Innovative Marketing for Theatre

This, mate, might be more of a question than an answer.  We've just released a new video for our production of Jerusalem at the Phoenix.  It's both an innovative way to market the show, and a practical tool for helping audiences understand the thick British slang that pervades the play and sets the mood.  We wanted something light, fun, engaging, and informal-- that would get you inside not the world of the play so much as the world of the actors.  With the help of Hurricane Images Inc., heere's what we did:

In comparison to other theatre companies, I'd say Second Wind operates on a shoe string.  We make amazing things happen on almost nothing.  Theatre is, after all, primarily an exercise of imagination.  The audience knows the action is a fiction, but suspend their disbelief to to allow their imaginations to journey on a rollercoaster of emotion and thought.

Over the past two decades, we've let our imagination explore a whole range of innovative, inexpensive marketing adventures.  Guerilla marketing, by another name.  How to get butts in seats tends to be one of those guarded secrets in the theatre world (like marketing budgets).  So let's let the cat out of the bag.

Most of the time it's hard to say whether a marketing technique is effective.  The metrics aren't there for a good evaluation, and there are typically complex variables.  I could talk for a long time about what worked and didn't work about each of these, but instead I'm going to give it a simple "grade" for effectiveness. If you want me to explain why I gave a specific tool a certain grade, leave me a post.

Post Show Discussions. I've included this because it's something you can promote and advertise beyond the show.  We've done a number-- critic from the SF Chronicle for our production of Ghost in the Light about art forgeries; Israeli Consultate/MoveOn.org/Jewish Voice for Peace for our production of Murder; GMO activist Pamm Larry for Lullaby Tree.  The effective score varies, largely based on how controversial the play topic; the more controversial the better. The score is a range:  D-B

Wallet Drop. For A Beautiful Home for the Incurable will bought five used wallets, filled them with the fake I.D. of one of the play characters, and a message informing the "finder" that they had just won a free ticket to the show if they return the wallet.  We dropped five in various locations, one "returned." Score: C+

Played 3 Card Monty at the Tix Booth.  Almost got kicked out of the square on this one, but we set up a 3-Card Monty game in front of the SF Tix Booth for our production of Top Dog/Underdog. The game is played in the show.  Dressed as the character (a black-faced Lincoln) we challenged people waiting in line to play; winner received a free concessions voucher.  Score B-.

Art Contest. For Ghost in the Light we conducted a "forgery" contest at the three major art schools in SF. Winner received tickets to the show, their work displayed in the lobby, and they joined the panel discussion with the SF Chronicle critic.  Score C+

Behind the Scenes Video. We do this constantly.  We photograph rehearsals and put them into video, and  film special activities related to the video.  Wander around this blog and you'll see what I mean.  Score B

Post on Related Forums.  There are forums for everything.  For The Tender King we engaged in conversations on World War II history forums (the play dealt with Truman's decision to drop the bomb).  Score D

Elite Pass. For two of our productions we created an Elite Pass that would give members special privileges:  frree drinks, free returns, half-price youth ticket, and a workshop.  Score (B-)

Dress Up a Car. For several shows I've gotten a big magnet sticker for the side of my car.  Costs about $25.  But for The Woman in Black I went all out.  The sticker featured a hand coming out of a grave; a severed hand appeared in the window as a continuation.  It was October, and the show is a ghost story.  Got some looks.  Score C+

For comparison, I'll give my scores on some traditional marketing tools: Twitter (C-), Facebook (B), Youtube (B), Google Adwords (C-), Facebook ads (C), Posters (C+)

You'll notice nothing scored higher than a "B". That's because none of them beat word of mouth, building an audience base, email, and postcards.  Part of the "genius" of the Jerusalem video is that its designed to get the cast and crew-- who are a part of that word-of-mouth system-- excited about the show.  And it can be "re-used" on multiple platforms.

But these are just some of the things we've done around untraditional marketing.  What have you done?  Share an idea.  Join the conversation.

My Director's Notes Go Video

The Disappearance of Mary Rosemary has opened with a bang!  For the past couple of shows I've wanted to do my "Director's Notes" in the program as a video-- accessible by QR Code in the program.  Previously, the last weeks of rehearsals/load-in/tech have been so hectic that I haven't been able to even attempt video notes, but this show I finally did it.  I don't know whether it will truly prompt people to use their phones to see/hear my notes; we'll see.

For those without smart phones, here it is:

 

Anticipation, Captivation, and Impact

Last year, Theatre Bay Area sponsored a study on the impact of theatre on audiences, and how that related to satisfaction and customer loyalty.  In many respects, the study didn’t reveal much that practitioners didn’t already know from experience; nonetheless, it is a largely unstudied relationship, which makes their work both interesting and commendable.  They published their results, albeit without some of the most compelling figures (statistics, people, we want raw numbers!).  For instance, they report that women were more likely to be the “deciders” on going to the theatre—picking the plays and purchasing the tickets—but don’t reveal the stats behind that statement, the percentage of women deciders versus men, (let alone its statistical significance).

They did produce a nifty chart summarizing their findings. The diagram “illustrates key relationships between readiness, impact and loyalty, based on the totality of the data set.”  To fully understand it, pay close attention to the "R Squared" value that shows the ability of one factor to influence or predict another.

 

One of the interesting take-aways is the suggestion that knowing the story before  going to the theatre adds to both the anticipation and overall emotional impact.  Anticipation by itself (R squared = .16) didn’t lead to greater impact; finding the production “captivating,” naturally, lead to both deeper impact and greater likelihood that they would recommend the play to others.

One way to interpret these findings is to tell more of the play's story in your marketing material-- don't be coy.  That, apparently, helps get people to the theatre. You'll still need a great show to make them come back, though.

Now the study would really have been complete if they looked at how these elements correlated to alcohol consumption. 

Vigilance: Genesis, Successes, Hopes, & More

Videographer Olga Gary wanted to dig a little deeper into the play and production process, so I sat down with her for this in-depth interview.

Four Ways Were Changing Our Relationship to Our Audience

Transforming our Lobby into a Lounge. Utilizing QR Codes in our program. Opening the bar after the show. Initiating an Elite Pass for the production. Here’s why:

Transforming our lobby

We’ve got a small lobby—it has room for maybe four chairs, and is separated from the theatre by a curtain. It’s not the best of circumstances, and it often requires us to set up folding chairs in the hallway outside the lobby to accommodate early arrivals and overflow. In the past we’ve done things to spruce up our “inner” lobby: lit candles, projected images high up on the walls, filled the space with old show posters, and offered free hot chocolate (that was a big hit). But it still says, “wait here a minute, the real entertainment soon.” It’s a “waiting room.” Why am I telling audience members not to engage in conversation? Not to connect? Not to enjoy themselves? So we’re moving comfy furniture into the lobby and even the outer hallway.

QR Codes

You know, that funny little black and white square with dark speckles in it. If your smartphone has the right app, you can take a picture of it and visit a website or see a short video. Like a lot of marketing innovations it’s become all the rage without a whole lot of evaluation, but I figure within the setting of a theatre auditorium having one person use the QR code gets 2-5 neighbors in on the fun. Want to hear an actor talk about his role? Hear the playwright’s description of the play? Get clues on who done it? All they have to do is open their program, point and click.

Open the Bar

People tend to flee the theater after the show, even if they enjoyed the show. That’s cool. But we also want people to talk about the show and engage with the art form. So even if the attendance doesn’t merit it, we’ll be keeping the bar open after the show and inviting folks to chat with the artists.

The New Elite Pass

Make theatre more than a business transaction of dollars for stage entertainment—that’s what this new program is about. We’re encouraging people to get involved not just for two hours, but two months by offering inside looks, workshops, right of return, discounted food and drink. For just $35, the price of many shows in SF, you get a whole experience. It’s our new adventure. For everyone involved. And frankly, we think it's the most intimate theatre experience in the nation. Check it out at www.secondwind.8m.com/AboutElite.html

So come tell us how we did.
Vigilance runs February 2nd thru the 25th at The Phoenix Theatre.

2nd Wind's 5 Most Useful Posts for Producers, Directors, & Designers

Second Wind’s blog has posted over 60 entries into our behind-the-scenes diary over the past four years. So we’ve decided to cull the best of our resources and guides for producers, directors, and designers (sorry actors, you’ll have to wait your turn). Here they are:

Your Design Portfolio / Getting Hired
Advice from the pros and tips for sealing the deal. Get hired as a designer.
http://secondwindtheatre.blogspot.com/2011/12/your-design-portfolio-getting-hired.html

Strategic Marketing Plan for Theatre
We lay out our complete marketing plan for The Tender King, no holds barred. How does yours compare?
http://secondwindtheatre.blogspot.com/2010/11/my-least-favorite-thing-about-producing.html

Starting a Visual/Emotional Palette
You’re a director—what do you know about design? Help on using visuals to hone your directorial work, and communicate better with designers.
http://secondwindtheatre.blogspot.com/2010/03/starting-visual-emotional-palette.html

Taking the Press Photo
We share our top six tips for a knock-out press photo.
http://secondwindtheatre.blogspot.com/2010/03/starting-visual-emotional-palette.html

Ah Paperwork!
Nobody likes it; everybody’s got to do it. No, I’m not talking about death— I’m talking about paperwork. We share some of our more useful examples of forms for producing, including press releases, contracts for designers/actors, rehearsal forms, marketing tools, etc.
http://secondwindtheatre.blogspot.com/2008/11/ah-paperwork.html

And a bonus... Mastering the Art of the Question

Directors are forbidden to give "line readings" and for good reason. Telling an actor exactly what you want is a sure-fire way of creating an awkward, unconvincing performance. There are a number of ways to "guide" a performance; the most effective technique is about asking the right questions that create a common viewpoint. And it cannot be practiced-- or utilized-- enough.

http://secondwindtheatre.blogspot.com/2010/03/mastering-art-of-question.html

Your Design Portfolio / Getting Hired

Personally, I don’t know much about putting together a designer’s portfolio. I know I like pretty pictures, so I understand that a bad portfolio can undermine a good designer’s work. So rather than pretend that I have expertise in this area, I’m going to link you to someone who apparently has: Pro designers Chuck Meacham and William Kenyon write about how to put together your first design portfolio, or improve your current one.

http://schooltheatre.org/publications/dramatics/2006/05/building-your-first-portfolio

I may not be an expert on putting together a portfolio, but I as a director and producer I judge them as a part of the hiring process. Variety is a key element, and I like to see the most unusual designs they've created. I also like to see the work in progress: sketches, sketches in development, and fabric swatches if you’re a costumer; lighting plots if you’re a light designer, etc. I’ll explain why:

Your portfolio is both your foot in the door and the final piece of icing. The finished examples of your work are what will get you an interview. The work-in-progress is what will get you hired.

Here’s what’s true for me as a director/producer. If I call you in for an interview, I already believe you’re talented enough to do the job. I’m interviewing you because 1) I want to know why you versus another candidate; and 2) I want to get a glimpse of how we will work together. Focus on what makes your work distinctive and unique, and tell me something about how we’ll collaborate. Whenever I interview anyone—whether a designer or a crew person—I always ask two questions: What do you need to do your best work? And how can I as the director/producer support you? When we finish the interview I want to know how to proceed with you in that position.

Ficke Me

Anyone paying attention will surely note that I'm not a regular blogger (or tweeter for that matter). Once in a blue moon I'll explain that 2nd Wind's Blog and Twitter only come alive when we're in production. We had a short hiatus this year, so that period of silence was longer than usual. But as you can see... with each word that skims past your optic nerve... I'm writing again. Which means we're producing again.

The problem with only writing when in production is that it leaves the impression that our blog is little more than a marketing tool designed to part you, the reader, from your hard-earned cash. But the truth is that while my "noise" is sometimes about ticket sales, my "silence" is never about that at all. Only the luckiest of artists doesn't pine for more time to create. The hours are elusive, and it takes days, weeks, and sometimes years to fashion a single piece. When I blog or tweet (especially if I'm trying to tweet about something other than my lunch), a fair a mount of time vanishes into planning and implementation. It uses a different part of my brain, and the writing juices stagnate and dry.

This blog is devoted to opening up the process of creating theatre. It's about holding a shared space for artists and audiences. I believe that to be hugely important. I believe that the mystery and magic of creation is so deep, that sharing it-- unveiling its secrets-- only leads to deeper magic. But writing... writing is something different.

Playwrights are constantly encouraged (and badgered) to be collaborative artists. We're asked to workshop, develop, co-create, and explain. Sometimes these requests come at the perfect time to aide our work. There are writers who thrive on this interaction; and yet I don't think it should ever be considered integral or expected. The idea that artists should be collaborative frankly irritates the bejesus out of me.

Actors need privacy to explore and take risks in order to give the most truthful, powerful performance they can. Designer's need quiet and solitude to create and refine their ideas. Playwrights, tasked with creating a rickly detailed and complete world, need privacy and solitutde to imagine, explore, and document that world. So while at times I wish I could continue the online conversation, there are periods when I need to withdraw into my creative cave, my only offering being the promise of something wondrous upon my return.

Over the next three months we're going to being pushing the boundaries of the sharing process. This blog will come alive again. This time round, I'm hoping to open the discussion even further, talking with theatre pros from other companies and organizations. In addition to producing a new piece of theatre, we're exploring some new ways of doing business-- of involving audiences and promoting discussion. So come back and join us on the journey. It's sure to be a ride.

Vigilance

Feb 2-25

Phoenix Theatre, SF

http://www.secondwind.8m.com/

Oh Where Oh Where am I? Tech!

My long absence (fueled only slightly by difficulties with my blog server) is a statement in itself. Tech was grueling: 12 stright days working at times until six in the morning-- and never quitting before 1pm. I fell sick for two days near the beginning. People fell off the stage. Repeatedly. We discovered one of our computers didn't have enough processing power to run both the video program and the videos smoothly so we bought another laptop, programmed it, tweaked it, and then learned that it had a faulty circuit on the power board that kept it from running reliable. We returned it on opening day, programmed, tweaked, and threw it into the mix. After having never seen all of the media elements together in the same show, we ran without a hitch to a standing-room only audience on opening, followed by an over-sold audience on Saturday. But all of that is another entry; this one is a little behind-the-scenes of tech itself.

We're open! So you can buy tickets at: http://www.secondwindtheatre.com

Ah Paperwork!

Theatre companies don't exist on creativity and inspiration alone. I thought today I'd address some of the organizational aspects of producing theatre (and the creativity--and discipline!-- that goes into getting things done) by sharing some of our production materials. There's always more, but here's a taste.

http://www.secondwind.8m.com/Production%20Papers.html

See you in the theatre...

What is Meadowland?

All these entries and I still haven't told you anything about the play? Well, that'll change here. A brief introduction-- with no spoilers!-- on Meadowland, which happens to be based on a 12th century folk story from Japan.

www.secondwindtheatre.com

First Read-Thru

Rather than have me describe our first read-thru, I'm going to rely on pictures being worth more than my words. At Second Wind we like our first rehearsal to be casual; too often, the cast doesn't get to know each other until after the show opens. Photography by Richard Enriquez (all the good shots) and myself.

www.secondwindtheatre.com