performing-arts
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Opus1.io and the Trouble Between the Lessons
A music school sells lessons. Its owner spends the day negotiating everything around them. Opus1.io built a business in that awkward interval.
Debbie Allen Built a Dance School Where Talent Doesn’t Have to Arrive With Tuition
The academy’s cleverest move was not choosing between rigor and access. It built a serious training pipeline, then used scholarships, outreach and a gifted warehouse to widen the door.
The 107-Year-Old Campus House Selling Something Students Can’t Download
Hart House is part gym, theatre, gallery, restaurant, grantmaker and Gothic living room. Its next act is harder: modernize a century-old landmark without renovating away the social friction that makes it useful.
Stagetime
Stagetime is the professional network for the performing arts - a single hub where artists, agents, artistic administrators and companies build multimedia profiles, connect with 18,000+ industry peers, post opportunities, and manage auditions and applications end to end. Founded by opera singer and designer Jennie Moser after she grew tired of stitching together websites, PDFs and social feeds to chase gigs, the Bloomington, Indiana company replaces the field's scattered tools with one accessible community for showcasing talent and finding work.
Jennie Moser
Jennie Moser is the founder and CEO of Stagetime, a networking and portfolio platform built for performing arts professionals. A coloratura soprano trained at Northwestern and Indiana University's Jacobs School of Music, she spent years running Jennie Moser Design, building hundreds of websites for artists before turning that insight into a venture-backed company. Stagetime lets singers, instrumentalists, agents and composers build multimedia profiles, showcase performance video and audio, and connect with opportunities without maintaining separate websites. Moser has raised roughly $1.5 million in seed funding from investors including Hyde Park Angels, M25, Elevate Ventures and the IU Angel Network, reframing the messy gig economy of the arts in terms venture capitalists could understand.