Marketing & Promotion
Mon, 3 Feb 2003, 06:31 pmGreg Ross3 posts in thread
Marketing & Promotion
Mon, 3 Feb 2003, 06:31 pmAs an absolute beginner in the world of theatre, but an old hand at “smoke and mirrors” - advertising and marketing, I find I am being constantly asked about promoting theatre product.
IÂ’ve had and it seems, IÂ’m also lucky enough to continue to have, the pleasure of learning and working with various theatre groups, indeed, I owe an impossible debt to Jo Marsh and Patrick Spicer for giving an overweight bearded menopausal male a go. ItÂ’s to those wonderfully motivated people, such as Jo and Patrick, Sue Lynch and now Jemma Gurney, that I would like to offer some marketing thoughts, as a way of trying to repay that trust.
Having just completed a small role in “Travelling North,” I’ve been analysing the mix of ticket sales, advertising and reviews. As most of you will be aware, the Old Mill Theatre has an enviably loyal client base – a very valuable asset to any business. They have identified their 55+ south of the river demographic and successfully cater for it.
I was interested to be told at the Old Mill, that critics were not interested in community theatre and certainly that proved correct. With the exception of the ABC and a representative from this site, to my knowledge, no other critics attended. However, strategic advertising was placed in the West Australian and several Community Newspapers. The only mistake made, was when an extra mid week show was decided upon and no advertising was placed to advise the public. Apart from that, the season was basically a sell out, in spite of media disinterest and enormous competition from a plethora of events including those of PIAF.
I have already received a phone call from a business friend who wants to sponsor “Breaker Morant” at the Old Mill and the only thing he knows, is that it’s on later in the year, but he loved the film! The lesson is by all means produce something avant-garde that’s really close to your heart, but do something proven as well - balance your annual programme with a couple of accessible plays and don’t forget to find out what plays are on school curriculums.
Think of it in terms of cars. Manufacturers such as Jaguar have incredibly expensive dream cars, but itÂ’s the $53,000 car most people buy that supports production of the dream machines that in turn create the interest in the marque. Holden go motor racing very successfully, however the car on the track has virtually nothing to do with the car you and I can buy. Although the image of success and leadership is vital, the money to race comes from the bread and butter.
Constantly promote your company, find a reason to be interviewed and advertise your product. Possibly the West Australian or the Sunday Times may be financially beyond some of you in terms of advertising, although I would budget for at least one ad in the WestÂ’s entertainment section, but you can probably afford to use Community Newspapers and target those postcodes most likely to be interested in your product.
Sponsorship is of course, the big issue for many theatre groups, utterly necessary, but often impossibly hard to achieve. Work out a budget AND INCLUDE ADVERTISING. How much do you really need? Seek small amounts from multiple and complimentary sponsors. Give extra non-opening night comps to your sponsors, the word of mouth effect will surprise you. Find an angle for a potential sponsor and donÂ’t forget the print media - it may come as a surprise, but commercial media does not exist to give you a free ride, however they appreciate and look after their advertisers.
In summary, dare to be different, but don’t forget to be commercial. Whilst in no way being disparaging, (for even in my ridiculously short - two plays! - time I have found some comments very instructive), stop worrying about critics, they are an adjunct to the event, besides, why get involved with something you can’t control? Audience word of mouth is very important, however in terms of theatre, this usually may not create a new audience, rather reinforce the interest of an existing purchaser. Repeat business is vital, but you also need to source new business. Advertising and promotion puts bums on seats, as does a great poster design. As terrifying as it might be, the old adage, “You’ve got to spend money to make money,” holds true for theatre. Just invest wisely, remember you’re in business and you probably will be.
All Good Things
Greg Ross
IÂ’ve had and it seems, IÂ’m also lucky enough to continue to have, the pleasure of learning and working with various theatre groups, indeed, I owe an impossible debt to Jo Marsh and Patrick Spicer for giving an overweight bearded menopausal male a go. ItÂ’s to those wonderfully motivated people, such as Jo and Patrick, Sue Lynch and now Jemma Gurney, that I would like to offer some marketing thoughts, as a way of trying to repay that trust.
Having just completed a small role in “Travelling North,” I’ve been analysing the mix of ticket sales, advertising and reviews. As most of you will be aware, the Old Mill Theatre has an enviably loyal client base – a very valuable asset to any business. They have identified their 55+ south of the river demographic and successfully cater for it.
I was interested to be told at the Old Mill, that critics were not interested in community theatre and certainly that proved correct. With the exception of the ABC and a representative from this site, to my knowledge, no other critics attended. However, strategic advertising was placed in the West Australian and several Community Newspapers. The only mistake made, was when an extra mid week show was decided upon and no advertising was placed to advise the public. Apart from that, the season was basically a sell out, in spite of media disinterest and enormous competition from a plethora of events including those of PIAF.
I have already received a phone call from a business friend who wants to sponsor “Breaker Morant” at the Old Mill and the only thing he knows, is that it’s on later in the year, but he loved the film! The lesson is by all means produce something avant-garde that’s really close to your heart, but do something proven as well - balance your annual programme with a couple of accessible plays and don’t forget to find out what plays are on school curriculums.
Think of it in terms of cars. Manufacturers such as Jaguar have incredibly expensive dream cars, but itÂ’s the $53,000 car most people buy that supports production of the dream machines that in turn create the interest in the marque. Holden go motor racing very successfully, however the car on the track has virtually nothing to do with the car you and I can buy. Although the image of success and leadership is vital, the money to race comes from the bread and butter.
Constantly promote your company, find a reason to be interviewed and advertise your product. Possibly the West Australian or the Sunday Times may be financially beyond some of you in terms of advertising, although I would budget for at least one ad in the WestÂ’s entertainment section, but you can probably afford to use Community Newspapers and target those postcodes most likely to be interested in your product.
Sponsorship is of course, the big issue for many theatre groups, utterly necessary, but often impossibly hard to achieve. Work out a budget AND INCLUDE ADVERTISING. How much do you really need? Seek small amounts from multiple and complimentary sponsors. Give extra non-opening night comps to your sponsors, the word of mouth effect will surprise you. Find an angle for a potential sponsor and donÂ’t forget the print media - it may come as a surprise, but commercial media does not exist to give you a free ride, however they appreciate and look after their advertisers.
In summary, dare to be different, but don’t forget to be commercial. Whilst in no way being disparaging, (for even in my ridiculously short - two plays! - time I have found some comments very instructive), stop worrying about critics, they are an adjunct to the event, besides, why get involved with something you can’t control? Audience word of mouth is very important, however in terms of theatre, this usually may not create a new audience, rather reinforce the interest of an existing purchaser. Repeat business is vital, but you also need to source new business. Advertising and promotion puts bums on seats, as does a great poster design. As terrifying as it might be, the old adage, “You’ve got to spend money to make money,” holds true for theatre. Just invest wisely, remember you’re in business and you probably will be.
All Good Things
Greg Ross
Greg RossMon, 3 Feb 2003, 06:31 pm
As an absolute beginner in the world of theatre, but an old hand at “smoke and mirrors” - advertising and marketing, I find I am being constantly asked about promoting theatre product.
IÂ’ve had and it seems, IÂ’m also lucky enough to continue to have, the pleasure of learning and working with various theatre groups, indeed, I owe an impossible debt to Jo Marsh and Patrick Spicer for giving an overweight bearded menopausal male a go. ItÂ’s to those wonderfully motivated people, such as Jo and Patrick, Sue Lynch and now Jemma Gurney, that I would like to offer some marketing thoughts, as a way of trying to repay that trust.
Having just completed a small role in “Travelling North,” I’ve been analysing the mix of ticket sales, advertising and reviews. As most of you will be aware, the Old Mill Theatre has an enviably loyal client base – a very valuable asset to any business. They have identified their 55+ south of the river demographic and successfully cater for it.
I was interested to be told at the Old Mill, that critics were not interested in community theatre and certainly that proved correct. With the exception of the ABC and a representative from this site, to my knowledge, no other critics attended. However, strategic advertising was placed in the West Australian and several Community Newspapers. The only mistake made, was when an extra mid week show was decided upon and no advertising was placed to advise the public. Apart from that, the season was basically a sell out, in spite of media disinterest and enormous competition from a plethora of events including those of PIAF.
I have already received a phone call from a business friend who wants to sponsor “Breaker Morant” at the Old Mill and the only thing he knows, is that it’s on later in the year, but he loved the film! The lesson is by all means produce something avant-garde that’s really close to your heart, but do something proven as well - balance your annual programme with a couple of accessible plays and don’t forget to find out what plays are on school curriculums.
Think of it in terms of cars. Manufacturers such as Jaguar have incredibly expensive dream cars, but itÂ’s the $53,000 car most people buy that supports production of the dream machines that in turn create the interest in the marque. Holden go motor racing very successfully, however the car on the track has virtually nothing to do with the car you and I can buy. Although the image of success and leadership is vital, the money to race comes from the bread and butter.
Constantly promote your company, find a reason to be interviewed and advertise your product. Possibly the West Australian or the Sunday Times may be financially beyond some of you in terms of advertising, although I would budget for at least one ad in the WestÂ’s entertainment section, but you can probably afford to use Community Newspapers and target those postcodes most likely to be interested in your product.
Sponsorship is of course, the big issue for many theatre groups, utterly necessary, but often impossibly hard to achieve. Work out a budget AND INCLUDE ADVERTISING. How much do you really need? Seek small amounts from multiple and complimentary sponsors. Give extra non-opening night comps to your sponsors, the word of mouth effect will surprise you. Find an angle for a potential sponsor and donÂ’t forget the print media - it may come as a surprise, but commercial media does not exist to give you a free ride, however they appreciate and look after their advertisers.
In summary, dare to be different, but don’t forget to be commercial. Whilst in no way being disparaging, (for even in my ridiculously short - two plays! - time I have found some comments very instructive), stop worrying about critics, they are an adjunct to the event, besides, why get involved with something you can’t control? Audience word of mouth is very important, however in terms of theatre, this usually may not create a new audience, rather reinforce the interest of an existing purchaser. Repeat business is vital, but you also need to source new business. Advertising and promotion puts bums on seats, as does a great poster design. As terrifying as it might be, the old adage, “You’ve got to spend money to make money,” holds true for theatre. Just invest wisely, remember you’re in business and you probably will be.
All Good Things
Greg Ross
IÂ’ve had and it seems, IÂ’m also lucky enough to continue to have, the pleasure of learning and working with various theatre groups, indeed, I owe an impossible debt to Jo Marsh and Patrick Spicer for giving an overweight bearded menopausal male a go. ItÂ’s to those wonderfully motivated people, such as Jo and Patrick, Sue Lynch and now Jemma Gurney, that I would like to offer some marketing thoughts, as a way of trying to repay that trust.
Having just completed a small role in “Travelling North,” I’ve been analysing the mix of ticket sales, advertising and reviews. As most of you will be aware, the Old Mill Theatre has an enviably loyal client base – a very valuable asset to any business. They have identified their 55+ south of the river demographic and successfully cater for it.
I was interested to be told at the Old Mill, that critics were not interested in community theatre and certainly that proved correct. With the exception of the ABC and a representative from this site, to my knowledge, no other critics attended. However, strategic advertising was placed in the West Australian and several Community Newspapers. The only mistake made, was when an extra mid week show was decided upon and no advertising was placed to advise the public. Apart from that, the season was basically a sell out, in spite of media disinterest and enormous competition from a plethora of events including those of PIAF.
I have already received a phone call from a business friend who wants to sponsor “Breaker Morant” at the Old Mill and the only thing he knows, is that it’s on later in the year, but he loved the film! The lesson is by all means produce something avant-garde that’s really close to your heart, but do something proven as well - balance your annual programme with a couple of accessible plays and don’t forget to find out what plays are on school curriculums.
Think of it in terms of cars. Manufacturers such as Jaguar have incredibly expensive dream cars, but itÂ’s the $53,000 car most people buy that supports production of the dream machines that in turn create the interest in the marque. Holden go motor racing very successfully, however the car on the track has virtually nothing to do with the car you and I can buy. Although the image of success and leadership is vital, the money to race comes from the bread and butter.
Constantly promote your company, find a reason to be interviewed and advertise your product. Possibly the West Australian or the Sunday Times may be financially beyond some of you in terms of advertising, although I would budget for at least one ad in the WestÂ’s entertainment section, but you can probably afford to use Community Newspapers and target those postcodes most likely to be interested in your product.
Sponsorship is of course, the big issue for many theatre groups, utterly necessary, but often impossibly hard to achieve. Work out a budget AND INCLUDE ADVERTISING. How much do you really need? Seek small amounts from multiple and complimentary sponsors. Give extra non-opening night comps to your sponsors, the word of mouth effect will surprise you. Find an angle for a potential sponsor and donÂ’t forget the print media - it may come as a surprise, but commercial media does not exist to give you a free ride, however they appreciate and look after their advertisers.
In summary, dare to be different, but don’t forget to be commercial. Whilst in no way being disparaging, (for even in my ridiculously short - two plays! - time I have found some comments very instructive), stop worrying about critics, they are an adjunct to the event, besides, why get involved with something you can’t control? Audience word of mouth is very important, however in terms of theatre, this usually may not create a new audience, rather reinforce the interest of an existing purchaser. Repeat business is vital, but you also need to source new business. Advertising and promotion puts bums on seats, as does a great poster design. As terrifying as it might be, the old adage, “You’ve got to spend money to make money,” holds true for theatre. Just invest wisely, remember you’re in business and you probably will be.
All Good Things
Greg Ross
Walter PlingeFri, 7 Feb 2003, 05:10 pm
Re: Marketing & Promotion
Hi Greg,
This is wonderfully generous and powerful information you have elaborated here. I hope most of the companies around this site take the time to print out your posting and have a look at putting your ideas to the test.
I'm doing a lot of marketing reading at the moment, to train myself for (non-theatre) ventures and several comments you made echo with the research I have done...my current favourite is Jay Abraham - make of that what you will ;o) But you have backed up your comments with your practical experience, which makes them all the more valuable.
Anyway, glad to have you aboard the "thespian-train" and I hope to catch you around the traps sooner or later!
Jason
This is wonderfully generous and powerful information you have elaborated here. I hope most of the companies around this site take the time to print out your posting and have a look at putting your ideas to the test.
I'm doing a lot of marketing reading at the moment, to train myself for (non-theatre) ventures and several comments you made echo with the research I have done...my current favourite is Jay Abraham - make of that what you will ;o) But you have backed up your comments with your practical experience, which makes them all the more valuable.
Anyway, glad to have you aboard the "thespian-train" and I hope to catch you around the traps sooner or later!
Jason
crgwllmsSat, 15 Feb 2003, 10:32 pm
Re: Marketing & Promotion
Yes, thanks Greg. Having just mounted our first production under our own banner (Larrikin Theatre) I found the marketing and budgeting aspects all a bit curly.
Luckily, because we rehearsed in Melbourne and weren't around for production week, we put aside enough money to employ someone to do most of the publicity for us, which has paid off really well...but there has still been a steep learning curve and many unforeseen mistakes. Hopefully it will all be so much easier next time.
Thanks for the useful insights.
Cheers,
Craig
[%sig%]
Luckily, because we rehearsed in Melbourne and weren't around for production week, we put aside enough money to employ someone to do most of the publicity for us, which has paid off really well...but there has still been a steep learning curve and many unforeseen mistakes. Hopefully it will all be so much easier next time.
Thanks for the useful insights.
Cheers,
Craig
[%sig%]