About
Kismet Productions
We believe in facilitating the ideas of artists
As an artist it can be extremely discouraging to hear the word no over and over, and still continue to show up authentically.
Kismet Productions is being created with the belief that it is possible to make performer driven projects that will allow those involved to share themselves with an audience in a way that expands minds and is inclusive to the exponential variety of human experiences.
All stories are worth telling, and we want to help!
OUR BOARD
Marina Altschiller-Gannon: Wellness
Marina has spent the last 21 years immersed in theatre as a performer, director, arts administrator, and community builder. She holds a BA in Theatre Studies: Directing and Arts Management from Emerson College and an MBA from the University of New Hampshire specializing in digital marketing.
As a recent transplant to Utah, Marina is thrilled to learn from this creative community. She has already had the pleasure of performing with On Pitch Performing Arts and ThreePenny Theatre Company and supporting backstage work with Pygmalion Productions. She also brings more than a decade of leadership experience as the Executive Director of Dive In Productions.
Her love of theatre is rooted in a passion for building community and the belief that kindness is the key for creating meaningful art.
Hope Juliana Oliver: Founder/Wellness/etc
Hope began building Kismet in 2024 after being informed her BFA program with the Young Americans College in California was closing. She was inspired by friends who did the same in 2022 to put on a production of Rabbit Hole -where she played Izzy. Hope is grateful for all the support she has gotten from those around her, and beyond excited to be working with such an incredible board!
Sarah Greenwell: DEI education/implementation
Sarah is thrilled to join the Board of Kismet Productions to serve in the Diversity Equity and Inclusion capacity for Education and Implementation.
Sarah holds a degree in Performance Arts from Weber State University, and is fluent in ASL. She has worked as a Cabaret Artist, Producer and Stage Manager through out Salt Lake City since 2018. Sarah has also been involved in disability advocacy, and education since 2009. She is passionate about providing equal access, representation and opportunities for marginalized voices.
"One of my most impactful memories is seeing a live production of RENT, and hearing the line -the opposite of war isn't peace, it's creation- and I have never felt anything to be more true. As a Queer artist with multiple disabilities, I have used Art to create my own peace. I witnessed incredible artists whose voices were limited, and whose safety was uncertain and found it unacceptable. I truly believe that providing equal education, racial justice and access to the catharsis of theater is essential to the human experience."
Emma Swanson: Education
Ever since her first piano lesson at the age of four, Emma has been passionately involved with music. Through her entire childhood she could nearly always be found participating in a musical activity including piano, choir, and performing in musical theatre productions at most major venues in Northern Utah. She is currently studying piano at the University of Utah under Dr. Viktor Valkov.
Through this involvement in Utah’s music scene, Emma has gained a passion for using music to build community. Her mission is to use exciting education and engaging performances to expand the Northern Utah musical community.
Emma has participated in this community building through her performances as well. She can be found performing as a pianist and singer for the Lyrical Opera Theater, including their educational outreach program. This program has delighted audiences of children throughout the state of Utah by providing them with fun and accessible opera education. She also continues to regularly perform in musical theatre, both onstage as an actor and offstage as a collaborative pianist.
With nearly a decade of teaching experience Emma has gained considerable experience in providing exciting and inclusive instruction. She strongly believes that music education can improve anyone’s life, and she is proud of her ability to adjust her instruction for any possible student. She has worked with students of all ages and skill levels with all sorts of different goals. She is at her proudest as an educator when she sees a student discover the kind of musician they want to be.
Karen-Christina Jones: DEI education/implementation
KCJ
she/her/hers
"If your dream is only about you, it's too small."
~Ava DuVernay
Karen-Christina Jones hails from NYC and is so blessed to be a member of the Utah theatre scene. Karen-Christina has been recognized for her work by The Theater Association of New York State for Excellence in Direction for her production of Charles Fuller’s A Soldier's Play. Karen-Christina’s portfolio includes The Importance of Being Earnest, and The Colored
Museum. Under Callaloo Theater she has directed Fires in the Mirror: Crown Heights Brooklyn and Other Identities, and for colored girls who considered suicide when the rainbow is enuf. On stage, Karen-Christina has portrayed several characters including Mrs Mueller, Doubt and LadyMarkby, and An Ideal Husband.
Joshua Sevy: Education
Joshua is a writer and longtime supporter of local theater, with a particular interest in storytelling, worldbuilding, and community-driven art. He began performing in musicals at 5 years old and went on to earn an AA, emphasis of theater studies. In his personal time, he is usually writing interactive stories for his loved ones to enjoy and crafting props or dioramas.
He brings a creative, practical perspective to the board, and is responsible for Kismet’s theatrical education. Joshua believes theater works best when it’s bold, accessible, and rooted in the people it serves.
Kismet utilizes a three-pronged approach to create the most opportunities possible for Artists:
Free Artist Intensives: The Socratic Study of Musical Theatre is a month long intensive for 8 to 12 Performers interested in doing a deep dive on a song of their choosing. This is accomplished with peer feedback encouraged by a class facilitator and participating in masterclasses with a guest instructor. At the end of the month the songs are performed in a showcase with tickets sold to an audience. As this is a free class it is the only part of Kismet that does not profit share with everyone. Guest instructors are paid a fixed rate, and if there is a profit that can be shared it will be split between Kismet and the class facilitator(s) -unless the facilitator(s) decides to reinvest their portion into Kismet. The goal is to do these intensives once to twice a year. Due to limited class space if one has previously participated in SSMT there will be a one week holding period to allow new talent a chance to enroll.
Board of directors: The Kismet board aims to be comprised of 6 to 8 unique and diverse Performers/Artists. These individuals –including founder Hope Oliver– will have the responsibility of running The Socratic Study of Musical Theatre and the Pitch to Stage Grant. Along with that, as Kismet was conceived due to Hope's desire to perform, the board will also function as a theatre troop and will produce shows through Kismet once a year (max), or as desired. Ordinary Days is intended to be the board debut show. Eventually, when the time comes that a board member wants to move on the individual will select a predecessor, which will not be subject to vote unless extenuating circumstances arise.
Pitch to Stage Grant: The $3,000 originally invested in this company will be used as this grant, and it is recognized this requires Kismet to continually break even on projects, but I -Hope- believe that is very much possible. Once a year anyone with a well thought out idea for a show, or project —regarding the performing arts— can submit for use of the grant. The board will select the best candidate and walk them through the process of: budgeting allotted funds, finding rehearsal and performance spaces, marketing, building a website, cast recruitment, etc. once the project is complete the $3,000 will be returned to Kismet and if a profit is made it will be split 50/50 between the grant recipient, and Kismet. Kismet will then distribute their portion between itself and the board. The grant recipient will use their potion to pay themselves and team. To diminish intense bias and political casting at least 25 percent of creatives involved in Pitch to Stage shows must be new faces. For the foreseeable future submissions will be limited to 10 per season, and if one has previously applied there will be a one month holding period to allow new Artists to submit first.
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