We’re excited to introduce you to the always interesting and insightful Melissa Zarb-Cousin. We hope you’ll enjoy our conversation with Melissa below.
Melissa, appreciate you joining us today. We’d love to hear the backstory behind a risk you’ve taken – whether big or small, walk us through what it was like and how it ultimately turned out.
There are moments in your life that feel like a genuine crossroads. You know in your heart that a decision must be made that will affect the trajectory of your entire life. This leap of faith was presented to me in December of 2022 when Magik Theatre posted for their Managing Director position.
Despite my education and experience, I didn’t feel ‘ready’ for leadership, but I knew I would regret not throwing my hat in the ring for consideration. Anytime I have been presented with an opportunity to take a life-changing risk that I’m brave enough to commit to, I close my eyes and imagine surrendering and falling forward. Much to my surprise, I was hired after a unanimous board decision.
Imagine if I had talked myself out of applying. If I failed, at least I failed forward; if nothing else, an opportunity for growth. Silencing the chirping of self-doubt is easier said than done. I took a risk and it paid off!
My dream is to be able to mentor young woman interested in arts management to have the courage to take risks and OWN their power. I certainly wouldn’t have been so bold as to think I could take on such a large responsibility without the strong women vying for me in my own life.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
8:30 am Tuesday through Friday was known as the ‘calm before the storm’. As an actor, it was the quiet time used to warm up your body and voice, get focused, and check your mic. As front-of-house staff, it was an all-hands-on-deck strategy session, assigning roles and duties to ensure the check-in process for hundreds of school children went as smoothly as possible.
At 9 am, the doors opened, and the sound of stomping feet and excited giggles began to fill the space. For many, child or adult, this was their first time ever setting foot inside a professional theatre; this magical place where the books they read in class or at bedtime came alive onstage.
Children thought they were coming in to see a ‘movie’. Countless times, I witnessed children CHANGED by their experience at Magik. They laughed about Junie’s antics and how scary Shere Khan was; they re-enacted Aladdin’s run through the streets of Agrabah and a pirate sword fight. I witnessed the power of theatre on the daily.
1999 was the first year I set foot in The Magik Theatre. I went to NESA, the performing arts high school, and we performed an all-female, musical version of Saint Joan on that very stage. If it sounds odd, it was, but it was also a profound experience, especially for a 14-year-old.
A few years later, I began what I consider the summer job that would set the course for my career; my internship with Camp Showbiz. It was then that I learned what a nonprofit was and was made privy to the Tickets to Literacy Program. Around the same time, I was learning about the socio-economic ladder in AP US History; that your position in life is mostly pre-determined by what you’re born into. It was not lost on me at that age that the children that were coming through those doors would not have otherwise had the opportunity without programs like Tickets to Literacy. I was also not about to accept the life that had been handed to me- a first-generation American, first-generation college student, and daughter to a single mother raising two children as a manager in food court. At that point I knew two things- I wanted a career in the theatre and I wanted to change lives, including my own.
After receiving my BFA in Musical Theatre from The College of Santa Fe, I worked and performed in NYC and Denver. In 2010, it was time to move home and dive into the work I set out to do and return to Magik.
My five years working professionally at Magik really solidified my quest to work in nonprofits supporting children. At Magik, I was afforded the opportunity to explore all sides of the nonprofit world. I spent my first year or so answering phones and taking reservations. Wanting to learn more about fundraising, I asked Richard Rosen, Executive Director and Founder, where I could be most help in development, at which time I was appointed Grant Manager. After that, I got to become Mr. Rosen’s Executive Assistant, which became a crash course in all aspects of the theatre; most poignant being the time I spent with the Board, taking minutes, and coordinating meetings. And I got to do ALL of this while performing and touring.
The ability to create change in a community through the power of the nonprofit sector focused my energy and love for people. I was so enamored with the work; I got my Masters in Nonprofit Management from Our Lady of the lake University and it was time to broaden my horizons.
Knowing I wanted to ultimately work with children in the nonprofit space, I spent a few years as a high school theatre teacher, or ‘street cred’, as I like to lovingly refer to those years.
It was time. Asia Ciaravino, another Magik alum, was looking for a Chief of Staff at SA Youth. SA Youth’s mission aligned with mine: creating opportunities for kids that grew up in circumstances not dissimilar to mine. The organization was struggling to survive and needed help.
Walking into the organization, I found a very broken team, very little infrastructure, a siloed culture, and disingenuous programming. Rebuilding that organization has been one of the best learning opportunities of my life. I started, as I always do, by listening to everyone. I visited all of the program sites and spoke with every single member of the staff. Early in the process, we had to reorg, sell a building, close four program sites, rebuild our donors’ confidence, make some tough staffing decisions, and build a healthy culture.
The Chief of Staff role was perfect: it was like an MBA through on the job training. In addition to working closely with the CEO and the Board, I oversaw the afterschool program with a program budget of $1.1 mil, over 60 staff, serving 1500 children daily. I’ll never forget, we had a program evaluator visit contracted with TEA. She told me and the rest of the staff that the SA Youth afterschool program was considered by her peers to be the ‘dregs of afterschool programming’. The same evaluator 3 years later told me that we became one of the standouts in the state of Texas.
An opportunity to oversee the development department was available after a few years and I jumped on it. As luck would have it, I had two full months under my belt and COVID hit. From January to October, the team and I, mostly remote, raised $1 mil for organization through government and foundation grants, annual events, and individual giving campaigns.
Sadly, the organization had to downsize due to the pandemic and I was afforded the opportunity to explore life outside of nonprofits for a bit. I worked with Parallel, a branding agency, and really leveraged my operational experience to identify ways for the company to streamline work and become more efficient/effective. I also managed a portfolio of clients worth over $1 mil in annual revenue and produced strategic social media plans, created content, and managed social media accounts. It was a nice balance of strategy, creativity, and client service. This experience in marketing and advertising complimented my work in nonprofits extremely well.
Asia reached out to me with a new opportunity to revamp a struggling organization. I became Chief of Staff at The Children’s Shelter; this time, working with children that have experienced trauma and abuse and families that need help. The employees experienced profound trauma themselves, being shut down by the state and the organization dissolving dozens of jobs. The team at the shelter was in dire need of inspiration and care as the transition unfolded.
In addition to my Chief of Staff duties, I oversaw the facilities department. In a short 6 months time, I sold a building, put two buildings up for sale, coordinated moving every employee to our headquarters, and managed a 10-acre campus with 10 buildings between 30 years old and 100 years old. I also ran lead on our luncheon since we had zero staff in the development department, ultimately raising the most money for the event in the organization’s 120-year history.
A lifelong learner, I have been dedicated to personal and professional development. In 2018, I completed the San Antonio Area Foundation Nonprofit Management Certificate Program, covering an array of essential topics: development, leadership, working with volunteers, understanding financials, using social media and board governance. This reinforced my Masters degree, providing the most up-to-date trends in the nonprofit sector. I also completed the Transformational Leadership Development Series with the Women’s Chamber of SA.
Additionally, I completed the Alexander Briseno Leadership Development program and most recently, Leadership San Antonio, Class 46, the latter being the most profound experience in my career to date. I had a first-row seat to all the major businesses, nonprofits, education systems, and government entities running our city. The relationships that were formed are some that I will carry for the rest of my life. My network is healthy, and I am blessed to have such influential people at my fingertips.
I am committed to this city and giving back where I can. I served on the Emerging Leaders Council Advisory Board for the United Way of San Antonio and Bexar County for 3 years. Through networking, leadership, and hands-on volunteering events, we connected members to the community to serve and grow. I also serve on multiple committees and serve as a member of the Rotary Club of San Antonio.
Throughout all these years, theatre has remained a constant. If I’m not performing in a show, then I spend my time volunteering at theatres across the city or working front of house. For the last 10 years, I’ve focused my energy into The Public. I am was a proud inaugural member of their Artistic Advisory Committee and inaugural Company Member.
In May 2024, San Antonio’s beloved Magik Theatre marked a significant milestone: its 30th birthday! From its humble beginnings to becoming a cornerstone of the city’s arts scene, Magik has delighted audiences young and old with its imaginative productions and stand-out programming.
Since its inception in 1994, Magik has transported audiences to distant jungles, bygone eras, and fantastical realms through over 280 productions. Millions of patrons have marveled at the captivating performances, encountering everything from bus-driving birds to taco-obsessed dragons.
Founder Richard Rosen envisioned Magik as a space where children could witness the magic of theater and ignite their passion for reading. Over the years, it has become a beacon of arts education, touching the lives of countless children through its subsidized ticket program and touring performances.
Magik’s impact extends far beyond the stage, championing important causes like dyslexia awareness and youth empowerment. Collaborations with acclaimed authors and local organizations have brought meaningful stories to life, resonating with audiences of all ages.
In 2019, Anthony Runfola joined as artistic director, continuing Rosen’s legacy of innovation and excellence. I rejoined the organization as managing director in 2023. I am honored to be one half of a dual-leadership model that will take Magik into its next chapter. I think it is a model that works in the arts, as theatre leadership requires two completely different skillsets. And instead of sacrificing some by having one person at the helm, why not have two individuals that excel in their lanes take the lead? For Magik, it will take visionary leadership with vast experience in relationship building, high artistic merit, culture curation, fiscal awareness, tenacity, and courage. And I am so thrilled to be a part of Magik’s next 30 years.
Looking ahead, Magik remains committed to inspiring literacy and creativity with its upcoming “Reading Trilogy” and initiatives promoting resilience and healing. As it embarks on its next chapter, Magik Theatre invites everyone to join the journey of imagination and discovery for years to come.
Is there something you think non-creatives will struggle to understand about your journey as a creative?
As a leader in nonprofit theatre, my work often intersects with the private sector. Much to my dismay, it is clear that many traditional business-minded folks don’t respect artists or nonprofit employees to the same degree they do with their industry colleagues. We’re often seen as ‘warm’ or ‘nice’, but less competent, and I couldn’t disagree more. I feel like we have to work extra hard to prove our ‘worthiness’ or ‘effectiveness’ as professionals.
I cannot fathom how many times I’ve been in a conversation with business professionals introduced as an actress, only to be immediately disregarded or exploitatively asked to ‘perform’, as if there’s nothing else to connect with or about. It’s dehumanizing.
I run our theatre like a business. I have a bottom line. I have to navigate revenue streams. Most importantly, I have to ensure our people are celebrated and compensated. We do a lot with a little. I work with the smartest and most creative folks I know. And they all have passion, which is something desperately lacking in the business world.
What can society do to ensure an environment that’s helpful to artists and creatives?
It starts with children; education, accessibility, and funding.
Especially as arts programs are disappearing nationwide, integrating arts education into school curricula is crucial. By introducing children to the arts at an early age, we foster in them a sense of creativity, critical thinking, and empathy. Schools should prioritize arts programs alongside traditional subjects, ensuring that all students have the opportunity to engage with various forms of artistic expression. Partnerships between educational institutions and arts organizations can enhance this effort, providing students with hands-on experiences and access to professional artists.
Accessibility is another key factor. We need to make the arts available to everyone, regardless of socio-economic status. This can be achieved by offering free or subsidized tickets to performances, creating community outreach programs, and ensuring that venues are accessible to people with disabilities. By breaking down financial and physical barriers, we can ensure that all children have the chance to experience the magic of live theatre.
Funding is, of course, a critical component. Governments at all levels should recognize the value of the arts and allocate sufficient resources to support arts organizations. This includes grants, tax incentives, and funding for arts education programs. Additionally, private sector support through corporate sponsorships and individual donations can make a significant impact. Encouraging a culture of philanthropy around the arts will help sustain and grow these vital institutions.
Finally, public awareness and advocacy are essential. I am currently embarking on my own journey in advocacy. We must value the arts not just as entertainment, but as a fundamental part of our cultural and educational fabric.
Contact Info:
- Website: https://www.magiktheatre.org
- Linkedin: https://www.linkedin.com/in/melissa-zarb-cousin/
Image Credits
1 – 3, Darren Maslach
4. David Teran
5. personal
6. Lynn Lane
7 – 8. personal
‘personal’ pic – David Teran