The hub for the performing arts.
The Stagetime mark: a spark on a dark field. A fitting emblem for a company that took a scattered industry - websites, PDFs, inboxes, group chats - and pointed it at a single, searchable light.
Open a casting call in classical music and, until recently, you'd find the same ritual: a soprano stitching together a headshot from Instagram, a reel from YouTube, a resume in a PDF, and a personal website she'd redesign every audition season. The performing arts run on talent and relationships - the two least searchable things in the world. Stagetime looked at that mess and asked a plain question: what if it all lived on one page?
Stagetime is the professional network for the performing arts. Artists, agents, artistic administrators and companies build a single multimedia profile, connect with more than 18,000 peers, post and browse opportunities, and run auditions and applications from first submission to final decision. Instead of a dozen half-updated tools, one accessible community.
The pitch is unglamorous in the best way. Performers apply to as many as 50 jobs a year, each demanding its own materials. Companies drown in a hundred separate inboxes. Stagetime turns both sides of that grind into a profile you build once and a pipeline you can actually read - training, references, and DEI data included.
It didn't come out of a Bay Area incubator. It came out of Bloomington, Indiana, from a founder who had lived the problem on stage. That origin shows in the product: it doesn't want your job title, it wants your reel.
Consolidate photos, audio, video, training, resume and references into one customized profile that updates as your career does - and shows up when people search for you.
Browse artists, agents, artistic administrators and companies across the field, and maintain the relationships that actually decide who works.
Discover auditions, programs and opportunities, then apply without rebuilding your materials from scratch every single time.
Collect applicant materials and candidate data - training, references, DEI information - from first submission to final decision, in one clean pipeline.
Figures compiled from public reporting and company statements; some are approximate.
Jennie Moser trained as an opera singer and holds a master's in vocal performance from Indiana University's Jacobs School of Music. She knew the audition grind first-hand: dozens of applications a year, each one a scavenger hunt for the right materials.
Before Stagetime, she ran a design studio that built more than 600 websites for artists and arts organizations. Somewhere around website number 600, the insight landed - the field didn't need 600 sites, it needed one network. Stagetime is that pivot, at scale.
Early backing from the IU Angel Network and the Flywheel Fund, a member-managed fund in Bloomington. The waitlist was already 700 deep.
Led by Hyde Park Angels, with M25 and a follow-on from the IU Angel Network. Capital earmarked to grow the network.
IU Ventures returned with a further investment through the IU Philanthropic Venture Fund - a repeat vote of confidence from the university ecosystem.
Led the 2021 growth round.
Midwest-focused venture firm; participated in the round.
Repeat investor across multiple rounds out of Indiana University.
Bloomington member-managed fund; seed backer.
Arts organization present on the platform using Stagetime for applications.
700+ artists who signed up before launch - the first believers.
Stagetime's real competition isn't another app - it's the pile of tools performers already juggle. A personal website here, LinkedIn there, Instagram for the headshots, YouTube for the reel, a PDF for the CV, and arts-specific systems for the actual applications. Stagetime's bet is that one native network beats six borrowed ones.
Rebuilt every season, scattered across platforms, never quite in sync.
Great for job titles, poor for reels, resumes and audition data.
Application-focused, but not a living professional profile or network.
Return to that casting call. The soprano still has talent and still has relationships - those never went away. What changed is the friction around them. Her headshot, her reel, her resume and her references now sit on one profile that a casting director can actually find and read. She applies without rebuilding. The company reviews without drowning. The spark on the dark field turned out to be a practical thing: fewer tabs, more auditions, and an industry that can finally see itself. Not a revolution. Just the paperwork, finally out of the way.