The Festival’s gala 40th anniversary season was the most ambitious in scope to date and the most complex workflow the staff had ever attempted.

1. •I led the efforts to strategize the creative platform, framing “a moment in time” approach.
   

1. 

   •  John Evans envisioned and programmed a glamorous, anniversary gala concert, a celebration of the first 40 years. For the team I helped draft outlines of the concert, focusing on video, “walks through time” produced by our video company. I served as chief liaison to the video producers, sketching outlines, determining the topics, scouring the video, photo, and publication archives to produce an asset library.
   

1. •I took part in story conferences and reviewed cue sheets and rough cuts. The final six videos bridged the live performances and helped tell the story of the night in a compelling, visual way without need for narration.
   

1. • 

   

   It was also a landmark year for the Festival’s electronic communication. Working with the media firm AO Creative, we leveraged a community engagement grant to establish our social media presence; supercharge our twitter presence with group lists and followers; launch the OBF Facebook page, and create a deep stock of b-roll video.
   

1. •Working with our web programmer, we converted the OBF website to a hybrid Word Press site, (combination of Word Press pages and blog posts, database-driven, and fixed pages) which created great flexibility and ease of us for other members of staff. Plus, it looked great. And was done at minimal cost.
   

1. 

   •I directed a successful community engagement plan for Latino community and audiences, with bilingual materials and special access programs. The events revolved around appearances by Jamie Bernstein, with her bilingual Bernstein Beat program, and the Cuban band Tiempo Libre, which in that time had released an album of great Bach themes re-imagined into Latin jazz arrangements.