After their first crack at the digital theatre PR whip, ‘Are we doing all we can?’, theatre/twitter meet-up Twespians rounded up another panel to tackle ‘Pushing it to its limits’, supported again by the lovely folks at Mobius.
With the digital world being so important, do we need to rethink the tried and tested methods that so many still rely on today? Can we learn from what people are doing in other disciplines? Is a fundamental shift required in how we perceive audience, community and promotion?
Hosted by Whatsonstage.com deputy editor Andrew Girvan, the latest Twespians Fringe event brings PRs and journalists together with a panel discussion on ‘Theatre PR: Are we doing all we can?’
PR has been changing as an industry at the same rate that Twitter changes trending topics recently. Is theatre PR keeping up with the moving industry? We discus the good side and bad side of current theatre PR, where we can move forward and where we need to trim the fat in an industry that Lyn Gardner refers to as ‘criminally undervalued’.
The event combined a combination of questions from Andrew, the live audience and Twitter.
Now that I’m a year on from graduating LIPA’s Music, Theatre and Entertainment Management degree I thought it was probably safe to publish my Management Research Paper, titled Towards defining a successful run at the Edinburgh Festival Fringe.
The Edinburgh Festival Fringe is the world’s largest arts festival, an event with a 60 year history which remains three times bigger than its nearest competitor.
This paper examines a number of semi-professional companies presenting shows at the 2008 Fringe, their work competing against 2,100 other shows for the attention of audience members, press and promoters.
I have used my blog to write about Glee before. Seeing the buzz the show was generating in the States I have to say I was intrigued as to whether the show would hit the mark on this side of the pond. At this point there is really no question about it, Glee is huge business. The show has rewritten music marketing and I personally believe is one of the best promotional tools musical theatre has going for it at the moment. So imagine my surprise when I heard the show would be dedicating its Halloween episode to Richard O’Brien’s 1975 cult classic, The Rocky Horror Picture Show. Musical marketing genius. Here’s why:
I would almost go so far as to argue that Glee has rewritten the rule of music publishing. “The Glee Effect” has led to weeks when 25 songs on the Billboard Top 100 Charts have been songs from the show. Not only do recordings of numbers sung by the cast, released straight after that week’s broadcast for sale on iTunes, but original recordings of the songs the show has covered see huge sales.
It’s been far too long since I’ve managed to get a post up on here. The main reason for that is that I’ve recently started working for Whatsonstage.com as their Acting Deputy Editor. Its a fantastic job, and one that I would not have been able to get without the experiences that posting on this blog and interacting with all of you have brought me.
The purpose of the five blog posts which proceed this one, which you might have noticed were quite a different style of post to my normal ramblings about the state of theatre and social media, were actually part of a bigger experiment to see if I could create content on the go at the same level of quality as I can when sitting at my Macbook. All of the Amsterdam posts which I uploaded before this one were created entirely on my iPhone.
This is the video from my Contemporary Issues in Arts Management conference paper, Will digital innovation be the future of theatre? The paper was delivered as the penultimate module of my Music, Theatre and Entertainment Management degree at Liverpool Institute for Performing Arts. To find out more about the conference, as well as the abstracts of all of my classmates delivering papers, visit artsconferences.co.uk.
There were a huge variety of papers, all covering contemporary issues which interested those speaking. They covered a range of topics, including music sync fees, social media and the evolution of the live music industry. To read the abstract for my paper as well as a little bit more about the topic itself, have a read of my previous #CIAM post. You might also want to follow the #CIAM hashtag on Twitter, where a variety of links are posted reflecting the reality young performing arts managers think they will be facing upon graduation.
A number of weeks ago, before a major piece of uni work was originally due and the bereavement which postponed it, I was sent an email asking an interesting but pretty simple question: is it possible to generate theatre ticket sales from Twitter?
Having got the email, I set about straight away and tried to craft a succinct answer. I’m pretty pleased to say that the words I managed to get down into my iPhone at the time still form the basis of this post, but it was the decision to turn my answer into a blog post and do a bit more research, fleshing out my quick response, which has really delayed my answer to a seemingly simple question. So here we go… I think the number of commercial theatre productions and building based companies at least paying lip service to social media proves that as part of your marketing mix, social media should help you shift some tickets. But can a social media campaign alone help you fill your auditorium? Can you actually generate ticket sales through Twitter?
As March settles in, making no signs of forgetting February’s weather, it seems crazy to think that it might be almost time to embark on another year of Edinburgh Fringe adventure. The next couple of weeks will prove busy ones in the offices of Fringe venues and producers across the UK and around the world as the reduced price Fringe registration deadline rolls around on Friday 19 March.
If you are bringing a show to the Fringe this year and don’t have all of your ducks in a row just yet don’t worry too much, Fringe registration only opened on 1 March and the final deadline for inclusion in the Fringe programme isn’t until 21 April 2010. So what is the cost of missing the early deadline a week on Friday?