Do You Want To Lead The Artistic Admin Dept At One Of The Newest Halls In The Country?

After $143 million dollars and 16-months, the Cincinnati Symphony Orchestra (CSO) opened the doors to their renovated Music Hall for a grand reopening concert on 10/6/2017 and by all accounts, the renovation was a smashing success. As a frame of reference, that cost and timeline are a downright bargain given how much work was performed converting what was, to put it politely, a cavernous 3,400 seat barn.

Michael Cooper wrote an article for the 10/17/17 edition of the New York Times that casts a very positive light on the hall’s new acoustics and it’s vastly improved patron facilities. Similarly glowing overviews are available at and the Cleveland Plain Dealer. Cincinnati ABC affiliate, WCPO produced a special hour-long segment that provides a great deal of detail about every aspect of the project.

I’m looking forward to hearing the hall in the near future but until then, it’s worth pointing out that the CSO recently posted a job listing for their top artistic administration position: Director of Artistic Administration. Consequently, there’s never been a better time to get in on the ground floor (so to speak) at one of the newest halls in the country via a senior executive artistic position.

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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