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- Managing Director – Texas Performing Arts via TOC Arts Partners
About the Opportunity
The Managing Director is Texas Performing Arts “number two” leader. The position is responsible for implementing the Executive & Artistic Director’s strategic vision by leading daily operations, providing financial management, and guiding the work of TPA’s operational and administrative teams. The position works closely with colleagues across UT Austin and engages extensively with the university’s centralized systems and policies.
Reporting to the Executive & Artistic Director, the Managing Director oversees the leaders of business operations (finance, human resources, accounting, procurement, and contracting); facilities (including IT and capital projects); production (with departments that serve both presented and produced events); event management (event operations and artist logistics); and guest experience (front of house, parking, and retail).
About Texas Performing Arts
Texas Performing Arts at the University of Texas at Austin (TPA) is the nation’s largest and most active university-based performing arts center by annual attendance, budget, and number of events. Both an anchor institution in Austin’s arts landscape and a nationally significant presenter, TPA operates venues on the University of Texas at Austin campus including Austin’s largest theater, Bass Concert Hall. Its presenting includes Broadway in Austin; an international season of dance, theater, and music; and the Texas Welcomes series of national touring artists. Education is at the core of TPA’s programs, which serve more than 30,000 K-12 students and the 55,000 students of UT Austin.
http://texasperformingarts.org/
About Austin
Texas Performing Arts is located in Austin, the capital of Texas. Known as the “Live Music Capital of the World,” Austin is known for its incredible arts and music scene, with over 250 live music venues throughout the city. Along with the bustling entertainment, Austin is also home to a vibrant food scene including Michelin-starred Tex-Mex and barbecue. For those who enjoy the outdoors, Austin offers a variety of recreational opportunities such as hiking, kayaking, and swimming in the numerous parks and trails. Dedicated sports fans cheer on the Texas Longhorns championship teams, enjoy F1 racing at Austin’s Circuit of the Americas, or attend Austin FC’s Major League Soccer matches. The world comes to Austin for annual events such as South by Southwest and the Austin City Limits Music Festival.
More information about Austin: https://austinrelocationguide.com/
Job Description
Responsibilities
- Internal Leadership: Provide high-level leadership to the heads of Business Operations, Guest Experience, Production, Fabrication & Academic Production, Human Resources, Facilities, and Event Management. Support these areas in understanding TPA’s priorities, setting aligned goals for their areas, and meeting or exceeding those goals. Develop and implement strategies that align TPA’s needs and ambitions with people, processes, and systems. Provide high-level thinking in parallel with attention to detail. Lead organization-wide, cross-functional teams on key initiatives. Facilitate effective and timely interdepartmental coordination. Demonstrate authenticity, emotional intelligence, and effective communications to guide and motivate TPA’s entire staff through clear and composed action. (30%)
- External Leadership: Build and sustain strong relationships with TPA’s university and industry partners. Serve as a trusted and respected leader at the university and within the field. Participate in reporting to and planning with TPA’s Leadership Board. Serve as a proxy for the Executive Director when needed and as a public face of the organization when assigned. (10%)
- Fiscal Management: Provide financial planning and management that sustains and increases TPA’s fiscal health on both an annual and long-term basis. Provide financial insight and analysis to the Executive Director and other senior leaders. Oversee the business operation team’s budget development, management, and reporting. Supervise management of the balance sheet. Maintain and continuously enhance financial systems to meet the needs of all users. Develop a comprehensive knowledge of and ensure compliance with university financial policies and procedures. (30%)
- Operations: Create operational excellence, discipline, and coordination across the organization. Lead organizational operations to ensure the effectiveness of TPA’s programs. Create and apply entrepreneurial and solution-oriented approaches to carrying out TPA’s programs within a complex business environment. Operationalize TPA’s strategic and programmatic plans. Provide operational insight and analysis to the Executive Director and other senior leaders. Develop comprehensive knowledge of and ensure compliance with university operating policies and procedures. (30%)
- Consistently advance Texas Performing Arts’ goals of expansive and innovative programming, educational impact, and world-class facilities & experiences across all defined responsibilities and other duties as assigned. This job description may not be inclusive of all assigned duties, responsibilities, or aspects of the job described.
Required Qualification
- At least ten years of increasingly responsible experience in the arts, entertainment, education, or not-for-profit sectors.
- Demonstrated success utilizing administrative, financial, and operational skills to achieve impactful results in a mission-driven organization.
- Demonstrated ability to solve complex problems within standardized policies and procedures.
- Demonstrated experience with an organizationally significant number of direct reports in different functional areas, including recruiting, developing, managing, and retaining high-performing team members.
- Demonstrated leadership presence that inspires others to achieve a shared vision through exceptional written and spoken communication skills; authenticity; confidence and composure; and emotional intelligence.
Preferred Qualifications
- Fluency in the interrelated aspects of performing arts center operation, including programming, development, education & engagement, operations, ticketing, marketing & communications, guest experience, and production.
- General manager, managing director, or COO/CFO experience in a performing arts center, performing arts organization, theatrical production, or live event organization.
- Current understanding of the state of the performing arts and education sectors, including present and future opportunities and challenges.
- Experience in a public or large-scale organization such as an institution of higher education or municipally owned venue.
- Familiarity with databases, dashboards, and reporting tools applicable to cash and accrual accounting systems.
- Demonstrated fluency in the use of current technology and commitment to adopting new technology.
- Strong interest in and passion for TPA’s purpose, values, vision and programs.
- Relevant professional education or credentials.
Compensation
- The salary for this position is $150,000 + depending on qualifications and experience. UT Austin provides an outstanding benefits package, including but not limited to:
- Competitive health benefits (employee premiums covered at 100%, family premiums at 50%)
- Voluntary Vision, Dental, Life, and Disability insurance options
- Generous paid vacation, sick time, and holidays
- Teachers Retirement System of Texas, a defined benefit retirement plan, with employer matching funds
Additional Voluntary Retirement Programs:
- Tax Sheltered Annuity 403(b) and a Deferred
- Compensation program 457(b)
- Flexible spending account options for medical and childcare expenses
- Robust free training access through LinkedIn Learning plus professional conference opportunities
For more details, please see:
https://hr.utexas.edu/prospective/benefits and https://hr.utexas.edu/current/services/my-totaWorking Conditions
- This position is based in Austin, Texas and requires residence in the greater Austin area. The work location is 100% on-site at Texas Performing Arts.
- Repetitive use of a keyboard at a workstation
- Prolonged screen time
- Use of manual dexterity
Work Shift
Evening, weekend, and holiday work, including “on-call” times, are regularly required in connection with performances. Working shifts may include extended daily hours in connection with performances and events. Work will exceed 40 hours per week at peak times. A compensatory time program is provided.
Application Instructions
The search for the Managing Director at Texas Performing Arts is being supported by TOC Arts Partners, a New York-based executive search and consulting firm specializing in the arts and culture industries. Cynthia Fuhrman, Vice President/Executive Search, is leading the search process for TOC Arts.
If you believe that you could excel in this role, we encourage you to apply. We are dedicated to considering a broad array of candidates, including those with a range of workplace experience and backgrounds in the performing arts or non-profit space. So, whether you’re returning to work after a gap in employment, simply looking to transition, or taking the next step in your career path, we will be glad to have you on our radar.
Applications are to be submitted via the University of Texas at this link. Please include:
- A letter of interest; please use this letter to tell us about what you hope to bring to this role, and how your background and experience responds to the desired skills and qualities.
- A current Resume/CV
- 3 work references with their contact information; at least one reference should be from a supervisor. References will not be contacted without prior consultation with the candidate.
- Work samples may be requested if the applicant advances to the interview stage
For best consideration, please apply by Friday, July 24. While we will still accept and consider applications received after this date, we encourage you to apply as early as possible for the best chance of being considered for the position. Please note that meeting the priority deadline does not guarantee an interview. No phone calls, please.
From the University
Important for applicants who are NOT current university employees or contingent workers: You will be prompted to submit your resume the first time you apply, then you will be provided an option to upload a new Resume for subsequent applications. Any additional Required Materials (letter of interest, references, etc.) will be uploaded in the Application Questions section; you will be able to multi-select additional files. Before submitting your online job application, ensure that ALL Required Materials have been uploaded. Once your job application has been submitted, you cannot make changes.
Important for Current university employees and contingent workers: As a current university employee or contingent worker, you MUST apply within Workday by searching for Find UT Jobs. If you are a current University employee, log-in to Workday, navigate to your Worker Profile, click the Career link in the left-hand navigation menu and then update the sections in your Professional Profile before you apply. This information will be pulled into your application. The application is one page, and you will be prompted to upload your resume. In addition, you must respond to the application questions presented to upload any additional Required Materials (letter of interest, references, etc.) that were noted above.
Employment Eligibility:
Regular staff who have been employed in their current position for the last six continuous months are eligible for openings being recruited for through University-Wide or Open Recruiting, to include both promotional opportunities and lateral transfers. Staff who are promotion/transfer eligible may apply for positions without supervisor approval.
Retirement Plan Eligibility:
The retirement plan for this position is Teacher Retirement System of Texas (TRS), subject to the position being at least 20 hours per week and at least 135 days in length. This position has the option to elect the Optional Retirement Program (ORP) instead of TRS, subject to the position being 40 hours per week and at least 135 days in length.
Background Checks:
A criminal history background check will be required for finalist(s) under consideration for this position.
Equal Opportunity Employer:
The University of Texas at Austin, as an equal opportunity/affirmative action employer, complies with all applicable federal and state laws regarding nondiscrimination and affirmative action. The University is committed to a policy of equal opportunity for all persons and does not discriminate on the basis of race, color, national origin, age, marital status, sex, sexual orientation, gender identity, gender expression, disability, religion, or veteran status in employment, educational programs and activities, and admissions.
Pay Transparency:
The University of Texas at Austin will not discharge or in any other manner discriminate against employees or applicants because they have inquired about, discussed, or disclosed their own pay or the pay of another employee or applicant. However, employees who have access to the compensation information of other employees or applicants as a part of their essential job functions cannot disclose the pay of other employees or applicants to individuals who do not otherwise have access to compensation information, unless the disclosure is (a) in response to a formal complaint or charge, (b) in furtherance of an investigation, proceeding, hearing, or action, including an investigation conducted by the employer, or (c) consistent with the contractor’s legal duty to furnish information.
Employment Eligibility Verification:
If hired, you will be required to complete the federal Employment Eligibility Verification I- 9 form. You will be required to present acceptable and original documents to prove your identity and authorization to work in the United States. Documents need to be presented no later than the third day of employment. Failure to do so will result in loss of employment at the university.
E-Verify:
- The University of Texas at Austin use E-Verify to check the work authorization of all new hires effective May 2015. The university’s company ID number for purposes of E-Verify is 854197. For more information about E-Verify, please see the following:
- E-Verify Poster (English) [PDF]
- E-Verify Poster (Spanish) [PDF]
- Right To Work Poster (English) [PDF]
- Right To Work Poster.(Spanish)[PDF]
Compliance:
Employees may be required to report violations of law under Title IX and the Jeanne Clery Disclosure of Campus Security Policy and Crime Statistics Act (Clery Act). If this position is identified as Campus Security Authority (Clery Act), you will be notified and provided resources for reporting. Responsible employees under Title IX are defined and outlined in HOP-3031.
The Clery Act requires all prospective employees be notified of the availability of the Annual Security and Fire Safety report. You may access the most recent report here or obtain a copy at University Compliance Services, 1616 Guadalupe Street, UTA 2.206, Austin, Texas 78701.
Required Materials
- Cover letter detailing interest in and qualifications for this specific opportunity.
- Resume
- 3 professional references with their contact information; at least one reference should be from a supervisor. References will not be contacted without prior approval of the candidate.
- Work samples may be requested if applicant advances to the interview stage.
- Yo-Yo Ma Plays the Drainage Ditch
Good Morning,
Yo-Yo Ma is among the musicians turning the Los Angeles River — neglected, trashed, half-restored — into an impromptu concert stage (Los Angeles Times). And in Oakland, a nonreligious choir is packing a church with people who just want to sing together (San Francisco Chronicle).
The ownership end of culture had a busier day. Twelve states sued to block Paramount’s $111 billion purchase of Warner Bros. (The New York Times), while Netflix — struggling to keep viewers hooked — is in talks to buy Letterboxd, a community movie lovers built for themselves (The Guardian). Ask Goodreads how that goes.
And the recording industry proposed voluntary labels distinguishing “AI-generated” from “AI-assisted” tracks (Deadline). Attribution is the right instinct.
Sam Neill, who spent five decades making decency magnetic on screen, died at 78 (The New York Times).
All of our stories below.
- Is It Really Possible To Map The Odyssey?
The ancient Greek polymath Eratosthenes, who was the first person to measure the circumference of the Earth, disputed that the Odyssey had anything to do with geography. He said: “You will find the scene of the wanderings of Odysseus when you find the cobbler who sewed up the bag of the winds.” – The Conversation
- The Fault Lines Of PEN America’s Support Of Free Speech
PEN America currently sits on a widening fault line, one that divides old-school liberalism, which treats the right to speak as more important than any particular ideology, from a surging and fiercely ideological left that sees Israel and Zionism as its enemy. – The Atlantic
- Survey: Americans Support AI Companies Transferring Half Their Stock To A Public Fund
According to a new national survey of 1,690 adults from research firm Verasight, 69% said they support “forcing” AI firms to transfer half their stock to a public sovereign wealth fund that would, in theory, pour AI profits back into the economy and even provide direct payments to Americans. – Fast Company
- Music Industry Proposes Labels For AI-Use
The labels are simple icons that distinguish between those that are “AI-generated” and “AI-assisted,” but they are designed to be adopted by digital music services, distributors and others. The track labeling is voluntary. – Deadline
- Danny Elfman: What Classical Music Is Missing
“In too much classical modern contemporary music, there’s just sound,” he said. “Nothing sticks. You’re not giving the audience anything to hold on to. It’s just a lot of sound, a lot of orchestration.” – Pittsburgh Post-Gazette
- Netflix Considering Adding Live Channels
To bolster engagement, executives at the company have recently discussed adding live channels that would continuously stream certain programs, or shows and films from a certain genre, according to people familiar with the matter. – The Wall Street Journal
- 12 US States Sue To Challenge Paramount/Warner Deal
A coalition of 12 Democratic states including California, New York and Washington filed a lawsuit Monday to block Paramount’s $111 billion acquisition of Warner Bros. Discovery, the most serious legal challenge to date for one of the biggest media deals in history. – The New York Times
- How The University Of North Texas Censored An Art Exhibition
Initially, the administrators discussed removing some of the pieces from the show. But then the provost texted that he wanted to take down the entire exhibition instead. Michael McPherson wrote, “I think it’ll be easier to manage any barking from our friends in Austin.” – NPR
- The Private Concierges Of Rome (Culture On Demand)
The secret to the company’s success lies in its network of “partners”—museums and churches and palazzi, but also artists and photographers and scholars. Each has something special to offer if they can be persuaded to provide it. – The Atlantic
- Yo-Yo Ma Is Just One Of Many Musicians Performing Along The Los Angeles River These Days
The river has “been neglected, trashed and often forgotten over time, myriad governmental and nonprofit groups have been working for years to restore habitat. … And recently, creatives and activists, who dream of transforming it into a hospitable greenway, have been hosting arts events.” – Los Angeles Times (MSN)
- Sam Neill, Beloved New Zealand Actor Known For Jurassic Park And The Piano, Has Died At 78
The actor was a warm internet presence and a proud producer of wine from his vineyard. “At 11, he changed his name to Sam, taking inspiration from characters in Western movies. It was, he added, ‘probably the best decision I made in my life.’” – The New York Times
- At Long Last, John Constable’s Most Famous Painting Is On View In Suffolk
“The famous work depicts a rural scene near the River Stour in Flatford, but it was actually painted in Constable’s London studio.” – BBC
- Learning How To Fake-Punch, Fake-Fall, And Fake-Go Up In Flames, On Camera
“The best side of a stunt always has to face the lens: The trajectory of a feigned punch, a few degrees off, can look fake to viewers.” – The New York Times
- Why Debates Over Free Speech Can Lead To So Much Fury
“The free speech wars of recent years are not just about rules – they’re about what it means to be a good person.” – The Guardian (UK)
- This Nonreligious Choir Draws Crowds In The Bay Area
Big crowds for a church venue, anyway – and a lot of participants. “The choir is full of these intense, amazing, freaky, kooky people, and the community that I’ve been able to fall into and build has just been a game changer.” – San Francisco Chronicle
- California Places A New Cap On Film And TV Tax Credits, Freaking Out State Lawmakers
The state legislators “are calling for Gov. Gavin Newsom to exempt the state’s film and TV production incentive program from a recently approved cap on corporate tax credits.” – Los Angeles Times (MSN)
- It Was Probably Way Too Early For A Live-Action Moana, And The Box Office Reflects That Problem
“On average, Disney has waited 27 years before remaking one of its animated classics as a live-action movie.” Just one problem: They’re out of animated classics to remake. – The New York Times
- Reconsidering An English Artist Who Painted The Working-Class
A painter from Manchester, who focused on the working class, isn’t necessarily what Londoners think. “What we’re hoping to do is actually to bust a few myths. … [LS Lowry] wasn’t just an industrial painter. He certainly wasn’t naive or isolated.” – The Guardian (UK)
- The Question Remains
Can genAI art or writing ever, ever be more than mid? – Glasstire
- Netflix Is In Talks To Buy Letterboxd
Remember Amazon buying Goodreads, anyone? “The app has become a beloved platform and community for young movie enthusiasts, and is most popular with audiences ages 18 to 35.” – The Guardian (UK)
- What Would A Post-Literate World Look Like, Though?
“We are making real trade-offs as we shift to communication through short-form video, and maybe it will be worth it, but we certainly are losing a lot.” – NPR
- It’s Possible That We’re Coming To The End Of Literacy
How can we tell? Well, a lot of ways. One grim statistic: “Gambling has become a more common leisure activity than reading a book.” – The Atlantic
- Could We Stop Demonizing BookTok Now?
Last week’s New Yorker has a rather intense article on the uselessness of BookTok for real book discussion. This woman begs to differ. – BBC
- Is TikTok Ruining Books, Or Publishing In General?
Personal testimony is paramount on BookTok; a book is deemed successful if it ‘breaks’ or ‘destroys’ a “reader. The most common book-review content on the app understands books as pleasure-spiking torment factories.” – The New Yorker
- A timeless Odyssey
Good Morning,
Three thousand years in, we still can’t stop retelling the Odyssey — The Guardian traces its bloodstream from Homer through Finding Nemo to Nolan’s new film.
The University of North Texas didn’t wait for anyone to complain about an art show critical of ICE — the provost took down the whole exhibition himself, texting that it would “be easier to manage any barking from our friends in Austin” (NPR). Nobody censored UNT. UNT got there first. In Melbourne, a court sided with the city’s symphony orchestra against pianist Jayson Gillham, dropped after speaking from the stage about journalists killed in Gaza (The New York Times). The stage legally belongs to the institution. And Meta keeps pursuing the author of Careless People so relentlessly that the lawsuit has become the book’s best advertising (Wired). The same Meta, for the record, shipped an AI deepfake tool for Instagram on Tuesday and yanked it by Friday (Business Insider).
Meanwhile, a Dutch gallery is covering its floor in peanut butter, per the late artist’s instructions. Smooth, not chunky, in case you were wondering (The Guardian).
All of our stories below.
- Sometimes Book To Movie Adaptations Don’t Work Out For The Author
But this one may become legendary. “Tomi Adeyemi, the author of the bestselling fantasy Children of Blood and Bone, isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.” – Los Angeles Times (MSN)
- Seneca, Worried About The Crisis Of Attention, Had An Idea For A Fix
Too much scrolling (of papyrus) in ancient Rome had the philosopher Seneca in search of an answer. His advice, “which he outlined in his Letters From a Stoic: Devote your attention to one idea a day.” – The New York Times
- The University Of North Texas Can’t Handle An Art Show With Work Critical Of ICE
“Initially, the administrators discussed removing some of the pieces from the show. But then the provost texted that he wanted to take down the entire exhibition instead. [He] wrote, ‘I think it’ll be easier to manage any barking from our friends in Austin.’” – NPR
- Free Speech on Someone Else’s Stage – An Update
A few months ago I posted about a controversy in Australia, where a musician had a future appearance with the Melbourne Symphony Orchestra cancelled because he had, contrary to MSO policy, made political comments during a performance. He sued, and the New York Times today reports (gift link) that he lost in court:
The pianist, Jayson Gillham, claimed in a lawsuit that the orchestra had violated the country’s Fair Work Act and his right not to be treated unfavorably in the workplace because of his political beliefs.
But the judge, Graeme Hill of the Federal Court of Australia, ruled on Friday that because Mr. Gillham was an independent contractor he was not protected under the workplace rights law. The orchestra, Justice Hill determined, had acted to protect its business and reputation when it canceled the performance by Mr. Gillham and issued statements to its patrons about the matter.
“The court finds that the M.S.O. would have taken the same actions if Mr. Gillham had expressed a political belief in support of Israel, or if Mr. Gillham had made statements on any other topic that had the same impact or anticipated impact on the M.S.O.’s business and reputation that Mr. Gillham’s actual remarks had,” a summary of the judgment said.
In my post I said that as a general rule, arts presenting organizations are within their rights to restrict what performers can do on their stages:
If the Melbourne Symphony does not want guest performers making political statements during their concerts, it has every right to say so. If it “does not condone the use of our stage as a platform for expressing personal views”, then probably best to make this clear to any featured performer as they draw up their contract (and I don’t know if that happened in this case). Unless explicitly granted, no artist has complete freedom of speech on stage. An actor cannot decide on their own to interrupt a performance of Twelfth Night with a political dedication. Some performing arts organizations might think such political statements are fine, actually, and they can say so. Or a politically-oriented artist could produce their own shows, as Gillham seems to have moved towards. But if the MSO does not feel that way, there is no “free speech” right that overrides it.
The audience at an orchestra concert (Gillham does not raise the topic of “the audience”) is captive, and deserving of consideration; many of them, like me, might prefer to enjoy their orchestral music neat. To insist that they must be made to listen to the guest performer’s political thoughts, even when the orchestra management has said it doesn’t go in for that sort of thing, is self-indulgence.
And I doubt most artists would agree with a blanket “free speech” right at invited gigs anyway. Suppose a featured violinist, before their performance, said “I dedicate this performance to those who died, and their families, in the October 7 terrorist attack on Israel, and support Israel’s right to self-defense and to bring justice to those who committed this heinous crime”. Would Gillham think that free speech deserves protection? Suppose a guest artist wanted to talk about other political issues, or value-added taxes, or the Westminster parliamentary system, or that Vegemite is an abomination? Suppose a guest artist addressed the audience with racist opinions on Australia’s Indigenous people, or made a grossly homophobic joke. The ABC story the next day would not be about “free speech”, but about demands that the musician never be invited back.
I didn’t think Gillham had a case, and the court agreed.
- Enjoying All Of The Agatha Christie Adaptations Out There?
Then you might want to read more Golden Age mysteries, including Josephine Tey (and not just Daughter of Time). – The New York Times
- Is The U.S. Really Ready To Face The Mythmaking Of Little House On The Prairie?
A new Netflix adaptation would argue that some people – though likely not those trying to ban anything not “positive” in history texts – are so ready. – Salon
- Tracee Ellis Ross Makes Her Broadway Debut
“Ross said that it had been a dream of hers to be on Broadway. Instead of throwing a birthday party to celebrate turning 40, she rented stages in New York City and Los Angeles and invited her friends to watch her perform a one-woman show.” – The New York Times
- As Yet Another Version Hits Cinemas, Why Are We Still So Obsessed With The Odyssey?
“The Odyssey – the story of a warrior’s homecoming, his long and tortuous journey to reintegrate himself within his own household – has passed into the bloodstream of many storytelling traditions,” from Finding Nemo to Game of Thrones. – The Guardian (UK)