S3E2: Stephanie Leah Evans
In this episode, Hayley and Amy speak with music assistant and score coordinator Stephanie Leah Evans about her Broadway debut, the importance of music notation for opening up creativity, representation and power dynamics in music departments, setting boundaries to establish trust, and more. Scroll down for episode notes and transcript!
Episode Notes
Guest: Stephanie Leah Evans
Hosts: Hayley Goldenberg and Amy Andrews
Music: Chloe Geller
Episode Resources:
Sweeney Todd - Broadway Revival
Guest Bio
Stephanie Leah Evans, a.k.a. "SLE" (she/her) is a Score Coordinator/Music Assistant specializing in Piano/Vocal score upkeep and formatting, copy-editing, transcription, and team organization. Her versatility with numerous music programs, from Finale to Sibelius and from Logic Pro X to ProTools, readies her to assist and liaise for any Music Team! Previous credits include stage productions Sweeney Todd 2023 Revival (Broadway), Kiss My Aztec (Hartford Stage), The Visitor (The Public Theater), Bob & Carol & Ted & Alice (The New Group), and The Wrong Man (MCC Theater). Stephanie also serves as an assistant to Alex Lacamoire, for whom she did Music Preparation and Score Coordination on the films In the Heights, VIVO, and Tick, Tick…Boom! Additionally, Stephanie is a singer with an extensive background in opera, musical theater, choir, and a cappella. Throughout her education, she played roles such as Susanna in Le Nozze Di Figaro, Miss Todd in The Old Maid and the Thief, Hope Cladwell in Urinetown, and Hodel in Fiddler on the Roof. All the while, she performed choral pieces from Bach to Esenvalds, recorded albums of Jewish music, and studied the psychological implications of chromatic harmony in film scores. Summary is: Stephanie has always been a music nerd. Currently, she's working on her own writing — exploring her passions of social justice, mental health, Jewish identity, and romance through musical storytelling.
Find Stephanie Online:
Website: stephanieleahevans.com
Instagram: @steph.l.evans
Thanks for listening!
Who do you want to hear from next on the Women & Theatre Podcast? Nominate someone here.
The Women & Theatre Podcast is created and produced by Hayley Goldenberg and Amy Andrews. Please like, comment, subscribe, follow us on Instagram and Facebook, and consider making a donation to support our work. Thank you for listening!
Episode Transcript
(Music)
Hayley: Hello, beautiful people, and welcome to the Women & Theatre Podcast! We're your hosts, Hayley Goldenberg…
Amy: …and Amy Andrews. Grab a cup of coffee and join us as we talk to people in the theatre industry about their experiences with womanhood.
Hayley: On the pod, we interview people with different gender identities, from different backgrounds, with varying levels of industry experience and professional roles.
Amy: Our goal is to build community and pool our collective wisdom to break down the barriers we continue to face.
(Music)
Amy: On today’s episode, we speak with Stephanie Leah Evans, a.k.a. "SLE". Stephanie is a Score Coordinator/Music Assistant specializing in Piano/Vocal score upkeep and formatting, copy-editing, transcription, and team organization. Her previous credits include stage productions Sweeney Todd 2023 Revival (Broadway), Kiss My Aztec (Hartford Stage), The Visitor (The Public Theater), Bob & Carol & Ted & Alice (The New Group), and The Wrong Man (MCC Theater). Stephanie also serves as an assistant to Alex Lacamoire, for whom she did Music Preparation and Score Coordination on the films In the Heights, VIVO, and Tick, Tick…Boom!
Additionally, Stephanie is a singer with an extensive background in opera, musical theater, choir, and a cappella. Throughout her education, she played roles such as Susanna in "Le Nozze Di Figaro", Miss Todd in "The Old Maid and the Thief", Hope Cladwell in "Urinetown", and Hodel in "Fiddler on the Roof". All the while, she performed choral pieces from Bach to Esenvalds, recorded albums of Jewish music, and studied the psychological implications of chromatic harmony in film scores.
Currently, she's working on her own writing — exploring her passions of social justice, mental health, Jewish identity, and romance through musical storytelling.
Amy: Hello, hello! We are here with Stephanie Leah Evans, who is a score coordinator and music assistant. Could you please share your pronouns and tell us a little bit about what you do in theatre?
Stephanie: Yeah! I am Stephanie Leah Evans. My pronouns are she/her/hers. I work as a music assistant/score coordinator for new works or revivals in musical theatre. We are a liaison to communicate between different departments, such as stage management and the music department, within the music department, between orchestration, copying, music directors, etc.
And primarily the work that we do is in creating sheet music for the rehearsal score as a process goes along. So we are notation experts, primarily.
Hayley: Amazing. Stephanie, can you tell us a little bit about how you came to what you do in musical theatre?
Stephanie: I have always been a lover of theatre. I performed in many different productions growing up, high school theatre... And when I went to college, I became a music major and started studying music theory and composition and ear training and all of those sorts of things, while also performing on the side. So upon graduation, I wanted to keep my love of performance, combined with music theory experience.
I didn't know the role of music assistant existed until I started getting some requests to do small jobs for people, such as transcriptions, or transposing a song, or doing an arrangement for a capella. My experiences in college starting to notate things led to something that I could make money from, which I had no idea was possible.
So I ended up freelancing to begin with, random people asking me to notate things for them. And then I learned that it was a whole role on a production, where you can be hired for weeks and months of putting a show together and be the person who ends up changing the score itself as a score is put together.
Hayley: Stephanie, can you talk a little bit about what you've been working on creatively? I know you've had a really exciting project that you've been working on.
Stephanie: Yes, I have been involved in Sweeney Todd, the revival on Broadway.
Hayley: Is that your Broadway debut?
Stephanie: It’s my Broadway debut!
Amy: Oh my gosh, congratulations!
Stephanie: Thank you. I was so thrilled to be a part of it. We started working on it quite a while ago in a workshop setting, and I had to keep it quiet to myself so no one knew that it was coming to Broadway quite yet. And then we started working on the Broadway production in January and jumped into rehearsals, and it opened this spring, and now we are putting together the Sweeney Todd album, so I've been helping with that as well.
Amy: Yay, that is so exciting. Stephanie, in the work that you do, do you feel like there is a creative mission that drives that work, or something that you are trying to do with your art?
Stephanie: That's a really good question. It can depend, because sometimes I feel like the actual tasks that I carry out are more administrative or logistic and don't seem as creative in the moment.
Sheet music creation is very visual. It's about getting information to a player so that a player can help execute things in the process of creating a show. But that also comes with the responsibility of making things as clear as possible so that they can be as smooth as possible. If I do my job correctly, it means that other people can open up their creativity, and they can explore lots of possibilities with the show instead of having to interpret what sheet music might mean. Some people tend to notate things in a vague way. But if you notate something very specifically, it allows people to know exactly what they're doing so that they can move to the actual emotional part of the process sooner.
In all of my musical experiences, I'm very driven by what the music makes you feel. And it's such a treat, after I've spent a lot of time staring at a screen at little tiny notes, like zhuzhing them this direction and that direction, and just making it visually appealing… to then hear it played and sung by real people, and being blown away by the catharsis of that music. I feel really strongly about just being a part of making that happen.
Hayley: I love the way you described that, as like, a key to unlock someone's creativity. That's such a beautiful naming of what it is that you do.
Amy: And I love, too, that you're able to find your creative expression within a very administrative position that you're in. That's really exciting to be able to draw those connections between the detailed score notation that you're doing and the beautiful art that comes out of it.
Stephanie: Something that comes up for a music assistant that is different from a music copyist is that an assistant is in the rehearsal room all the time. So we get to see the fruits of our labor in real time right away. And as someone who has experience performing, I love seeing actors interpret what's on the page. I love watching their choices. I love seeing the choreographer work with our music directors to come up with ways to make things work.
Amy: You had your Broadway debut this year. That is incredible. What does success look like for you? What is your dream of where your career is going to go from here?
Stephanie: Ooh. To me, collaboration is really key. Working with exciting people… It can look optically like, “Oh, like, I'm on a high profile show, it's making a ton of money, like, that's what's important.” For me, it's actually just about the process of getting a show up that is so beautiful. I love working with people who make it fun, make it an exploration of music and story. So I hope to be continuing to collaborate with people in a meaningful way.
Personally, I'm interested in starting to collaborate with people on stories that are more like my life or more representative. I could see myself being a composer one day and actually getting to have my own musical be put up in the same ways that I've helped put up someone else's musical. I think someday that is what I would like to happen. That would be my vision of success.
Hayley: I really love that. Stephanie, you mentioned earlier on when you were talking about music assisting that you didn't know it was a role that you could have. Do you have any advice or things that you've learned that you would share with people who are up and coming as well?
Stephanie: Yeah, what's challenging about this business, particularly in music departments, is that there is no formal application process. There is no audition to go on. It's a lot about networking and meeting people and happening to be in the right place at the right time. And it can feel kind of unpredictable. So whether you want to do notation, or you want to music direct, or play in the pit, for example… All of these come about by just getting to know folks in the business. And it's never a bad thing to reach out and to start chatting with people and ask them what their experiences are like.
If someone you know is playing in a pit of a show, people are pretty welcoming in letting you into the process and maybe watching the show from the pit and learning their book. If you want to sub their book at some point, or if you just want to get to know the score, want to get to know the person… People are pretty open to just having a chat and welcoming you into their process. And then you become top of mind for them when they're looking for a service that you can provide later on. It may not be immediate, it may not be your application right then and there. But down the road, they'll keep your name nearby, and that can be a way into doing what you want to do with them.
(Musical transition)
Amy: Stephanie, you mentioned that you wanted to talk about representation in music departments, which… we are super here for that conversation. I would love to start off by talking about your own identity. I'd love to hear how womanhood fits into your identity, and also, if there are other aspects of your identity that intersect with that in a meaningful way, we'd love to hear about that too.
Stephanie: Yeah. I identify as a woman, and I really didn't think too much of what that meant until I started facing discrimination and facing challenges in trying to enter a business that's male-dominated. I also identify as Jewish and had a similar experience with my Judaism in that I tend to not think about it so much until problems arise.
Particularly for my womanhood, I first started to really understand what that looks like in the music business when I got really interested in the world of film scoring. I am a nerd when it comes to the music that's in movies. I get so excited by all of it. And I was so inspired by all the composers and I wanted to write like they write. And I started delving into that side of the music business and learned that there's like three female composers, in terms of Oscar winners.
Hayley: Yeah, and looking at the Tony numbers is not very different either.
Stephanie: It translates right into musical theatre, where the positions that are in most power, so to speak, in a music department - whether that's composer or music supervisor or orchestrator - women are so underrepresented.
And this is something that's starting to change. We have organizations appearing - specifically, Maestra Music is one that's helping more women become part of music departments and hold leadership positions. But, you know, progress isn't immediate. So it's hard to - as a young person - enter the business and not see many people as role models to do something that you would like to do. Who look like you and have a similar gender presentation as you.
I'm often in male-dominated spaces and I'm the only lady in the room. And there's certain kinds of conversations that guys have together that they're not sure if they can have with a woman in the room or… It’s just different dynamics. And the few projects that I have had where I've been an assistant to a woman music director have been so enriching and so empowering. It can change the whole experience to have someone like you showing you what to do.
Particularly when it comes to the roles in the pit, the musicians, we're increasing representation. It's happening. It's working, but it's a constant effort. And I'm excited for a time when there's more of that trust.
Hayley: Yeah. It's interesting, a lot of the work being done is women shouting other women's names into spaces. Whenever I work with women music directors, if I ask them for recommendations, we're always shouting out other women in those conversations. And the more that we can continue to do that, the more change we're going to see. But also, of course, the burden shouldn't only live on us to continue to do that work, for sure.
I'm curious, Stephanie, you talked about working with a woman music director and how much that meant to you. Do you mind speaking a little bit about mentors that you've had that have helped shape who you are as a musician in the space?
Stephanie: Yeah, absolutely. My primary mentor is Alex Lacamoire. I've been his assistant for many years on various projects of his, and he really showed me the ropes with a lot.
When it comes to women, some particular folks include Meg Zervoulis and Emily Grishman. Meg Zervoulis is a phenomenal music director and pianist, and she and I have worked a few times together, and she was one of the first music directors who I just felt a completely different vibe with, I felt a different level of trust with.
And Emily Grishman is one of the best copyists in the business. If you're watching a Broadway show, the odds that she did the copy work are so high. She does most of the Broadway shows every year. And I'm very grateful that she's been teaching me certain things about the actual notation of music, but also about how to navigate business and how to navigate some of the issues that we're discussing of representation.
I think it's worth noting that when it comes to the music assistant position, there's actually mostly women. And it's a common thing, I'm sure, in other industries, that assistants are often women and the leaders, the bosses, are often men, and it creates an interesting power dynamic that hasn't changed too much in the musical theatre world.
Hayley: Yeah. It's true of directors too. It's across the board, I think, in our industry, absolutely. And then you see it in other industries, like you said, all the time. You know, “Oh, no, we really do have lots of women.” And it's like, sure.
Amy: Yeah, I mean, we do see across industries that there are a lot of women on the ground floor in the assistant positions and the helping positions. And then as you go up the ladder and the pool gets smaller and smaller, the women just disappear. And it does, it creates power dynamics, it also perpetuates power dynamics that have existed forever that we just really struggle as a society to shake off.
Stephanie: A lack of upward mobility. Because sometimes it's a trust thing that's based in prejudice, that I can't envision a woman in this kind of role because I haven't seen women in this kind of role. And that also is true for people of marginalized races as well.
Hayley: Absolutely.
Stephanie: I am currently in contact with a lot of music assistants, and 75% of the group - about 30 to 40 music assistants who work professionally right now - either identify as a marginalized race or gender. A majority of the people who do this job come from a marginalized background.
Amy: That's fascinating.
Hayley: Yeah, I didn't know that. That's really interesting.
Stephanie: Are there pipelines that are allowing these folks to eventually become the future of the music department? Or are there reasons that people drop off and choose other paths? And what are those reasons?
Hayley: Yeah. Thinking about what can be done to remove that ceiling, specifically for women, for people from marginalized genders and backgrounds struggling to make their way to the next step. That shouting of people's names into rooms is very helpful, but there needs to be more done from the top down as well.
Amy: Right. And unfortunately, with the tokenism that exists a lot of the time in the theatre industry, when it comes to people of marginalized genders and races and ethnicities, it does set up this sense of competition between people, where it feels like you're fighting for the one “woman's spot” or the one, you know, “racial minority spot.” And that's not helping anyone, frankly.
Hayley: And not to mention just like, a lack of representation of folks who can understand what it's like to come in with those intersecting identities together. What you talked about of feeling so safe in Meg's space, for example. I think that more can be done to ensure that those spaces are welcoming. Because as much as there's gatekeeping that's actively happening, it's also the self-selecting out. It can become very challenging to continue to bang your head against the wall, for lack of a better way to say that, when you're coming into a space and constantly being belittled for your identity, you know. In micro ways many times, like not overt ways all the time, but…
Stephanie: Right. And I think it's important what you said about tokenism. I have a few friends who feel like they have been brought into the room because of their identity alone, and question if they actually belong there or if someone was trying to fulfill an optic that is favorable to them. And there is a lack of support for people who are brought into a room who may not necessarily know the ropes as well as someone else, but who are completely capable.
Hayley: Right, totally qualified. One of the things that seeps into my self-esteem the most is this idea of: How can I possibly be qualified enough? And you hear so many women, nonbinary folks, people who have several intersecting identities, talking about this issue of like, “I am not good enough.” Whereas there are plenty of folks who just walk into rooms and feel entitled to things.
Amy: And trust that they are good enough.
Hayley: Right.
Amy: Stephanie, I want to hear more about the fraternity of music assistants. What are you doing to support each other?
Stephanie: It's a growing thing. Music assistants don't get to work with each other usually. I've been on maybe one project where I got to co-music assist a show. And it's actually with that person that I've started to form this sort of coalition. Because we go through similar things. Not only feeling underrepresented, but also facing some complicated things where we're asked to do so much and compensated so little.
It is becoming so difficult to afford to do this job. The wages haven't changed at all, but the cost of living certainly has. It is making it so that only wealthy people are doing the job. That is eliminating so many different folks with different backgrounds that probably could be very good at this and could eventually be the future music directors and supervisors that lead Broadway.
Hayley: Well, and also, as we're seeing the stories that we're telling on Broadway start to shift, that kind of effort is ringing hollow when the teams are still made up of largely cisgendered white men.
Stephanie: Absolutely. So in order to change that, we have to make sure that people feel supported by each other, but also financially supported by the producers of said shows. I’ve really liked getting to know a lot of these other music assistants and sharing similar woes about how we were asked to stay up so late and finish a transcription to be ready by the next morning so they could add it to the show.
There's a lot of things that are thrown on music assistants because we are so capable - because we are not just administrative but also musically very skilled. So, there's just a lot of things that come our way that we end up saying yes to. We're not really in a position where it's easy to say, like, “Sorry, I can't do that because I'm not paid overtime,” for example.
Hayley: Right. Well, that's such a big issue in theatre in general, too, is the boundary setting or lack thereof. It's not standard to set a boundary and be like, “Hey, I'm not working after 10 pm to finish this.” I mean, it's just not considered to be allowed.
Amy: Well, it's this like, “For the good of the show, the show must go on” mentality. And when you have a bunch of young people who are really passionate about what they do and love what they do…
Hayley: …and are desperate to prove themselves to a certain extent, right?
Amy: Yeah. It sets people up for burnout. It sets people up for being taken advantage of. It's - yeah, it's not great.
Stephanie: It doesn't mean we're not grateful to be there and so excited about these projects, but it can come with those boundaries.
Hayley: Yeah, it's “Yes, and…” I would love to see more folks in positions of power on these teams start to create systems to allow folks to tap out when they need to and take care of themselves. And not just when they need to, but before burnout happens, you know. Like, “We're all going to stop working at 11.”
Imagine if someone came in as a music supervisor or a music director and was like, “I don't want you to work past this hour.” That would make such a huge difference in your well-being throughout the process.
Stephanie: Absolutely. And even just talking with other people about that can make you feel better, make you feel more empowered to suggest that kind of boundary.
Amy: Speaking of, because we seem to be on the topic, what are some changes that you would like to see in the theatre industry - specifically in music departments, but also in a broader sense?
Stephanie: I really would like to increase the levels of trust that we have for people who come from different backgrounds. When it comes to music specifically, there's a lot of different musical upbringings that can be valuable to the shows we put together. I know there's quite a few pop-driven shows, and then revivals can be very orchestral-driven. But as we increase the amount of shows that are telling new stories about different kinds of people, we need to be able to trust that those people can tell their own stories. We don't need to fit the Broadway mold of how a show is put together, how the music comes to be. We can be creative, we can go outside the box when we're trying to bring that to fruition.
In Broadway as a whole, I struggle with the fact that it's so profit-driven that we have to rely on what's safe, what's reliable, what's known. And the conversations that a lot of folks had during the pandemic kind of fell to the wayside because we just need to make money back. But there's so much more that we could be doing in terms of representation and authenticity and creating safe spaces.
Hayley: I'm supportive of art being made, period. And we're seeing a lot of recycled material, a lot of going to other industries, away from theatre writers, to people who have had success in film, had success in music… And again, there's room for everything, and…
If you want to reach new audiences, then give us something new, because theatre for so long has kept so many people out because of the cost, because of who we're seeing on stage and what stories we're seeing told. There's such a desire for freshness, and it tends to work. When we see things that are really new and cool, everyone shows up to the theatre. I know there's this fear of doing something differently, but I feel like it's what we need.
Amy: We're relying on these old financial models that weren't working before the pandemic and certainly aren't working today. Those fundamentals of how we approach productions need to change so we can get to a place where we're not so desperate to make a buck, that we can allow space for innovation and creativity to come back in.
Stephanie: I often think that the Off-Broadway community and the Broadway community have very different artistic purposes. When it comes to Off-Broadway, I've done a lot more work that's very thoughtful and artistic and progressive and pushing boundaries. And because they're smaller theatres, they can accept that there'll be a smaller audience. And then when it comes to Broadway houses, it's a totally different story.
I would love to see a day where we can get back to some really meaningful stories being told on Broadway itself. Where new creative sorts of work that seem perhaps a little heady and a little bit out there can have a lot of commercial success, even though you have to take a risk to get there.
Amy: Yeah.
(Musical transition)
Hayley: Stephanie, we've been talking a lot about boundaries in this conversation of music assisting and what's required of especially up-and-coming folks, especially of women, to prove ourselves. How do you think about balancing your creative work with the rest of your life? How do you navigate that?
Stephanie: I can't say I do a great job. I find that work seeps into regular life constantly. And that some of the people I'm closest with are also going through these similar work experiences. So there's a lot of blurring of lines of what's my personal life and what's my work life.
But I have been able to create some delineations in the kinds of music that I work in and the kinds of music I experience on the job versus not on the job. I tend to listen to, like, K-pop when I'm on my own time, but I'm fully invested in orchestral stuff when I'm on work time.
Or when it comes to meeting with friends, sometimes I collaborate with people and make music with them, but with no pressure and no deadlines. Just like, “Let's jam together. Let's see what happens if you write some lyrics and I put some chords to it.” Reconnecting with that process and that experience has been kind of healing.
Hayley: Yeah, like connecting to the joy of music making and not just the grind of it.
Stephanie: The reason I started doing it in the first place is once you start monetizing that experience and those skills, it puts so much pressure on getting the next job and doing it right, blah, blah, blah. But when you do it for fun with no rules, it really helps restore that experience for me.
Amy: I love that you're carving out space for that, to make sure you hold on to that joy. That's so important and so hard to do.
Hayley: I want to ask you: What is a conversation that you feel is important that is not happening in theatre spaces right now?
Stephanie: I think there needs to be more conversations about what makes people feel truly safe in a space. When it comes to actors in particular, but also when it comes to other members of the teams. And this kind of goes back to what we were talking about when it comes to tokenism or being brought onto a team and not feeling qualified.
I think we could do a lot more to discuss what would make people feel like they're supported. And really pausing to make sure that people are feeling comfortable with what's happening in the room, and that they fully understand why they're doing something in the room.
We move through things fast, and we're just trying to get the product ready to put up on stage. And I would love to just pause a bit more to really ask the questions and to make sure that people are feeling properly represented in the writing, or that they're doing movements and things that feel authentic to their identity, or anything that eliminates the possibility that people feel like they're being hired for the optics, and more so that they're being hired for who they are and the creative elements that they can bring to a show.
Hayley: Yeah. I think that's beautiful. It's talking about this culture of consent across the board, because in order to give consent, you have to fully understand what's happening in what timeframe.
I agree with you that so often in rehearsal processes, we can get so caught up on the deadlines and they're very real things, right? Like, the theaters are extremely expensive to rent. And also in my experience, when the rehearsal space is built with a culture of consent, of accountability, of safety, then things actually move quicker. Because there's less resistance when consent is part of the conversation.
The trust is there, so people are more ready to say yes to things. And also the process of saying “No, how about this?” is a lot faster and a lot less dramatic, because there's already a system in place to kind of say, “Let's shift gears, let's try something different,” or, “Can we try this?” If that's something that's already embedded in the culture, then there's not all this putting out fires, like, reactive mentality that slows things down, that makes things stressful for everyone.
We get into theatre because we love it, we're passionate about it. There's not a ton of money in it, frankly, right? Not for most of us anyways. So, we at the very least have a responsibility, if we're in positions of leadership, in my opinion, to create an environment that is safe and enjoyable to work in. And of course, you can't please everybody. And also there's a lot you can do to make everyone feel respected and safe to do their best work.
Stephanie: And that leads to a collaborative experience too, which can break down some of those hierarchical structures that are perpetuating a lot of those problems in the first place.
Hayley: Totally. And it creates better work. Why is musical theatre, and theatre in general, some of the most collaborative art forms? We need a lot of people, hearts and minds, to come together to create something beautiful and something meaningful. And it's a disservice when we're not using everybody's brains in the room.
Amy: What are you most proud of in your life and in your work?
Stephanie: Oh, wow. I had the opportunity to work on a few movies that made me really excited. Because as I said before, I had a brief foray into the world of film scoring, and that's always been something I'm passionate about, but when I made the choice to do musical theatre, I was like, “Okay, well, I guess I'm doing this and not that.” But as musicals often get turned into films, I didn't realize I’d get to be a part of that.
Getting into the world of film was really exciting to me, and having it be available to people on such a broader level was really exciting. People all over the world, all over the country, could see some of the stuff that we put together. Which is the same kind of material that we're putting up on Broadway, it's just - Broadway can be a limited audience. It's often for only those who can afford to be there.
So I'm really excited about - in particular, the films Vivo and Tick Tick Boom, I also did some work on In the Heights. And it's a very different world creating movies, but it was really exciting to see those come to fruition as well. I was proud to be a part of them.
Amy: Yay! I love how your face lights up when you talk about it. It's great.
Hayley: Stephanie, is there anything we haven't hit in this interview that you'd love to share?
Stephanie: I'm just excited about building community. I think whether it's music assistants from all different backgrounds or particularly women, there's a level of support and excitement that I'm seeing with a lot of different women in this business that makes me have faith that we can do it, we can change the business for the better.
And I'm very inspired in those moments, and I come back to that. Anytime I'm like, I'm disillusioned with the business, it's tough… I really find my roots again with connecting to women like yourselves and other people who are making music the way I do too.
Hayley: Thank you so much, Stephanie, for being here with us today and sharing your experiences with us and your heart and your mind and your brilliant passions. We really, really appreciate it. Can you let our listeners know where they can find you on the interwebs?
Stephanie: Yes, I'm on Instagram @steph.l.evans. I have a website. It's just myname.com, stephanieleahevans.com.
Hayley: Amazing.
Amy: Thank you so much for being with us, Stephanie. It's such a pleasure to meet you.
Hayley: Yeah, what a joy.
(Music)
Hayley: Thank you for listening to the Women & Theatre Podcast. We’re your hosts, Hayley Goldenberg…
Amy: And Amy Andrews. If you like what you heard, subscribe and give us a 5-star review wherever you listen.
Hayley: You can also follow us on social @womenandtheatreproject to make sure you never miss an episode.
Amy: The music for this show is written by talented Women & Theatre community member Chloe Geller.
Hayley: Thanks for listening, everyone. See you next time!
Amy: Bye!
