Theatre and Social Media

Yes, another social media post. But I can't help it. I'm drawn to it. It's combining two things I'm interested in. Since I was in charge of monitoring the social media for a professional theatre and currently monitor the Facebook and Twitter sites for my university's theatre, I'm always interested in new ideas; Things I would like to implement if I could focus all my time on it.

The LA Times ran an article about how The La Jolla Playhouse is implementing social media as one form of marketing. They started a contest, "Your Life, Our Stage," in which people could submit stories about their lives through videos/photos/writings/etc. through Brickfish. The winner would have their story written by Pulitzer Prize and Tony Award winning playwright, Doug Wright.

This is a great idea for two reasons:

1. It helps build a relationship with the consumer. The audience feels connected to the theatre because they were able to share a part of their life with them. They also get the comforting feeling that the theatre truly cares about their audience's lives, so this helps to build equity. For the winner, he or she will always have a connection to the theatre, and will pass on his or her story to friends, thus building a larger loyal audience.

2. The La Jolla Playhouse was able to combine marketing through social media with traditional marketing. By having their public make these submissions, the theatre is able to collect demographic data to get a better sense who their public is. This is a more creative way to collect this data than the typical questionnaire or audience survey.

Social Media is Taking Over

The Global Center for Cultural Entrepreneurship (GCCE) recently released an article about how theatres can effectively utilize social media. (article: http://culturalentrepreneur.org/blog/?p=398) Their ideas are interesting...

1. Live Blogging and Live Tweeting - This idea I'm not so keen on. I know it is a pet peeve of many actors when people are on their cell phones, texting, during performances. I guess I'm still old fashioned, but I like to go to a performance and get lost in the story. I think that live tweeting/blogging during a performance would distract the performers and distract the audience from what they are viewing...

2. Niche Social Networks - I think this is a great idea to gain word-of-mouth marketing. It draws patrons in by sparking interest before they head to the performance. Once they're there, they already feel like they are a part of the backstory. It's a great way to increase consumer equity with the show.

3. Podcasts and Video - I think this is another great way to engage your patrons. Many people love seeing performances, but they don't know what goes on behind the scenes. By releasing videos and podcasts, patrons will feel like they are a part of the preparation. Great marketing idea :)

4. Collective Content Creation - Another great way to engage your audience. Also, it's always a good idea to get ideas from outside of the company. You want your patrons to be happy, so taking their ideas into consideration is crucial.

5. iPhone Applications - Broadway In Chicago has an iPhone App that allows patrons to purchase tickets, check performance times, view promotional photos, among other things. With smart phones becoming mainstream, it's great to have applications that make things easier for patrons. Easier and more accessible = more people willing to go to the show!

He's Baaacckk....

Bill Theisen has been reinstated as the Artistic Director of the Skylight Opera through June 30, 2011, according to the Milwaukee Journal Sentinel. He is planned to direct four shows this season and up to two shows in the '10-'11 season.

It seems that the Skylight Opera is finally starting to turn around and bounce back from the turmoil this summer. They still have a $475,000 deficit to overcome, but hiring Theisen back is a leap in the right direction. I know that many people did not renew their subscriptions this season in protest because of all the negative press. They boycotted the administration by refusing to support the company.

With Theisen's return comes the return of all the actors/directors/designers/artists who refused to fulfill their contracts and the patrons who are Theisen supporters. The rehire of Theisen signals the turn around of the Skylight Opera. It will be a long journey, but Skylight is finally on its way back up.