In the financially cut-throat musical theatre market, producers demand “a sure thing” from their creative teams. Katie Birenboim asks musical director Amanda Morton how she ensures that mentorship can flourish when the stakes are high.
This week on the podcast I had the pleasure of interviewing music director, music supervisor, conductor, and pianist extraordinaire, fresh off a run as Associate Conductor/Keys 2 for Gutenberg! the Musical! and currently performing each night as Assistant Conductor/Keys 3 for The Who’s Tommy on Broadway, Amanda Morton.
Amanda and I met doing the Broadway-aimed workshop of Anne of Green Gables in January, and we were fast friends and colleagues. She is the type of person who is an immediate loud, proud, and passionate champion of other people, a quality that can be rare in this business, which may seem competitive to a fault. When you look at her social media, for example, nearly every other post of hers highlights or honors the achievements and contributions of others to her own career and the theatre industry at large.
Amanda is most especially, in my experience, a champion of young women in the field. Indeed, we discuss on the show how her “slice” of the musical theatre world — specifically the “music” side of things — has been traditionally dominated by (white) men, perhaps even more so than other parts of the industry or even other parts of the traditional “creative team.”... Keep reading on Arts Journal.
This week on the podcast I had the pleasure of interviewing music director, music supervisor, conductor, and pianist extraordinaire, fresh off a run as Associate Conductor/Keys 2 for Gutenberg! the Musical! and currently performing each night as Assistant Conductor/Keys 3 for The Who’s Tommy on Broadway, Amanda Morton.
Amanda and I met doing the Broadway-aimed workshop of Anne of Green Gables in January, and we were fast friends and colleagues. She is the type of person who is an immediate loud, proud, and passionate champion of other people, a quality that can be rare in this business, which may seem competitive to a fault. When you look at her social media, for example, nearly every other post of hers highlights or honors the achievements and contributions of others to her own career and the theatre industry at large.
Amanda is most especially, in my experience, a champion of young women in the field. Indeed, we discuss on the show how her “slice” of the musical theatre world — specifically the “music” side of things — has been traditionally dominated by (white) men, perhaps even more so than other parts of the industry or even other parts of the traditional “creative team.”... Keep reading on Arts Journal.