From left to right: Mia Spidel, Sereniti Patterson, Julia Yelvington, Insha Iqbal, and Leah Austin
Fostering and supporting the next generation of arts professionals is an important part of everything we do at TPA. Each semester, TPA employs 100 students in various roles across the organization, offering them the chance to work alongside staff and gain hands-on experience in the field. Now in its third year, the Emerging Arts Professionals Program continues to expand our commitment to early career development by providing recent graduates with real-world experience, mentorship, and professional growth opportunities. We have five EAPs joining us for the 25/26 season: Mia Spidel, Programming & Events; Insha Iqbal, Education & Engagement; Julia Yelvington, Fabrication-Scenic Art; Leah Austin, Fabrication—Stage Properties; and Sereniti Patterson, Ticketing.
We’re excited to introduce this year’s amazing cohort! TPA asked each a few questions as they begin this new journey.
We’re excited to introduce this year’s amazing cohort! TPA asked each a few questions as they begin this new journey.
Mia Spidel: Programming & Events
What interests you most about working behind the scenes to support live performances and visiting artists?
I really enjoy the variety of shows that come through and the opportunity to collaborate with so many different kinds of people. I’ve always had a passion for live music/performances, and I love being part of the coordination process that brings everything together. There’s something incredibly rewarding about watching an event come to life from behind the scenes.
What are you most excited about this coming year in terms of TPA’s programming and events?
This year, I’m especially excited to work more closely with our programming director on booking new shows. I’m also really looking forward to working as the lead event manager for several events. It’s a great opportunity to take on more responsibility and continue growing in my role.
Where do you see yourself in five years, and how do you think this program can help you get there?
In five years, I hope to be advancing in the field of talent booking—whether that's on the venue side or representing artists. I see my current role at TPA as a crucial steppingstone, and I’m eager to build on my experience in programming and booking. I’m confident that the skills and insight I gain here will help me reach that next level in my career.
Insha Iqbal: Education & Engagement
How did you become interested in a career in the performing arts?
In high school, I had the opportunity to see the musical Come From Away with my theatre class, and for the first time, I saw characters who carried pieces of my experience. I found myself sitting in a completely silent theatre, sobbing as quietly as I could, when the woman in front of me turned around, handed me a tissue, and cracked a joke to make me laugh. That’s the power of live performance: it creates a space where complete strangers can feel deeply connected by a story unfolding around them. From that moment on, I knew that I wanted to tell stories that don't get to be told, if only to make that one little girl in the back of the audience feel seen.
What role do you believe the performing arts play in education and community development?
As a teaching artist, I often worked in Title I schools and classrooms where students did not share the same language, and I’ve seen firsthand how the performing arts can transform learning. Performance is a powerful tool built on empathy and imagination. I’ve watched kids light up when they realize that they’re allowed to be silly and felt their pride when they see their own ideas come alive onstage. Storytelling becomes a shared language, helping students to build confidence, literacy skills, and friendships across barriers.
In the community, performance invites people into worlds they might never have considered, offering new perspectives and building bridges. There's something electric about the energy shared by the performers and the audience when you are experiencing a story in the same room, together. It’s more than just entertainment, it’s a way to connect people, nurture empathy, and grow as a community.
As both an educator and an artist, I carry that belief into everything that I do. I want people to know that their stories matter, and I've seen firsthand that when they see themselves and the wider world reflected in front of them, they gain tools for empathy, self-expression, and joy.
What excites you most about working directly with students, teachers, or community partners?
What excites me most is seeing kids experience magic for the very first time - the moment their eyes widen, when they realize that stories can live and breathe right in front of them and that they have the power to create that magic too. We also get to help students find joy in the discovery of knowledge. Subjects like math, science, and literature don’t just stay on the page, they jump off it in ways that are dynamic, memorable, and fun. That makes learning more engaging to students with all kinds of learning styles.
I’m also deeply excited to keep learning about accessibility in the performing arts. Accessibility is about more than physical access, it’s about ensuring that every student, teacher, and community member feels welcomed in the space and empowered to participate. At its core, performance is simply about telling a story, and stories belong to everyone. That’s why I’m so inspired by the work that Texas Performing Arts is already doing in this area, with programs like touch tours, which allow blind and low-vision audience members to physically feel many of the items onstage, and Hear Us Now, which improves the way that sound is transmitted to audience members who are deaf and hard of hearing. I'm eager to build on this thoughtful programming, expanding the idea of who gets to experience the magic and setting a powerful example of how the arts can be both inclusive and transformative.
Julia Yelvington: Fabrication – Scenic Art
Tell us about a scenic painting or art project you’re especially proud of. What was your process?
One scenic painting project I am particularly proud of is my work on the USC backdrop. Over the summer of 2024, I helped paint a copy of a Scottish Rite backdrop that was showcased at the University of Southern California’s Fisher Museum of Art. I was able to travel with my mentor, Karen Maness, to help present the drop at the Fisher Museum’s “Sci-fi, Magick, Queer LA: Sexual Science and the Imagi-Nation” exhibition. This backdrop introduced me to painting with pneumatic spray guns. We paid special attention to the imagery and symbolism as well as the original artists’ strokes and intentions for the painting.
What would like to learn more about in this field?
Something I’d like to learn more about in this field over the next year are best practices in the paint shop. Gaining a deeper understanding on why we do something one way versus another will help inform my decision making as a charge artist in the future.
What’s a piece of feedback you’ve received that made a big impact on your professional or creative growth?
The feedback that I revisit often is that I need to look at my work from farther away. It is so easy for me to get caught up in small details and perfecting them, and this can be frustrating when those details don’t end up advancing or improving the painting. I continue to practice viewing my work from a distance and really deciphering what is serving the painting and what is something I am personally caught up in. I think this logic can be applied to a lot of situations both creatively and professionally.
Leah Austin: Fabrication – Stage Properties
Which part of the props process do you enjoy most—design, build, sourcing, or tech—and why?
While I have experience in design, I always feel myself gravitating towards fabrication as the most exciting part of my work. There is something really special about the process of discovery that occurs during collaborative and hands-on projects.
What are some materials or prop-making techniques you hope to explore further at TPA?
One of my favorite aspects of props work is its diversity – each production presents these new materials and techniques to explore. I am looking forward to seeing where the academic shows take us and how I can incorporate digital fabrication into my work.
What does this opportunity mean to you?
This opportunity means the chance for continual growth and development amongst the staff and faculty that mentored me throughout these last four years. I am incredibly grateful for the foundation they helped lay and how I can use my role as a means to contribute to the educational environment that has helped shape me.
Sereniti Patterson: Ticketing
How did you become interested in a career in the performing arts and ticketing specifically?
Throughout my life, I have always been very invested in the arts. My entire K-12 years were spent being involved in artistic spaces, especially theatre. As I grew up, I developed a deep appreciation for theatrical environments, and honed in on my passions that took place on the stage. Wishing to further develop my skills and pursue a career in the arts, I attended the University of Texas at Austin and obtained a Bachelor of Fine Arts in Acting. During my time at UT, I began working for Texas Performing Arts ticket office where I was able to develop interest in an arts administration career, specifically ticketing.
What does great customer service mean to you—especially in a performing arts context?
To me, great customer service means going above and beyond to ensure the customer comes in with high expectations and leaves with them exceeded. In a performing arts context, I believe ticketing is the first step towards ensuring patrons have the experience they so wish to have. Maybe it's because of my relationship with the performing arts, but I believe our spaces can change lives, and to be a part of the process that gets to do that is quite fulfilling.
What does it mean to you to be part of an organization that supports both world-class performance and the next generation of arts professionals?
To reiterate, I have and always will have a special place in my heart for the performing arts. As I am actively pursuing a career in both acting and arts administration, working for an organization such as Texas Performing Arts is exactly where I want to be at this moment. Texas Performing Arts thrives not only on our ability to produce world-class performances but also on fostering accessible artistic spaces for those who wish to further their careers in the arts, which I think makes us unique and innovative.
Support for the Emerging Arts Professionals Program is provided by Kathy Panoff Texas Performing Arts Student Engagement Endowment, Jamie Barshop, Pilar and Jaime Davila, Kandace and Dennis Eakin, Julia Marsden, and Susan and Robert Morse.
Interested in supporting an Emerging Arts Professional? Learn more on how you can make a difference through TPA’s Emerging Arts Professionals program by calling 512-242-8567 or emailing us at support@texasperformingarts.org.
What interests you most about working behind the scenes to support live performances and visiting artists?
I really enjoy the variety of shows that come through and the opportunity to collaborate with so many different kinds of people. I’ve always had a passion for live music/performances, and I love being part of the coordination process that brings everything together. There’s something incredibly rewarding about watching an event come to life from behind the scenes.
What are you most excited about this coming year in terms of TPA’s programming and events?
This year, I’m especially excited to work more closely with our programming director on booking new shows. I’m also really looking forward to working as the lead event manager for several events. It’s a great opportunity to take on more responsibility and continue growing in my role.
Where do you see yourself in five years, and how do you think this program can help you get there?
In five years, I hope to be advancing in the field of talent booking—whether that's on the venue side or representing artists. I see my current role at TPA as a crucial steppingstone, and I’m eager to build on my experience in programming and booking. I’m confident that the skills and insight I gain here will help me reach that next level in my career.
Insha Iqbal: Education & Engagement
How did you become interested in a career in the performing arts?
In high school, I had the opportunity to see the musical Come From Away with my theatre class, and for the first time, I saw characters who carried pieces of my experience. I found myself sitting in a completely silent theatre, sobbing as quietly as I could, when the woman in front of me turned around, handed me a tissue, and cracked a joke to make me laugh. That’s the power of live performance: it creates a space where complete strangers can feel deeply connected by a story unfolding around them. From that moment on, I knew that I wanted to tell stories that don't get to be told, if only to make that one little girl in the back of the audience feel seen.
What role do you believe the performing arts play in education and community development?
As a teaching artist, I often worked in Title I schools and classrooms where students did not share the same language, and I’ve seen firsthand how the performing arts can transform learning. Performance is a powerful tool built on empathy and imagination. I’ve watched kids light up when they realize that they’re allowed to be silly and felt their pride when they see their own ideas come alive onstage. Storytelling becomes a shared language, helping students to build confidence, literacy skills, and friendships across barriers.
In the community, performance invites people into worlds they might never have considered, offering new perspectives and building bridges. There's something electric about the energy shared by the performers and the audience when you are experiencing a story in the same room, together. It’s more than just entertainment, it’s a way to connect people, nurture empathy, and grow as a community.
As both an educator and an artist, I carry that belief into everything that I do. I want people to know that their stories matter, and I've seen firsthand that when they see themselves and the wider world reflected in front of them, they gain tools for empathy, self-expression, and joy.
What excites you most about working directly with students, teachers, or community partners?
What excites me most is seeing kids experience magic for the very first time - the moment their eyes widen, when they realize that stories can live and breathe right in front of them and that they have the power to create that magic too. We also get to help students find joy in the discovery of knowledge. Subjects like math, science, and literature don’t just stay on the page, they jump off it in ways that are dynamic, memorable, and fun. That makes learning more engaging to students with all kinds of learning styles.
I’m also deeply excited to keep learning about accessibility in the performing arts. Accessibility is about more than physical access, it’s about ensuring that every student, teacher, and community member feels welcomed in the space and empowered to participate. At its core, performance is simply about telling a story, and stories belong to everyone. That’s why I’m so inspired by the work that Texas Performing Arts is already doing in this area, with programs like touch tours, which allow blind and low-vision audience members to physically feel many of the items onstage, and Hear Us Now, which improves the way that sound is transmitted to audience members who are deaf and hard of hearing. I'm eager to build on this thoughtful programming, expanding the idea of who gets to experience the magic and setting a powerful example of how the arts can be both inclusive and transformative.
Julia Yelvington: Fabrication – Scenic Art
Tell us about a scenic painting or art project you’re especially proud of. What was your process?
One scenic painting project I am particularly proud of is my work on the USC backdrop. Over the summer of 2024, I helped paint a copy of a Scottish Rite backdrop that was showcased at the University of Southern California’s Fisher Museum of Art. I was able to travel with my mentor, Karen Maness, to help present the drop at the Fisher Museum’s “Sci-fi, Magick, Queer LA: Sexual Science and the Imagi-Nation” exhibition. This backdrop introduced me to painting with pneumatic spray guns. We paid special attention to the imagery and symbolism as well as the original artists’ strokes and intentions for the painting.
What would like to learn more about in this field?
Something I’d like to learn more about in this field over the next year are best practices in the paint shop. Gaining a deeper understanding on why we do something one way versus another will help inform my decision making as a charge artist in the future.
What’s a piece of feedback you’ve received that made a big impact on your professional or creative growth?
The feedback that I revisit often is that I need to look at my work from farther away. It is so easy for me to get caught up in small details and perfecting them, and this can be frustrating when those details don’t end up advancing or improving the painting. I continue to practice viewing my work from a distance and really deciphering what is serving the painting and what is something I am personally caught up in. I think this logic can be applied to a lot of situations both creatively and professionally.
Leah Austin: Fabrication – Stage Properties
Which part of the props process do you enjoy most—design, build, sourcing, or tech—and why?
While I have experience in design, I always feel myself gravitating towards fabrication as the most exciting part of my work. There is something really special about the process of discovery that occurs during collaborative and hands-on projects.
What are some materials or prop-making techniques you hope to explore further at TPA?
One of my favorite aspects of props work is its diversity – each production presents these new materials and techniques to explore. I am looking forward to seeing where the academic shows take us and how I can incorporate digital fabrication into my work.
What does this opportunity mean to you?
This opportunity means the chance for continual growth and development amongst the staff and faculty that mentored me throughout these last four years. I am incredibly grateful for the foundation they helped lay and how I can use my role as a means to contribute to the educational environment that has helped shape me.
Sereniti Patterson: Ticketing
How did you become interested in a career in the performing arts and ticketing specifically?
Throughout my life, I have always been very invested in the arts. My entire K-12 years were spent being involved in artistic spaces, especially theatre. As I grew up, I developed a deep appreciation for theatrical environments, and honed in on my passions that took place on the stage. Wishing to further develop my skills and pursue a career in the arts, I attended the University of Texas at Austin and obtained a Bachelor of Fine Arts in Acting. During my time at UT, I began working for Texas Performing Arts ticket office where I was able to develop interest in an arts administration career, specifically ticketing.
What does great customer service mean to you—especially in a performing arts context?
To me, great customer service means going above and beyond to ensure the customer comes in with high expectations and leaves with them exceeded. In a performing arts context, I believe ticketing is the first step towards ensuring patrons have the experience they so wish to have. Maybe it's because of my relationship with the performing arts, but I believe our spaces can change lives, and to be a part of the process that gets to do that is quite fulfilling.
What does it mean to you to be part of an organization that supports both world-class performance and the next generation of arts professionals?
To reiterate, I have and always will have a special place in my heart for the performing arts. As I am actively pursuing a career in both acting and arts administration, working for an organization such as Texas Performing Arts is exactly where I want to be at this moment. Texas Performing Arts thrives not only on our ability to produce world-class performances but also on fostering accessible artistic spaces for those who wish to further their careers in the arts, which I think makes us unique and innovative.
Support for the Emerging Arts Professionals Program is provided by Kathy Panoff Texas Performing Arts Student Engagement Endowment, Jamie Barshop, Pilar and Jaime Davila, Kandace and Dennis Eakin, Julia Marsden, and Susan and Robert Morse.
Interested in supporting an Emerging Arts Professional? Learn more on how you can make a difference through TPA’s Emerging Arts Professionals program by calling 512-242-8567 or emailing us at support@texasperformingarts.org.