High Fives: Nicole Hudson Hollway
Musicals, photography and a sukkah round out this original Beacon-ite's favorite moments from the past five years.

Nicole Hollway -- after majoring in theater at Northwestern University -- was drawn to New York City by Broadway. Her work as manager of Information Systems and New Media for Cameron Mackintosh (Les Misérables, The Phantom of the Opera) introduced her to the world of new media marketing.
After serving as vice president of operations for Pegasus Internet, where she worked with such clients as the New York Philharmonic, Boston Symphony Orchestra and Lincoln Center while growing the staff from nine to 30, Nicole joined BitFlip Interactive Group as an account manager and later executive producer. A "small firm with big clients," BitFlip developed digital and print communications products for clients including The New Yorker, Goldman Sachs and AOL.
After returning to St. Louis in 2004, Nicole spent a year as a senior digital project manager at Rogers Townsend, where she worked on various projects including permission marketing products for AT&T small business customers. Before joining the Beacon, she served as community affairs and creative services manager for The Roberts Companies, managing web, print, outdoor and on-air production.
In 2010, Nicole represented the Beacon as a Punch Sulzberger Leadership Fellow, a Knight/McCormick Leadership Fellow and a member of the 2010 Leadership St. Louis class (also known as The Class).
Nicole serves on the board of directors for St. Louis' Professional Theatre Awards Council (Kevin Kine Awards) as well as the Friends board for the recently re-opened historic Wildey Theater in downtown Edwardsville, Ill. Nicole co-owns the (forever in beta) St. Louis theater website 3rd Row Center.
Email: nhollway@stlbeacon.org
Musicals, photography and a sukkah round out this original Beacon-ite's favorite moments from the past five years.
There are people who would articulate a goal of healing and diversity and "no hate" who call this song progress. Progressives and academics and others who push for real conversation on race may need to start with this song.
This week on Beacon Roundtable, Dale Singer sits down with Jason Rosenbaum and Nicole Hollway to talk about President Bill Clinton's upcoming visit to Washington University, the SLU Board of Trustees' survey to gauge the sentiment of faculty and the Beacon's project to find out what neighborhoods think about art.
This week, the Beacon has been hosting open mics in four areas that have been getting help in identifying how arts can help them. The benefit in engagingin this way is that we and those who spoke learned about stories we wouldn't have otherwise.
The story of two independent toy stores that have financial problems illustrates the power of connection among real people who have been in real shops and made connections. If the efforts to give the stores breathing room succeed, it will be because of those connections, not the social media tools that are being used.
As the Muny draws to a close, we look at a tradition that was built into the development of this outdoor theater: its free seats. The last nine rows are avaiable on a first-come first-served basis. We talk to those who were at the front of the line for "Dreamgirls."
For those of us who often find ourselves as the "other" in the room, there is something to be said for having enough variety in the mix to not feel "other." And at a scale of thousands - I'm not even sure I can name another experience outside of St. Louis I've been able to describe this way.
Do you edit part of yourself to fit in or not offend? Do you judge others based on your ideas of what they should do or like or say? Where's the line between being polite and growing and change that is damaging?
Most of us take for granted the reinforcement or assumption of possibility that comes from seeing people who look like us in various roles. A comfort comes in seeing ourselves reflected in our goals and dreams.
When I have conversations about diversity, I often find myself asserting the concept of diversity meaning more than "taking turns." It's not enough that everyone has access or something that appeals to them - what's going to get everyone together.