership Maestras on with the GlobalNew York Directory Youth haveSymphony’s self-identified as people of color Musical Theater Songwriting program 4,157 followers across our Facebook, 2018Twitter and Instagram2019 accounts where we regularly share insights and information about women in the industry , 4followers across157 our Facebook, Twitter and Instagram accounts where we regularly share insights Maestra Mentorship launched5 in 2018 in partnership11 with New York Youth Symphony’s Musical Theater Song- and information about women and non-binary musicians. mentor/menteewriting program,mentor/mentee led by Anna Jacobs pairings pairings 2018 52020 mentor/mentee pairings

2019 Since Maestra incorporated in 78 3611 mentor/mentee pairings15 January 2019, we have received mentorship mentor/mentee mentor/mentee applicants pairings via 2020 pairings from 5 78newly-formed mentorship Studentapplicants fromat NYYS, 5 continents 50% 36 mentor/menteecontinents pairingsMaestras via newly formed StudentBIPOC Maestras, led by Meg Zervoulis 2,320 15 mentor/mentee pairings at NYYS, 50% BIPOC Individual Donations from a total of 862 donors. 243 of those donations were received in 2019 and 2,077 were received in VIRTUAL TECHNICAL WORKSHOP SERIES - Lift from P12 of the Marketing Deck 2020.

Since Maestra incorporated in January, 2019, we have received 2320 individual donations from a total of 862 donors. 243 of those donations were received in 2019 and 2077 were received in 2020. In 2020, we pivoted to Virtual Technical In 2020 we applied for and received our first 2 grants. Workshops in order to provide focused education and training for Maestras. 6,483 Total Registrations Attendees from 25 Countries and 39 states.

3 Maestra’s IMPACT I AM NOT LOOKING FOR A GOAL OF 50/50. I am looking for a goal of more than that. I’m looking for women and “ women’s sensibility and women’s skills to DOMINATE THIS INDUSTRY. – ERIN MCKEOWN, COMPOSER & LYRICIST OF MISS YOU LIKE HELL”

4 Maestra Moms Monthly Meetings A network of Maestras who are also Taking place in NYC and on Zoom, these Monthly parents, Maestra Moms has an active Meetings allow members of the Maestra Directory Facebook group and enjoys meet- to get to know each other and share information ups and picnics for which Maestra and contacts. provides childcare. Technical Workshops In 2020, we offered sixty-one classes to provide the focused education and training necessary for Maestras to be successful in their work. These sold-out workshops covered topics like percussion, music copying, writing an artist statement, music technology, creating inclusivity in a music rehearsal room, and more.

List programs with pics (like page 11 of the Public Theater) - Laura to provide Maestra Care Regional and Affinity Groups Provides support and information Smaller groupings of members from the Maestra Directory connect Maestras about mental health and wellness around the world. Each group has its own presence and community of followers. along with resources for emergency relief to Maestras in need. PROGRAMS Maestra Mentorship Pairs Maestra mentors and mentees and provides access to and information about Research & Analysis their chosen fields. Bolsters our call to action by telling the story of women and non-binary musicians in musical theater through irrefutable data and statistical research gathered across race, gender, and age.

5 Impact interview tied to Visibility - Directory/statistics - Kristy Norter, local NY

Kristy Norter Musician and Music Coordinator SUPPORTVISIBILITY Kristy Norter is a freelance musician specializing in woodwind instruments. She has been hired as the music coordinator for Six, making her the only female music coordinator currently on Broadway. Kristy also plays saxophone on Broadway in Tina: The Tina Turner Musical. Past credits include: A Bronx Tale, In the Heights, Newsies, Radio City Christmas Spectacular, Radio City Spring Spectacular, Himself and Nora, and multiple shows at the Paper Mill Play- house including Ever After, Bandstand, Bronx Tale, The Sting, The Honeymooners, Halftime the Musical and Benny and Joon. Kristy Norter has worked hard to get where she is. She’s a top notch musician, playing (she estimates) around nine instruments, not including the rare foray into penny whistle or harmonica. She has subbed and had chairs on Broadway and off for many years. Recently, she fulfilled her ambition to become a music coordinator on Broadway (more on that Yulater). But along COMPOSER,the way, Okudashe has discovered ARRANGER, that she has a vocationMUSIC in training DIRECTOR, up other BANDLEADER, AND PIANIST women musicians to not only get a gig but to build a career. Getting to this place in her career, and being seen as one of the four women music coordinators in the business (and the only one who is really in theatre), has put her in the unique position of being ableThe to assess way Yunot Okudaonly the institutionaltells it, Japan obstacles is not women exactly face in theatre, but theIn need Japan, there were no workshops or classes for training in how to be a professional on Broadway. You can be an incredible musician, but if you don’t know the basic rules and etiquette aof hotbed working in of a show,original you aren’t musical going totheatre. last very long.Western And because so few onwomen offer, musi and- she found it frustrating that other cians are employed,shows it’s very difficultcome on to tourwork your and way are up locallyin the ranks produced, and learn butthese lessons asartists you go. were not willing to explore on their own After years of paying her dues as a pit musician, Norter really wanted to be a music coordinator. Her inner math nerd is excited by thevery contracts, little musicalthe payroll theatersystems, the is spreadsheets--oh,home-grown. Therethe spreadsheets! is a Butas it she is such had. a So, like the small-m maestra she is, small field to begin with,dearth and all the of expertisepeople working and at that a great level werelack men. of resources.It’s impossible to get a footOkuda in the steppeddoor. in to fill the gap and launched her It took referrals from women in Maestra for Norter to score a few smaller music coordinator jobs, which then ledIn to her the jobquest of music to acquire coordinator the for bodySix on ofBroadway. knowledge own series of workshops, kicking it off with a series Six had already hired an all-female band before Norter came on board--terrific musicians with little to no Broadway experience. Thisnecessary led her to topropose create to thea musical, producers a Okuda kind of Broadwaywatched bootcamp, whichtaught she called by Georgia Stitt direct from Maestra. In Broadway 101, in which sheYouTube trained videosthese musicians and followed in what it socialtakes to mediabe in a band accounts on Broadway. Thingsnormal as small times, this would never have been possible. as the difference between just showing up at the call time, or actually being in the chair, charts out, pencil on the Yu Okuda is a Tokyo-based Composer, Arranger, — which led hermusic to Maestra. stand, ready And to play. when Maestra Maestra’s technical workshops allowed Okuda And as she pursuedbrought her own career, the technical she discovered workshops that representation online was during crucial. “Visibility anda window representa into- musical theater as it is created Music Director, Bandleader, and Pianist tion who is everything, and I’m not sure I really understood that until maybe the last four or five years of my life. It’s kind mainly composes for theatre. She is the Founder theof pandemic, one of those ‘onceOkuda you’ve seen found it, you can’t not unsee onlyit’.” professionally in the industry’s hub. And when it is and President of Onpuma Musical Theater She is her own case in point. Her current (pre-pandemic) job is saxophonist for Tina, the Tina Turnerwomen Musical. teaching women, it inspires and liberates The gig calls for her to appear on stage, coming down a staircase playing a big featured solo. This is not a position Workshop. Her composer credits include: Avidya:she would ever have imaginedthe herself trove in. “I’m of not resourcesyoung, I’m not cutesy she in tight had leather pants, I’m notpeople’s skinny, I’m minds from what is “supposed to be.” No Lights Inn (commissioned by Niwa Gekidanjust who I am.” But, she continues, “What’s funny is that I get a killing reaction every night, and it freaked me out at first, because I kind ofbeen bought in.” seeking, She felt a bit like but an imposter the becausestructure she didn’t fit the stereotype.When Butpeople after see female and non-binary experts Penino), which won the Japan Cultural Affairsfinding a costume that andboth fit supportthe role and reflected to keepher personal going style, “I feel in pretty cool comingin down the the field, stairs they will feel liberated from the norm Agency Arts Festival Excellence Award in 2016, now. I feel a little badass now. The visual representation meant as much to me as it did to others.” Visibility allows you to see the path. If you work hard, She if you attended follow the regularly path, you are capable ofthat doing certain any- work is for men. and was performed in Japan, Germany, the U.S., uncertain times. The impact thing you want to do. In Norter’stwice acase, week, that exposingmeans working herself her way to upeverything to a position Maestra where she herself has the power Netherlands, Denmark, Australia, and France, to lift up others. of Maestras teaching Maestras “I’m understandinghad how to to useoffer, my evenpower areasto make outside change. That’s of her the expertise. skill I think I’ve gained since Maestra . and Wataru’s Innocent Marriage Hunting, The . . And it usually isn’t justIt sittingall related around toand theater, complaining and about she it, consumed it’s finding a theway in through the widensback door and opportunity for everyone. Musical which was commissioned by Umeda Arts then opening up the door in a way no one thought.” information avidly. Theater Co., Ltd.

6 It has been such a fulfilling opportunity to mentor YOUNG , ASPIRING FEMALE MUSICIANS, especially those of color, who may not have chosen this field because they didn’t see many involved who looked like them. Maestra allows these hopeful young women to be mentored, to gain confidence in “their abilities, and to ‘unmute’ their voices, thoughts and ideas, so that the look of Broadway reflects a multi-cultural demographic, just like the world we live in. With Maestra, OUR VOICES CAN SPEAK VOLUMES! – SHEILAH WALKER, MUSIC DIRECTOR & CONDUCTOR

” 7 Impact interview tied to Visibility - Directory/statistics - Kristy Norter, local NY

Kristy Norter Musician and Music Coordinator VISIBILITYVISIBILITY Kristy Norter is a freelance musician specializing in woodwind instruments. She has been hired as the music coordinator for Six, making her the only female music coordinator currently on Broadway. Kristy also plays saxophone on Broadway in Tina: The Tina Turner Musical. Past credits include: A Bronx Tale, In the Heights, Newsies, Radio City Christmas Spectacular, Radio City Spring Spectacular, Himself and Nora, and multiple shows at the Paper Mill Play- house including Ever After, Bandstand, Bronx Tale, The Sting, The Honeymooners, Halftime the Musical and Benny and Joon. Kristy Norter has worked hard to get where she is. She’s a top notch musician, playing (she estimates) Kristy NorteraroundREED nine instruments, PLAYER not including AND MUSICthe rare foray COORDINATOR into penny whistle or harmonica. She has subbed and had chairs on Broadway and off for many years. Recently, she fulfilled her ambition to become a music coordinator on Broadway (more on that later). But along the way, she has discovered that she has a vocation in training up other Kristy Norter has worked hard to get wherewomen musicians toand not itonly freaked get a gig butme to out build at a career.first, Gettingbecause to this I kind place inof her career, and being seen as one of the four women music coordinators in the business (and the only one who is really in theatre), has put her in she is. She’s a top-notch musician, playingthe unique position boughtof being able in.” to Sheassess felt not onlya bit the like institutional an imposter obstacles becausewomen face in theatre, but the need (she estimates) around nine instruments, fornot training in how toshe be adidn’t professional fit the on Broadway. stereotype. You can But be anafter incredible finding musician, a but if you don’t know the basic rules and etiquette of working in a show, you aren’t going to last very long. And because so few women musi- including the rare foray into penny whistle or cians are employed,costume it’s very that difficult both to fitwork the your roleway upand in the reflected ranks and learnher these lessons as you go. harmonica. She has subbed and had chairs on After years ofpersonal paying her style,dues as “Ia pitfeel musician, pretty Norter cool really coming wanted down to be a music coordinator. Her inner math nerd is excited by the contracts, the payroll systems, the spreadsheets--oh, the spreadsheets! But it is such a and off Broadway for many years. Recently,small she field to beginthe with, stairs and all thenow. people I feel working a little at that badass. level were The men. visual It’s impossible to get a foot in the door. has become a music coordinator on Broadway. It took referralsrepresentation from women in Maestra meant for Norteras much to score to a mefew smalleras it didmusic to coordinator jobs, which then led to the job of music coordinator for Six on Broadway. Six had alreadyothers.” hired an all-female band before Norter came on board--terrific musicians with little to no “Visibility and representationBroadway experience. This led her to propose to the producers a kind of Broadway bootcamp, which she called Making change “isn’t just sitting around and is everything, and I’m not sure I reallyBroadway 101, in which she trained these musicians in what it takes to be in a band on Broadway. Things as small as the difference betweencomplaining just showing about up at the it, callit’s time, finding or actually a way being in in through the chair, charts out, pencil on the understood that until maybe the last four or five music stand, ready to play. Kristy Norter is a Freelance Musician specializing the back door and then opening up the front door years of my life. It’s kind of one of those ‘once And as she pursued her own career, she discovered that representation was crucial. “Visibility and representain woodwind- instruments. She has been hired as tion is everything, andin I’m a waynot sure no I onereally thought. understood that until maybe the last four or five years of my life. It’s kind you’ve seen it, you can’t unsee it’ things.” of one of those ‘once you’ve seen it, you can’t unsee it’.” the Music Coordinator for Six, making her one of a She is her own case in point. Her current (pre-pandemic) job is saxophonist for Tina, the Tina Turner Musical.very small number of women Music Coordinators She is her own case in point. Her currentThe gig calls for her to appearMost on stage,of my coming mentors down a staircase were playing amen big featured and solo. This is not a position (pre-pandemic) job is saxophonist for Tina:she The would ever have“ imagined herself in. “I’m not young, I’m not cutesy in tight leather pants, I’m not skinny, everI’m to have worked on Broadway. Kristy also plays just who I am.” But,I she just continues, thought “What’s funny that is that was I get a fairlykilling reaction natural, every night, and it freaked mesaxophone out on Broadway in Tina: The Tina Turner Tina Turner Musical. The gig calls for her to appearat first, because I kind of bought in.” She felt a bit like an imposter because she didn’t fit the stereotype. But after on stage, coming down a staircase playingfinding a big a costume butthat both recently fit the role and I’ve reflected come her personal to understandstyle, “I feel pretty cool coming down theMusical stairs . Past credits include: A Bronx Tale, In the now. I feel a little badass now. The visual representation meant as much to me as it did to others.” Heights, Newsies, Radio City Christmas Spectacular, featured solo. This is not a position she would Visibility allowshow you to important see the path. If you visualwork hard, ifrepresentation you follow the path, you are capable of doing any-

Radio City Spring Spectacular, Himself and Nora,

ever have imagined herself in. “I’m not young,thing youI’m want to do. Inis. Norter’s Maestra case, that means is that: working hermaking way up to a positionthings where she herself has the power to lift up others. “ and multiple shows at the Paper Mill Playhouse not cutesy in tight leather pants, I’m not skinny, “I’m understandingmore how visible, to use my power getting to make change. people That’s theout skill there,I think I’ve gained since Maestraincluding . Ever After, Bandstand, A Bronx Tale, The I’m just who I am.” But, she continues, “What’s. . And it usually isn’t just sitting around and complaining about it, it’s finding a way in through the back door and then opening up the door in a way no one thought.” Sting, The Honeymooners, Halftime the Musical funny is that I get a killing reaction every night, giving opportunities to people. and Benny and Joon.

8 Maestra has helped me meet some really wonderful people, some of whom I’ve gone on to work with. It’s created an OPPORTUNITY FOR SOME REALLY GREAT CONVERSATIONS “WITH OTHER WOMEN COMPOSERS. We all have our own story, our own relationship to what is expected of us as women, and WE ALL LOVE MUSIC SO DEEPLY. —DR. MASI ASARE, COMPOSER/LYRICIST/PLAYWRIGHT AND PERFORMANCE STUDIES FACULTY AT NORTHWESTERN UNIVERSITY ” 9 Impact interview tied to Visibility - Directory/statistics - Kristy Norter, local NY

Kristy Norter Musician and Music Coordinator

COMMUNITYVISIBILITY

Kristy Norter is a freelance musician specializing in woodwind instruments. She has been hired as the music coordinator for Six, making her the only female music coordinator currently on Broadway. Kristy also plays saxophone on Broadway in Tina: The Tina Turner Musical. Past credits include: A Bronx Tale, In the Heights, Newsies, Radio City Christmas Spectacular, Radio City Spring Spectacular, Himself and Nora, and multiple shows at the Paper Mill Play- house including Ever After, Bandstand, Bronx Tale, The Sting, The Honeymooners, Halftime the Musical and Benny and Joon. Kristy NorterChristie PIANIST,has worked hard MUSIC to get where DIRECTOR, she is. She’s a top CONDUCTOR,notch musician,Chiles playing COMPOSER,(she estimates) AND Twillie SOUND DESIGNER around nine instruments, not including the rare foray into penny whistle or harmonica. She has subbed and had chairs on Broadway and off for many years. Recently, she fulfilled her ambition to become a music coordinator on Broadway (more on that later). But along the way, she has discovered that she has a vocation in training up other women musicians to not only Itget was a gig through but to build community a career. Getting that to this Christie place in Chilesher career, and beingbringing seen as about a change in the culture. It’s clear that one of the four women musicTwillie coordinators became in involved the business with (and Maestra, the only one and who isit reallyis in theatre), hasthe put industry her in has a history of isolating and dividing the unique position of being able to assess not only the institutional obstacles women face in theatre, but the need for training in how to becommunity a professional thaton Broadway. she exemplifies You can be an incrediblein her role musician, as a but if you don’twomen. know the Hiring women singly here and there for pits basic rules and etiquetteboard of working member in a show, residing you aren’t in going the tolarge last very regional long. And theater because so few doeswomen not musi promote- community, and local artists cians are employed, it’s very difficult to work your way up in the ranks and learn these lessons as you go. After years of payingtown her of dues Chicago. as a pit musician, Norter really wanted to be a music coordinator.haven’t Her inner had groups to nurture relationships in a way math nerd is excited by the contracts, the payroll systems, the spreadsheets--oh, the spreadsheets! Butthat’s it is such not a competitive. Maestra has the power to small field to begin with, and “Thisall the ispeople the workingfirst atorganization that level were thatmen. It’s was impossible reaching to get a foot in the door. It took referrals fromwith women open in arms Maestra that for Norter basically to score had a few no smaller end—all music across coordinator jobs,bridge which thenthose gaps. led to the job of music coordinator for Six on Broadway. Six had alreadythe hired US, an locallyall-female where band before I was, Norter overseas...I came on board--terrific was really musicians with little Chilesto no Twillie has been involved in many Broadway experience.floored This led her by to the propose level to theof careproducers and a supportkind of Broadway that bootcamp,was whichorganizations she called and has sat on other boards. She feels Broadway 101, in which she trained these musicians in what it takes to be in a band on Broadway. Things as small as the difference betweenthere.” just showing up at the call time, or actually being in the chair, charts out, thatpencil often,on the the thought of what to do was there, but Maestra remindedmusic stand, Chiles ready Twillieto play. of how it is the sincerity was missing. The fact that she has said Christie Chiles Twillie is a Professional Pianist, And as she pursued her own career, she discovered that representation was crucial. “Visibility and representa- “yes” to so many aspects of Maestra is a ringing Music Director, Conductor, Composer, tion and is everything, and I’mto notwork sure onI really a show understood in the that rare until maybeenvironment the last four of or five years of my life. It’s kind of one of those ‘once you’ve seen it, you can’t unsee it’.” endorsement. Sound Designer who composes for theater and She is her own casean inall-female point. Her current creative (pre-pandemic) staff. “There job is saxophonist were just for noTina, the Tina Turner Musical. She believes in Maestra The gig calls for her to barriers.appear on stage, You comingdidn’t down have a staircase to act playinga certain a big featuredway. The solo. This is not a position film. Christie was awarded the 2019 Footlights sheBest would ever have imagined herself in. “I’m not young, I’m not cutesy in tight leather pants, I’m notand skinny, the I’m consistent sincerity of

Musical Direction Award and a Rachel Rockwelljust who I am.” But, shecommunication continues, “What’s wasfunny really is that freeI get anda killing open. reaction There every was night, no and it freakedits leadersme out .

Fierce Women Behind The Table Award. Sheat first, because I kindone of bought there in.” that She wasfelt a concernedbit like an imposter that youbecause were she goingdidn’t fitto the stereotype. But after “ finding a costume that both fit the role and reflected her personal style, “I feel pretty“ cool coming down theThe stairs future lies in women was a BTAA nominee and a Chicago Broadway now. I feel a littletry badass to infringe now. The on visual their representation work. It meantwas as justmuch to ame safe as it did to others.”“ World Finalist for Best Music Direction. Regional Visibility allows you to see the path. If you work hard, if you follow the path, you are capable ofsupporting doing any- women. thing you want to do. Inspace, Norter’s case, it that was means truly working hera waysafe up to space a position. where she herself has the power credits include Five Guys Named Moe, Newsies, to lift up others. The Gospel at Colonus and the Chicago premiere “I’m understanding howChiles to use my Twillie power tosees make a change.future That’s where the Maestraskill I think is I’ve gained since Maestra . . . And it usually isn’t justinstrumental sitting around andin facilitating complaining about those it, it’s in finding larger a theatricalway in through the back door and of Minnie’s Boys. then opening up the door in a way no one thought.” hubs to start grooming people in regional areas, Feature interviews written by Lisa Diana Shapiro

10 KIRSTEN CHILDS List Board, Advisory, Key Volunteers - Laura to provide Composer/Lyricist/Bookwriter Board AdvisoryBoard of Directors CARMEL DEAN Georgia Stitt, composer/lyricist/music director, Founder/President Composer/Music Director Monica Davis, violinist/violist Emily Grishman, music copyist, Secretary CARLA DIRLIKOV CANALES of Laura Ivey, film producer, Founder of Par, Treasurer Opera Singer, Founder of The Canales Project/Hear Her Song Directors Christie Chiles Twillie, music director/composer/sound Board designer GEORGIA STITT TINA FALLON MASIAdvisory ASARE Board Founding Producer, The 24 Hour Plays Composer/Lyricist/Music Director, Founder/President Composer/Lyricist and Performance Scholar Masi Asare, composer/lyricist and performance scholar Janet Axelrod, flutist, American Federation of Musicians, Local 802 Executive Board ELISE FRAWLEY JANET AXELROD Violist, American Federation of Musicians, Local 802 Executive Board MONICA DAVIS Kate Baldwin, Tony-nominated actress and singer Violinist/Violist Flutist, American Federation of Musicians, Local 802 Executive Board Molly Barnett, Grapevine Public Relations TRACY GELTMAN Kristen KATEBlodgette, Broadway BALDWIN music director COO, Stacey Mindich Productions EMILY GRISHMAN Mary-Mitchell Campbell,Tony-nominated Broadway Actressmusic director,and Singer founder of ASTEP Music Copyist, Secretary Kirsten Childs, composer/lyricist/bookwriter JENNIFER ISAACSON CarmelMOLLY Dean, composer/music BARNETT director Producer, WalkRunFly Productions Carla Dirlikov Canales, operaGrapevine singer, Publicfounder Relations of The Canales Project/Hear Her Song LAURA IVEY Tina Fallon, Executive Director of Creative Affairs, The Dramatists Guild STACEY MINDICH Film/Television/Theater Producer, Treasurer Elise Frawley, violist, AmericanKRISTEN Federation ofBLODGETTE Musicians, Local 802 Executive Board Producer, Stacey Mindich Productions Tracy Geltman,Broadway COO, Music Stacey Director Mindich Productions Jennifer Isaacson, producer, WalkRunFly Productions AMY POWER CHRISTIE CHILES TWILLIE Marketing Strategist StaceyMARY-MITCHELL Mindich, Broadway producer CAMPBELL Music Director/Composer/Sound Designer Broadway Music Director, Founder of ASTEP Amy Power, Marketing Strategist KIKI RATHBUN Kiki Rathbun, Vice President of Communications, Spotco Vice President of Communications, Spotco Stephanie Sciandra, Creative Director, Situation Interactive Ally Shuster, agent at Creative Artists Agency STEPHANIE SCIANDRA Margaret Skoglund, company manager Creative Director, Situation Interactive Jeanine Tesori, Tony Award-winning composer Kara Unterberg, Founder of The New York SongSpace ALLY SHUSTER Imani Uzuri, composer/librettist/recording artist/vocal coach/arranger Agent at Creative Artists Agency Lia Vollack, producer, Lia Vollack Productions Sheilah Walker, music director MARGARET SKOGLUND Schele Williams, director Company Manager

Committee Leaders JEANINE TESORI Tony Award-Winning Composer Faye Chiao, Diversity, Equity, and Inclusion Meg Zervoulis, Student Maestras and Maestra Mentorship KARA UNTERBERG Tina DeVaron and Lauren Cregor, Maestra Moms Founder of The New York SongSpace Britt Bonney and Laura Bergquist, Maestra Care Caitlin Warbelow, Data/Statistics Project IMANI UZURI Composer/Librettist/Recording Artist/Vocal Coach/Arranger Staff & Volunteers Jamie Maletz, Administrative Assistant LIA VOLLACK Allie Glickman, Development Director Producer, Lia Vollack Productions Kathleen Wrinn, Directory Manager Ryan Foy and Nick Gaswirth/Roundhouse Designs, Web Design SHEILAH WALKER Bria Benjamin and Derek Bishop, Graphic Designers Music Director Janice Maffei and Joanne Spigner/VisionFirst, Consultants Elspeth Collard, Sara Cooper, Heather Gershonowitz, Kailey Marshall, Lisa Diana Shapiro, Maddie Wu, Blog VolunSCHELE- WILLIAMS teers Director Shoshana Greenberg, Timeline of Women Composers Francesca Fenech, Arlene McNaught, Casey Robards, Alyssa Kay Thompson, Macy Schmidt, and Kat Sherrell, Maes- tra Reps in Virtual Technical Workshop Series 11 List Board, Advisory, Key Volunteers - Laura to provide Program StaffBoard of Directors & Georgia Stitt, composer/lyricist/music director, Founder/President Monica Davis, violinist/violist Emily Grishman, music copyist, Secretary Laura Ivey, film producer, Founder of Par, Treasurer Heads Christie Chiles Twillie, music Volunteers director/composer/sound designer FAYE CHIAO Diversity, Equity, Inclusion, and Access JAMIE MALETZ ELSPETH COLLARD, SARA COOPER, AdministrativeAdvisory Assistant Board HEATHER GERSHONOWITZ, KAILEY MEG ZERVOULIS Masi Asare, composer/lyricist and performance scholar Student Maestras and Maestra Mentorship Janet Axelrod, flutist, AmericanALLIE Federation GLICKMAN of Musicians, Local 802 Executive Board MARSHALL, LISA DIANA SHAPIRO, Development Director Kate Baldwin, Tony-nominated actress and singer MADDIE WU TINA DEVARON & Molly Barnett, Grapevine Public Relations Blog Volunteers LAUREN CREGOR KristenKATHLEEN Blodgette, Broadway WRINN music director Maestra Moms Mary-Mitchell Campbell,Directory Broadway Manager music director, founder of ASTEP SHOSHANA GREENBERG, ELSPETH BRITT BONNEY & KirstenRYAN Childs, composer/lyricist/bookwriterFOY & COLLARD, KATYA STANISLAVSKAYA Carmel Dean, composer/music director Timeline of Women Composers LAURA BERGQUIST Carla Dirlikov Canales, operaNICK singer, GASWIRTH/ founder of The CanalesRoundhouse Project/Hear Her Designs Song Maestra Care Tina Fallon, ExecutiveWeb Director Design of Creative Affairs, The Dramatists Guild FRANCESCA FENECH, Elise Frawley, violist, American Federation of Musicians, Local 802 Executive Board CAITLIN WARBELOW Tracy Geltman,BRIA COO, BENJAMIN, DEREK Stacey Mindich Productions BISHOP, ARLENE MCNAUGHT, CASEY ROBARDS, Data/Statistics Project Jennifer Isaacson,YOANNA producer, NIKOLOVA WalkRunFly Productions ALYSSA KAY THOMPSON, StaceyGraphic Mindich, Broadway Designers producer MACY SCHMIDT, KAT SHERRELL, Amy Power, Marketing Strategist Kiki Rathbun, ViceJANICE President MAFFEI & of Communications, Spotco MONICA DAVIS, SUE WILLIAMS Stephanie Sciandra,JOANNE Creative SPIGNER/ Director, SituationVisionFirst Interactive Maestra Reps in Virtual Technical Workshop Series Ally Shuster,Consultants agent at Creative Artists Agency Margaret Skoglund, company manager Jeanine Tesori, Tony Award-winning composer Community Kara Unterberg, Founder of The New York SongSpace Imani Uzuri, composer/librettist/recording artist/vocal coach/arranger Lia Vollack, producer, Lia Vollack Productions Sheilah Walker, music director Partners Schele Williams, director

Committee Leaders Faye Chiao, Diversity, Equity, and Inclusion Meg Zervoulis, Student Maestras and Maestra Mentorship Tina DeVaron and Lauren Cregor, Maestra Moms Britt Bonney and Laura Bergquist, Maestra Care Caitlin Warbelow, Data/Statistics Project

Staff & Volunteers Jamie Maletz, Administrative Assistant Allie Glickman, Development Director Kathleen Wrinn, Directory Manager Ryan Foy and Nick Gaswirth/Roundhouse Designs, Web Design Bria Benjamin and Derek Bishop, Graphic Designers Janice Maffei and Joanne Spigner/VisionFirst, Consultants Elspeth Collard, Sara Cooper, Heather Gershonowitz, Kailey Marshall, Lisa Diana Shapiro, Maddie Wu, Blog Volun- teers Shoshana Greenberg, Timeline of Women Composers Francesca Fenech, Arlene McNaught, Casey Robards, Alyssa Kay Thompson, Macy Schmidt, and Kat Sherrell, Maes- tra Reps in Virtual Technical Workshop Series 12 Admin Contributed % Program 10 Revenue % 73 fundraising Individual Donations % % 17 99.33

Financials - Laura to provide Expenses Earned Income .67%

13 2020 FINANCIALS Closing page - SpotCo to create Lift from marketing deck

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