Transcript

[00:00:00] Aubrey Bergauer: Hello, and welcome to another episode of the Offstage Mic. This is the final episode of this success series we have been bringing to you over these last several weeks, and we have been talking to arts administrators, people with careers in arts management who are all at different stages, places, phases of their careers, and who all had.

Shall we say a before and after story. They all started from a place of challenges they were facing, which we'll learn about. Challenges that you have likely experienced at one point or another in your own career too. And they were able to break through that and just go on to crush it. All of these arts professionals I have had the pleasure of working with in my up level coaching program, and they have been so generous to come on here and share their stories with you.

This final episode in this series is really come [00:01:00] full circle moment, back to the top of this whole season, If you recall, the first two episodes of this season were on the topic of company culture, and today you get to hear from a leader who has really prioritized that, really focused on building a great company culture.

So for anyone who has aspirations of someday being the chief executive of an arts organization, or maybe you are the chief executive already, and some days the struggle is real. I get it, I know, I've been there. Whichever camp you fall into, you get to hear a lot of other things in this episode too about that journey is what I'm trying to say.

And I'm so glad and grateful to be able to share it with you right here, right now. I'm Aubrey Bergauer and welcome to my podcast. I'm known in the arts world for being customer centric, data obsessed, and for growing revenue. The arts are my vehicle to make the [00:02:00] change I I want to see in this world, like creating places of belonging, pursuing gender and racial equality, developing high performing teams and leaders, and leveraging technology to elevate our work.

I've been called the Steve Jobs of classical music and the Sheryl Sandberg of the symphony. I've held off stage roles managing millions of dollars in revenue at major institutions, been chief executive of an orchestra where we doubled the size of the audience and nearly quadrupled the donor base, and And now I'm here to help you achieve that same kind of success.

In this podcast, we're sorting through data and research inside and outside the arts, applying those findings to our work in arts management, and bringing in some extra voices along the way. All to build the vibrant future we know is possible. possible for our institutions and for ourselves as offstage administrators and leaders, you're listening to the offstage mic.

Hi, everyone. [00:03:00] Aubrey Bergauer here. Before we dive into today's episode, I want to tell you about Annual Fund Toolkit. If you're a nonprofit looking to revolutionize your fundraising strategies, you need to know about Annual Fund Toolkit. They're not just another consulting firm. They're specialists in Forming annual funds through data driven donor engagement.

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I'm particularly excited about their work in the arts sector. They have helped organizations like Austin Chamber Music Center and Castle of Our Skins unlock their fundraising potential. And get this, you get one dedicated strategist to help with all aspects of running your fundraising shop, from data to major gift coaching.

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Now, let's dive into today's episode.

Well, I get to say hello one final time to my co host for this success [00:05:00] series. Jeremy, how are we at the last one of these? Or maybe, maybe I should say last one for now, right? 

[00:05:07] Jeremy Cuebas: Yeah, I don't know. It's gone so fast and I know I've had an incredible time. If you're listening and you've enjoyed this series, I think I speak both for myself and for Aubrey.

that we hope this has been really, really helpful for you to hear these various and varied stories. 

[00:05:23] Aubrey Bergauer: You've been awesome. I want to add that I'm so grateful, not just to you, but to the arts administrators who we've gotten to hear from in this series. I think navigating a career in arts management, it is no joke.

It's a journey. Yeah. And I have learned It's a journey that we actually have more power over than we sometimes think. You know what I mean? 

[00:05:44] Jeremy Cuebas: Yeah. And that is a theme of these conversations, for sure, these five conversations. And today's final, or maybe not final, we hope, guest is a great example of this.

This week I spoke with Chelsea Chambers, who is the executive director of the Peninsula Symphony up in your neck of the [00:06:00] woods in Northern California. 

[00:06:01] Aubrey Bergauer: Oh, Chelsea. Okay. There is a longer history here with her because she has more years under her belt, more years in her career as well. And so I just have to share some of this though because it's so good.

So Peninsula Symphony was founded in 1936. One of my very first clients before I had even gone full time. I had been working with other organizations and other people, but it was still a side hustle for me while I was still running my orchestra. And I had not gone full time, had not gone all in on this.

So this is probably almost like probably six years ago, maybe. And I remember, Meeting Chelsea and just thinking she was so capable that didn't even cut it. So teachable and definitely hungry and definitely driven. And then we got to work together again a few years later when she participated in my uplevel coaching program.

And that was right before or maybe right about when she was going for this executive director [00:07:00] job, I believe. And then I have to share this part because it's combining two different organizations that I really, really love. Post UpLevel, she was invited to join the board of AXO, the Association of California Symphony Orchestras.

And that organization, Just has a special place in my heart because I served two terms on that board, six years on that board, and Chelsea was just elected VP of that board starting now, like this current season. And then last thing, because it exemplifies just how much she is crushing it right now, I just saw this the other day.

Chelsea was just named to the 40 under 40 list in the Silicon Valley Business Journal. So, okay, Silicon Valley Business Journal. I feel like that's being on a list with like Mark Zuckerberg or something, because seriously, it's probably like all kinds of tech founders and CEOs and who knows who else on that list.

So I could go just on and on about her. 

[00:07:54] Jeremy Cuebas: Yeah. Chelsea is pretty awesome. Her story is pretty unique. Uh, she was rising the ranks at only one [00:08:00] orchestra, this Peninsula Symphony for nine years. She started on support staff, driving the U Haul, answering the phones, and now she's the executive director of that orchestra nine years later.

But the challenges that she faced getting there are not unique. They're the same things that almost every guest we talked to has faced, and you listening that you've wrestled with, that I've wrestled with, you know, fighting steep learning curves in a new job, imposter syndrome, filling big expectations from the orchestra board when you're new in a job, and then finding the why that keeps you going when things get tough.

[00:08:32] Aubrey Bergauer: It's amazing, I think, how these same challenges keep coming up again and again. And I think that for especially every aspiring executive director who eventually becomes executive director, There's always, always stuff you've never been taught. I mean, that's the theme of so much of what we're talking about, right?

That there's so much we were never, ever taught in our training. But for executive director and CEO in particular, [00:09:00] you always go through this transition of like the before times with having one boss, like kind of the normal way in prior jobs to suddenly having a whole board as your boss. And I always say now that working with the board.

That is the biggest exercise in managing up I have ever experienced. It's this just kind of weird dynamic where you report to them, but they also have to be led and effective executive directors and CEOs strike that balance and really master those skills, I think. But, uh, what about you? Tell me about a time.

When you had to manage up. 

[00:09:40] Jeremy Cuebas: Yeah. When I started my first admin job, it was, I had a weird relationship because I was now on the marketing team and I was on the artistic committee, but our conductor was my master's in conducting teacher. So we like had this conductor student relationship and then suddenly we had to have.

This like conductor staff relationship. And so I [00:10:00] really had to navigate that and, you know, slowly figure out what this new relationship was, how to talk to him in a different way, and, you know, how to be, how to have the confidence to ask for what I needed and kind of also demand what I needed when a, when a, When a deadline was coming up, especially, you know, that was really awkward at first.

And I, I had to manage up. I had to, I had to manage up to him and give him deadlines, which felt so weird because he'd been my teacher for the previous two years. 

[00:10:25] Aubrey Bergauer: There's the rub of managing up, right? Thank you for sharing that. Okay. I want to get back to Chelsea now, because even though it's been Just so much fun to see her star rise.

I know it wasn't always easy for her or for any of us. And what I don't know, though, are the details of the journey. So the rise, yes. And some of the highlights, yes. But the hard parts, that's what I want to know. Did you and she talk about that? 

[00:10:49] Jeremy Cuebas: Yeah. So again, in this interview, we talk about, you know, How she went from like entry level all the way up to the executive director.

And now that she's there, she's continuing to create a really kick ass [00:11:00] team and culture. And, uh, you know, the lessons that she learned are things that anybody in any position can really come away from and, and use that in your current position. It all sounds easy, maybe, but it definitely wasn't always easy, and we talk about that.

Chelsea really shares the mindset that she had to have to keep fighting these battles and the skills that she needed to get there to build a really, really great team. 

[00:11:22] Aubrey Bergauer: So how did she do it? Let's hear it from Chelsea herself. 

[00:11:28] Chelsea Chambers: I'm currently the executive director for Peninsula Symphony of Northern California.

Um, and I'm also a clarinetist, um, my background is clarinet performance. So that's kind of the path that I took through a bachelor's and a master's degree. 

[00:11:44] Jeremy Cuebas: And you've been with Peninsula Symphony for a while, right? I think when I was researching this episode, I found your LinkedIn and I was just like, nine years or something just with Peninsula Symphony.

[00:11:54] Chelsea Chambers: Yeah, I realized that this is my tenth year at Peninsula Symphony, um, and [00:12:00] so when I round the corner next summer, it'll be the end of, of ten years, and it's mind boggling. It's the only orchestra I have ever worked for, um, and I've definitely filled every position possible, including some janitorial work here and there.

U Haul, driver, timpani schlepper, um, that kind of thing. But it did start from the very, very beginning. Yeah. 

[00:12:27] Jeremy Cuebas: Definitely like to talk about that today. Cause again, staying with one orchestra for that long and moving up in, in position there as you have is so rare. So we'd definitely like to talk about that.

Could you start off by just telling us how you got into arts admin? What attracted you to that in the first place? 

[00:12:43] Chelsea Chambers: Yeah, um, as a clarinet performance major, you know, right after school I had, I was gigging, I was doing the freeway philharmonic scene up here in the Bay Area, and I was teaching private lessons, and it struck me being on stage, Um, as a [00:13:00] performer, why is this chair here?

Why is this music stand here? Why is there an audience, you know, what does it take to get to this point? Um, and it was a bit of curiosity from that element for sure, but it was also just needing Consistency in my life, you know being a gigging Performer you're all over the place Driving teaching till all hours of night.

And I was not nocturnal. I'm still not nocturnal. Even concert weeks really beat me. But, um, I wanted to just dive in and see what it takes. You know, I did not have a background at all in arts administration. I didn't take any college courses in that vein. There were a couple music business classes, but not specifically about leading an arts organization.

Um. So I was super curious. I think curiosity is where it all began. 

[00:13:52] Jeremy Cuebas: What was, what were maybe some of the first details that you got curious about? Where did you start looking? 

[00:13:57] Chelsea Chambers: Oh man, um, I think it [00:14:00] was just how is it run? I think the I for process that I have. Is just kind of the starting point, and it's still an ongoing work, you know, it's always evolving, um, I'm always kind of analyzing how to make something more efficient, make it better, utilize skill sets, people, resources that we have and also don't have, um, And so from the beginning, I was, you know, an admin assistant.

I just worked part time. Um, I was doing box office. It's a very small setup. You know, we had three and a half staff at the time, I believe, and I'm super grateful that that was my, you know, entry into this industry because I learned it from the ground up and I've seen every Every piece of it. Um, and there's still yet, you know, more to come.

I'm not saying that I'm by no means done, but answering the phone and [00:15:00] being, you know, the first person that a patron interacts with and, and realizing that that is a huge level of responsibility and kind of wearing the face of the organization from that moment on and developing what that face is. But also feeling ownership over the ability to develop it.

You know, early on when I was first in the admin assistant role, I kind of felt like I was a foreigner that I was taking on some other persons or people's structure, trying to fit into the mold that others had created. And now it's this really unique perspective of. valuing my input, valuing my skills and my leadership and the experience that I've gained over time and still gaining.

And so, yeah, just every single role has taught me something and I'm, I'm still evolving.[00:16:00] 

I think, you know, working for a small community orchestra, um, while it did have a very rich history, we just celebrated 75 years, um, I realized that I saw certain patterns, you know, certain structures in place. And yet I was curious how we can be, be more efficient, perhaps, you know, bring in other insight, other examples.

I wanted this bigger picture. And I think that's just a part of who I am is just seeing what else is out there and, and. And going back to a holistic mindset, um, and I didn't think that that was something that I had. So getting out of my small organization, um, seeking other input, resources, experience was super valuable, and I do feel so fortunate to have come across opportunities like working with Aubrey, um, [00:17:00] directly, taking her, um, Summer up level course.

I also attended some roundtables and peer forums, you know, hosted by local funders. Just anything else that I could do to see other organizations, not necessarily orchestras. And there's a lot of insight that I've gained indirectly from mentors in the for profit or corporate industry. And I know Aubrey pulls in so many examples and it's just a really great perspective because we're consumers of.

Other content, other media, other products in our everyday lives. And the way that Aubrey is really clearly able to give us examples from the insurance industry about their marketing and how we have clear takeaways that we can leverage that are out there. You know, in our economy, in, you know, everyday life and bring them back to our organizations is a really refreshing thing.

It's really refreshing for the entire organization. And I think it kind of goes into everyone else there [00:18:00] and hopefully even your patrons will see that. 

[00:18:03] Jeremy Cuebas: Yeah, there's so much more to learn outside of Rebubble. I really love that. I am, I'm a conductor and I found that I became a much better leader when I stopped only talking and listening to conductors because like they've kind of figured it out a little bit, but like the business world has really figured it out because money is on the line.

[00:18:21] Chelsea Chambers: Yeah, totally. I mean, I think we, we lose sight that this isn't just the way it can or should be. You know, um, and like I said, it's hard. It's hard to get out of the day to day because we all do wear so many hats. There's so much work. It never ends. Um, but if you can allow yourself some time, even once a week to listen to a podcast, to review an article.

Um, and continue your own education. It does really reap a lot of benefits. 

[00:18:53] Jeremy Cuebas: Yeah. So you felt stuck, you felt stuck in this bubble. And then, so you went out and learned from other [00:19:00] sources. Um, what was the next step on your journey after you started learning? 

[00:19:04] Chelsea Chambers: After I started learning, I wanted to apply a bit of what I had been gaining.

Um, and. Oddly, board membership is not something I ever thought that I would endeavor to do, but I do sit on the board of AXO, the Association of California Symphony Orchestras, and I am so happy that I took that opportunity. Um, you know, any kind of new experience challenges all of us in different ways, but also, um, It's another way to see how an organization is run.

Um, you know, take some of the best bits and pieces of good governance that I've learned there. Processes for effective, um, communication, running a great meeting. You know, it sounds boring, but it's really energizing, again, to see how things work really well from another perspective. Um, organization and bring it back.[00:20:00] 

[00:20:00] Jeremy Cuebas: You've mentioned processes a couple times. It was one of the first things you said you were interested in. And then looking at the non profit as, as a process. And then, um, and then like picking some time every week. I just want to, I just want to highlight that. Like that these are things, these processes are all over the place.

[00:20:18] Chelsea Chambers: Yeah. And I think maybe that stems from being an practicing musician? I don't know, you know, it's like I've analyzed myself in a tiny room for hours, for years, you know, and is this really the best way I'm going to nail this solo in Tchaik for whatever. Um, but I think, you know, we're creatures of a habit.

I myself love to just take templates and examples of things without reinventing the wheel and jump from there, which is odd because as a, as a former creative artist, you'd think that I would have a little bit more spontaneity and just drumming up something that Suddenly works for an organization, but no, I think using something that others have done [00:21:00] Um, whether that's like how to form a proper agenda Um, you know check in, check ins with staff, you know, if that's weekly if that's bi weekly Um You know, any kind of, let's say, end of your appeal letter structure or template, whether it's personal, whether it's a little bit wider perspective, um, I'm always trying to see what else has been done, what's effective.

I think frankly, cause I just don't have the time to come up with a whole creative process on my own and I don't have to. 

[00:21:34] Jeremy Cuebas: Yeah. I think that's a great point that a lot, you know, a lot of arts admin, Came from playing in an orchestra or playing, uh, playing an instrument. So we are creatives, many of us are creatives from the beginning.

Um, but again, going back to business, a business wouldn't just kind of like on a whim, try something like they would start with their template and then move from there, they would do no, they would know it works. And I think, again, that's something that we can [00:22:00] really learn. Like we're still creatives, but we can follow best practices.

[00:22:04] Chelsea Chambers: Yeah. And I think I struggle with. Thinking as an executive director, I have to have all the answers and I have to know it correctly from the beginning. And that's just not true. I think that there's this sentiment too that we have to say, I created this on my own. Look at me. I'm so great and wonderful.

But the ego really doesn't, It should not have a play here. Um, in fact, I love mentors and leaders that say so and so created this thing. I'm fully giving them credit. Let's give them the round of applause and then move forward. Um, and that's oddly a difficult thing for some people to do in a communal space is to admit that you don't have the answers and to give other people credit.

Um, in fact, I think that's the most efficient and appropriate approach. way to use something that's been done well in our industry. And, [00:23:00] and that's frankly what I'm trying to remind myself of every day.

I mean, we're all works in progress. I mean, ultimately we're just people. And I think the biggest thing that I've learned is what everyone tells you is we learn by making mistakes, right? When I first had a full time role in my orchestra, this was year two. Um, I was taking out to lunch and the director of operations at the time looks at me and says, I'm leaving to become an ED at a musical theater company and it's a dream come true.

Would you like my job? And I was, what? I did not know what to say. Um, I was kind of flabbergasted. Like, I don't know what you do. You do it really incredibly well. So everything since then was by fire. And That is literally how I [00:24:00] had to learn and the only way that I could learn and I'm still learning that way.

You can go into, you know, like we were discussing earlier, um, Other ways orchestras, arts leaders have functioned, templates, agendas, things that they have created. But ultimately the real life experience for me especially has been I'm just going to have to do this thing and I'm going to fail and accept that that is part of the process.

And it's such a tough lesson. Um, but it's, it was critical and it's still critical to my organization's success is just. getting through it, also admitting naivete. I think that's a weird thing to discuss, but it's an important thing. I, again, I didn't have all the answers. I still don't have all of the answers, but I'm willing to stick my head out there for my organization to say to, let's say a production company, Hey, I have no idea what I'm doing.

I need a [00:25:00] backline for this jazz quartet that's coming in, in a couple of months. Here's what we need. I'm looking for your input and advice. Thanks so much. Um, and there's nothing wrong with that. 

[00:25:11] Jeremy Cuebas: Yeah, I think that's really, really important as you're working with a bunch of different people is having the, I don't know if confidence or vulnerability is the right word, but being able to say, I don't know, being open with your naivety and ask for the help that you need.

Could you talk a little bit more about that? Are there any other examples when you use that as a leadership tool to lead your team and let them do what they do best? 

[00:25:35] Chelsea Chambers: Yeah. I think that that is the best place to begin as any kind of leader is. Inclusivity and transparency and trust. When we talk about our own internal values or our organization's values, I think it's, let's start from picturing the environment you would want to be in yourself.

And what does that look like? And then you suddenly have a very clear answer. For example, [00:26:00] I want my team members to be used for the skill sets that they have. And I think that starts from me admitting I don't. know everything and I can't do everything alone, right? Um, so being able to trust others that they have skill sets and the work ethic to get your project where it needs to be, or get your orchestra's goals accomplished.

Um, and that can be, you know, your, Marketing team has this creative talent out there and you can picture it, but you don't have the skill set. I'm the first to say I just started using Canva yesterday and I'm almost 40 years old. You know, like I should not be creating any graphic design for my institution.

It's just a matter of truth. So saying, here's where we need to go, allowing people to step up and utilize their skill sets, you know, with certain guidance and parameters and check ins, obviously, to make sure you're on target for that certain project, whatever it is. But then stepping away. [00:27:00] Um, I think that that's really important and then allowing others to flourish in whatever their interest is, whatever their skill sets are.

It just makes the project on time, efficient, rich, and your whole organization, um, better. Just really the best that it can be, honestly.

[00:27:25] Aubrey Bergauer: Good marketing talent can be hard to find. That's why I'm so glad I discovered marketer hire as my business has grown this year. I can definitively say a part of that growth was because of the way marketer hire helped me not just find good marketing talent I needed, but how fast they did it and how they worked to match me with the perfect people.

First, I reached out about an email copywriting project and email platform migration. We were going through. And marketer hire matched me with Jamie within a week. A few months later, we needed technical support on our Google analytics, and they had us connected to Alec within days. Both [00:28:00] Jamie and Alec needed zero training, were incredible to work with and experts in their respective areas, and most important, they completely delivered on time, on budget, and got the results I needed.

What I like about marketer hire is that you can engage someone for as long or short as you want. I hired Jamie for a three month project, for example. On the intake call, they really listened to what I said I needed. I even said that I need someone with an interest in the performing arts. And it turned out Jamie had a theater background and is still a member of her local thespian troop to this day.

Both Jamie and Alec were able to move my projects forward so much quicker than if I had led a traditional hiring process or search. The whole thing was really easy from start to finish, and they never made me feel obligated to proceed if I didn't want to. They were even able to work with my small business budget.

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[00:29:44] Jeremy Cuebas: Do you need to have people working for you that you can also trust to do their job really well? Is that something that you've, I hope, Built intentionally in your hiring process or building into that culture that they are allowed to do. The best work that they can. 

[00:29:59] Chelsea Chambers: [00:30:00] Yeah. I mean, we have completely lucked out.

I have the best staff ever. Um, hiring is my least favorite thing of all times. Um, and when that happens, it's, it was part luck, but it was also part learning through how to hire and what to say that you're looking for, but also some examples to have them do like in the interview process itself. Like, can you answer the phone?

you know, we're going to literally call you right now and you're going to sit in the front desk. And it's not a hazing thing at all. It's like, hi, my name is Chelsea. I'm a first time attendee. I'd love to come to the concert. How do I do that? And just, you know, having a conversation and seeing how they respond and making sure the person answering the phone is exactly the way that you'd want to be treated as a patron.

I think going back to that, like patron centric focus that Aubrey also really. Um, teaches us to has been [00:31:00] an eye opener, but back to the hiring conversation. If the person shows up with this skill set, let's say that is different than your job description, um, work with them to use those skill sets, but also build the skills they seek, right?

To allow them time to practice in this new environment. And also my favorite thing about hiring is to ask for input and advice from the new hire. What do you see that could be better? What do you bring here that you've learned from other roles that, that you want to incorporate? And let's have an open and honest conversation because it's a rich opportunity for a fresh perspective.

And if you don't take that opportunity, then you might lose someone really talented and you also lose the opportunity to change your culture and your culture.[00:32:00] 

[00:32:12] Jeremy Cuebas: It sounds like you've been very intentional in building this team, building this culture where people can be their best and where you can send them off. Are there any other things you've done intentionally or maybe accidentally to help build that strong culture on your team? It's 

[00:32:27] Chelsea Chambers: about being a person first.

I mean, that's always how I approach most conversations with my teammates and board members and anyone else. And it's, Hey, how are you? How's your grandson doing? He broke his arm last week. That's terrible. You know, it's humanizing the relationship. And this is true. I've found not just for staff, volunteers, board members, anyone from the organization that I interact with, but it's also the patrons and donors.

You know, they want to be recognized for who they are first. Um, we're all [00:33:00] just people. And then it's a little bit more of, Hey, how's that? How's that project going that we discussed? You know, are we on track to exceed last year's um, end of year giving campaign? How's the solicitation going? You know, do you need help mail merging a thing?

Whatever the project might be. Um, but I think it's again, just being a human first. Getting to know them and approach them in the method, the cadence, the means that they're most comfortable. 

[00:33:30] Jeremy Cuebas: Yeah, that's great. We forget to do that. We forget to treat people like people sometimes. 

[00:33:35] Chelsea Chambers: Yeah, it's not just what's easiest for the leader.

You know, I need you to meet me on my timetable in this way. 

[00:33:43] Jeremy Cuebas: So when that other person on your team said, do you want to take my spot? Like, wait, let's go back to there. What was, what happened after that? 

[00:33:51] Chelsea Chambers: Yeah. So I said, yes, not because I'm fearless, but because I was curious, I guess. [00:34:00] Um, and then I, so that was essentially taking over for the then director of operations and the title the board gave me at the time was business manager, I think because I, I lacked some.

experience, right? Um, I didn't have an MBA. I didn't have arts admin. I didn't have finance in my background. Um, and I just dove in and it was the scariest possible thing of my life. Like, honestly, I was so stressed out, you know, to use that phrase again, it was trial by fire. It was not knowing how to create a budget.

I had to suddenly do that. It was not knowing What a financial statement looks like at all. It was talking to all the vendors. It was booking the guest artists and the concert halls. It was this whole mishmash of stuff. I actually literally created, um, a Google sheet that was color coded for like finance board, you know, concert production.

And I was like, [00:35:00] in the last two weeks, can we quickly talk about this thing? Can we, Go on and talk about this thing. And we did the best we could. But, um, after that, it was just being open and honest again with what I knew, what I didn't know. After that second year, I was promoted to director of operations, which was the role that my predecessor had, um, creating all of the budgets, you know, hiring a bookkeeper, um, You know, doing all of the contracting, um, that kind of thing.

So it was HR, finance, concert production. It was, it was a lot. Um, and I held that position for a couple of years and my organization was pretty unique in its staffing structure. I will say that we had a falling out with a former executive director nearly a decade earlier. Um, and he actually took money from the organization and it [00:36:00] was heinous what happened and it's something I don't like to discuss too much but it's important moving forward that we had this really amazing recovery story after that and it really speaks to the resilience of the board and the orchestra and our donors and patrons um after that time so shortly after that um the board had to rebuild and separate the executive Director position for more checks and balances to two full time staff.

So in that way, it was a split role. Um, more, you know, like I said, director of operations, finance, um, operations, that kind of thing. So it was great and wonderful. It was superb for our organization. We had brilliant people that filled those shoes afterward and that continued to be my mentors today. And part of the.

Um, coming to [00:37:00] terms with the opportunity and. Thinking that I could potentially be an executive director really started around the time that my mentor, um, and our former managing director, Sherry was about ready to retire. Um, she had coached me all throughout. She was really the first person that gave me confidence in what I was doing, but the biggest cheerleader possible.

She really vouched for me, um, in that very first year from becoming. a part time, 20 hours per week, um, administrative assistant, and she went to bat for me that they should hire me full time and, and become, uh, the director of operations role eventually. Meanwhile, being that she was selfless in so many ways to toot my own horn and speak of my strengths and skill sets that perhaps I didn't even see myself, I think I am just so grateful [00:38:00] to her for all of that.

Um, and so it came at the time of her retirement, we, we had to create a new staffing structure by necessity and going back to a more traditional ED role for the organization, um, felt right at the time. It had been quite a while since that, that, uh, history happened with a former ED. And thankfully, The board voted unanimously unanimously to hire me as executive director in 2022 when I was 

[00:38:31] Jeremy Cuebas: 37.

What were some of the challenges you faced getting that position like coming from inside the orchestra? Did that make it easier or harder? Do you think 

[00:38:42] Chelsea Chambers: both? 

[00:38:44] Jeremy Cuebas: Yeah, 

[00:38:45] Chelsea Chambers: I think what's unique about me is my musician background. is a plus. Obviously not having, you know, the formal, um, education as an [00:39:00] arts administrator or MBA is the learning curve.

I have taken other courses as well in non profit leadership, um, in particular one by the Center for Excellence in Non profits. Um, just so I can pony up on all of the finance, you know, marketing board relations, all of that kind of necessary structure behind what I do on a day to day basis. So that was one.

Um, and of course, Aubrey's courses, the summer up level, working with Aubrey as a consultant and anything On medium and podcast that I can get my hands on As much as I can fill in on the sidelines i've been able to do for sure 

[00:39:40] Jeremy Cuebas: uh from the outside, I would guess that being there for what six or seven years and People being able to see how you worked and how you learned and how you're always um, you know working hard and being and being humble and being willing to learn I think that Also let them see [00:40:00] probably what kind of Person you would be in the job and that you were not just trustworthy, but that you would You know, do a really, really excellent job in that position.

I 

[00:40:09] Chelsea Chambers: appreciate that. It's easier for others to write your own bio, you know? 

[00:40:15] Jeremy Cuebas: Yeah. Yeah. I've gotten that advice. Have a friend write about you instead of you trying to do it yourself. 

[00:40:19] Chelsea Chambers: Totally. And it's funny cause I just, I feel like I've had to keep my head to the ground and just plow away cause the work is.

always there and it doesn't stop, right? And so coming, coming up for air once in a while, seeing what EDs do, seeing other executive directors for every size organization. I mean, the work is essentially the same, right? No matter what your budget size is. Um, And again, I think it was part of realizing that I can take ownership of a vision that I had and realize that that was okay and that I wasn't just stepping into someone else's turf, that I could mold the future [00:41:00] of the orchestra and that was an appropriate thing.

It wasn't selfish, it wasn't anything else, and just filling my own shoes, if I can come up with a weird phrase to encapsulate that time. Um, Being comfortable having a vision and knowing that was my path forward and that was what others wanted to was just Serendipitous and wonderful. So I don't I don't take that opportunity lately at all 

[00:41:28] Jeremy Cuebas: Chelsea Thank you so much for you know, sharing your experience with us Is there any advice that you'd give to the listeners?

Maybe somebody who? Feels like they don't have the right skills or they're in over their head. Um, I'm sure a lot of listeners are In that same boat. 

[00:41:47] Chelsea Chambers: Yeah, I would say get comfortable being uncomfortable That's been a bit of my motto. You're going to learn a lot and that includes challenges that you might fail at [00:42:00] Looking back learning the hard way was Sometimes the only method that I had available.

So I try to take those experiences in stride and see them for the positive. We're all human. Failing is literally how we learn. Um, and I'm still repeating that to myself daily. 

[00:42:18] Jeremy Cuebas: Alrighty. Great. Chelsea, thank you again so much for, for being here. We really appreciate it. 

[00:42:22] Chelsea Chambers: Thank you so much for having me. I had a great time.

[00:42:25] Aubrey Bergauer: There's a lot you were never taught about navigating a career in arts management. Nobody taught you how to. Land an administrative role, ask for a promotion, how to have confidence in job interviews, how to properly sell and brand yourself, how to get buy in for your ideas, how to manage up to a boss or to a board, or how to motivate the best performance in others on your team.

That all changes starting now. Join me, Aubrey, for a new free live virtual event where you will learn all the things that are holding you back [00:43:00] and equip yourself to take your career in the arts to the next level no matter where you're at right now. From student to long timer in the field to being an artist with an interest in administration.

It's called They Never Taught You That, a three part virtual training on how to grow your career in arts management. The training has already started, but you can still get in on it with the replays before the final part of the training comes to an end soon. Register now for immediate access, completely free, at www.

aubreybergauer. com slash howtogrowyourcareer. There's a lot of things you haven't been taught, and you can't win a game if you don't know the rules. So join the event and we'll change that together right now. Can't wait to see you soon.

That's all for today, folks. Thanks so much for listening. If you like what you heard here, hit that button to follow and subscribe to this podcast. And if [00:44:00] you've learned something or gotten value from this, please take two seconds to leave a quick one tap rating or review in return. To all of you, one more time, thanks again.

See you next time. On the Offstage Mic. The Offstage Mic is produced by me, Aubrey Bergauer, and Erin Allen. The show is edited by Novo Music, an audio production company of all women audio engineers and musicians. Our theme music is by Alex Grohl. Additional podcast support this season comes from Jeremy Cuebas, Kelle Stedman, other members of the Changing the Narrative team, and social media brand management by Classical Content.

This is a production of Changing the Narrative.

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