HGO Spotlight on: Chief of Staff to the General Director and CEO Mary Elsey

Located on the fifth floor of the Wortham Theater Center, the Houston Grand Opera’s Office of the General Director (OGD) welcomes visiting artists, donors, managers, and directors. Most often, they’re greeted by Mary Elsey, who serves as Chief of Staff to Khori Dastoor, HGO’s General Director and CEO.

Elsey grew up in Ohio, where her love of music and the arts began with the support of her family. She went to Ohio Northern University and received a bachelor’s degree in theater. Afterward, she pursued a career as a stage manager and began what she calls “working the circuit.” Her first jobs had her moving back and forth between opera companies, including Opera Theatre of Saint Louis, New York City Opera, and Nashville Opera.

It wasn’t until the summer of 2012 in Saint Louis, during a production of Sweeney Todd, that the stars aligned toward Houston. Elsey applied for a stage manager position at HGO, got the job, stuffed everything into a Fiat 500, and left for Texas.

“Flexible” is a word that Elsey uses to describe her role. The job demands a person with an adaptable personality—someone who can tackle the ever-changing flow of ideas across departments. From hosting weekly meetings that the OGD refers to as “Mission Control,” to blowing up balloons for HGO’s first-ever Family Day, to serving as an emcee for the company’s Pride Bake-off, Elsey does it all. 

What sparked your love of theater? 

I was in my first show when I was 7, and my debut role was the pink Energizer bunny at a church event. It was a play my mom directed, and my brothers were in it. I was at the very end, and I kept going and going. However, I was deathly ill. As soon as I got off the stage, I vomited into a bucket.

What made you want to pursue a career in theater?

Growing up, my parents would take us on “special secret” dates to the theater as an excuse to dress up and because they love the arts. I remember that we got seats to see the Broadway tour of Annie and got to meet the cast and crew. From there, I knew that I wanted to be a part of the arts. 

I was always obsessed with theater, and it definitely grew more when I was in middle school. I was a member of the drama club, and I was even Ms. Hannigan in Annie. I performed in high school and stage-managed my first show, which was The Music Man. It was so cool, I remember I was responsible for the offstage gun noise.  

When I started college, I was actually a double major in theater and literature, with a minor in French. I loved theater, but I didn't want to be a performer. I eventually found my way to being a stage manager again in college and met Peter Hynds, my mentor who also worked at HGO. He would express how amazing opera stage management was. I was introduced to The Magic Flute and worked with Andrew Bidlack, who played Tamino, and Audrey Luna, who played the Queen of the Night. I just remember thinking how every art form—regardless of medium—is in opera, and I fell in love. 

Tell us about your path to your current position.  

I was in the stage-management department of HGO for five seasons, from the fall of 2012 to the spring of 2017, including all four years of the Ring cycle. But I was kind of feeling a little run down by the nomadic lifestyle that a stage manager must hold, following the work from city to city.

When the ballet did their brand-new Stanton Welch production of The Nutcracker in December 2016, their director of production, Andrew Nielsen, felt like he needed another hand on the team. He called my boss and said, Mayday, mayday! I need a stage manager. Can you suggest anybody? And I was suggested!

Immediately, Andrew Nielsen and I just clicked. The job was only for a couple of weeks, so I finished my season at HGO. Not long after, in the summer of 2017, I got hired in a full-time position as a production manager at the Houston Ballet. It was definitely a different workload, but I was excited.

Then in 2017, Hurricane Harvey hit. The Wortham was closed. We had to pivot to have a hometown tour through Houston which was a lot of fun. My new role proved to be challenging, but I learned so much pretty fast. Then I was laid off from the Houston Ballet in June of 2020 because of COVID-19 and was unemployed until Thanksgiving 2020.

Around the holiday season, my old HGO boss, Kristen Burke, called me and said she needed somebody to manage the Dickensian carolers that HGO sent out to donors and VIPs. I helped with the project, and that’s when I learned about the changes that were happening here with the search for a new CEO as HGO transitioned leadership. The company needed a Chief of Staff, and I started the job in December of 2020. 

What do you feel are necessary qualities to be successful in your role?   I would say three things: multitasking, flexibility, and hospitality. Things are constantly changing. Sometimes, I’m the hostess of the Office of the General Director. There are a lot of people that come into the OGD. And being able to make those people feel welcome in that environment so that they can be set up for success is a service I can provide to anyone who comes through the door.

What has made you proud to work at HGO? 

I feel really proud at the end of every board meeting and every company all-hands meeting. There is a lot that goes into generating those meetings. It’s about the connectivity of our staff. It’s about people understanding everything that goes on in this large organization that has so many things happening all the time. I’m just kind of a cog in that wheel, and it feels really good when it works out.

What are your favorite operas, not in any particular order?

My top three favorite operas are Weinberg’s The Passenger, Wagner’s Tristan and Isolde, and Debussy’s Pelléas and Mélisande.

What are your favorite memories of working here?

My favorite memory was Family Day last year because it was this brand-new thing, and we were all learning. It was such a coordinated, collaborative effort. I often say, when all the people at HGO are rowing in the same direction, we cannot be beaten. We are the best in the industry. And that was such a pivotal day for us. We had no idea how successful it would end up being. It was hard. And it was so special to see the young people of Houston entranced by our art form.

What are you most excited about for future seasons at HGO?

I love Porgy and Bess so much. I think that Opening Night and that Opening Night Dinner are going to have such a special feeling because of the connection of the piece to our company and its history. It’s going to be an incredible night. I’m really excited about Of Mice and Men as well. I’m thrilled to see our Butler Studio artists shine in that production. And they’re just special performers. I mean, every season, you feel like, How does it get better and better every year? But it does. And they’re just incredible human beings.

What makes HGO special?

The people. I’m sure you hear that a lot, but I think it’s the truest thing. And it’s not just the people who work here. It’s also the people who are on our board. Our board is incredible and so in love with and committed to HGO. They give so much of themselves. But the staff members are also the special sauce. I mean, we work hard, and we’re proud of it. We do not accept anything but the best. When I came to HGO, I found my people. And that’s why I’ve loved working here, because we are all striving for better.