Really looking forward to spending most of the week of May 8, 2017 in Perth as one of the Keynote Speakers for CircuitWest’s WA Showcase. They’ve asked me to present my 3-part workshop series, The Audience Development Challenge. First developed in 2010 for the Australian Performing Arts Centres Association (APACA) national conference in Melbourne, these workshops have now been carefully and thoughtfully overhauled, refreshed and distilled to the essentials for success, using what I’ve learned from the amazing experiences I’ve had through 2015 and 2016 working with regional presenters on program planning, audience research and marketing throughout Australia. I’d love to share these experiences with you, and help you take the first step to growing your audiences with ‘the audience development challenge’. Are you ready? Call me on 0414 766 173 or email merryn[at]merryncarter.com.au
“From Live to Digital – Understanding the impact of digital development in theatre on audiences, production and distribution” by AEA Consulting for Arts Council England, UK Theatre and Society of London Theatre.
This report from the UK addresses the question of how Event Cinema, and other forms of live-to-digital transmission in the performing arts, is affecting audiences, producers, venues and tour managers in the UK.
The answers are perhaps surprising: data reveal minimal impact on attendance, and overall stable levels of touring, although some organisations are experiencing challenges. Audiences do not believe Live-to-Digital is a substitute for live theatre; they believe it is a significant and distinct experience.
Read the full report here: Live to Digital research report
Another great case study from the folks at MarketingSherpa, this one shows how consolidating your database, and segmenting and tailoring emails works much more effectively than blasting everyone with the same message. OK it’s not about an arts organisation, but since when did that stop the smart arts marketer learning from a case study? Here it is:
There are so many ways to communicate with your customers these days, but in determining your marketing channels, it’s important to know how your customers want to hear from you. This latest U.S. research (January 2015) from MarketingSherpa concludes that one form of communication is clearly preferred over others. Is it Facebook? Twitter? Instagram? Pinterest? SMS? Phone? Snail mail? Email? Do you think arts audiences also feel this way? comms-preferences-by-age-marketingsherpa
Interesting article here from US consultant Duncan Webb, drawn to my attention by Bronwyn Edinger while she was at APACA, about the potential for disagreement between local Councils and Performing Arts Centre boards and managements. Totally backs up my theory that here in Australia, more local government owned and/or funded arts centres need tailored Business Plans that spell out their agreed purpose, goals and KPIs. Here’s an excerpt to get you interested in reading the whole thing:
“..the big problem between city owners and the private operators of cultural facilities is generally around the different language and tools they use to define success. Cities — and we mean elected officials — care about things like economic development, effective management, positive media coverage and happy taxpayers. Building operators and their boards tend to be more concerned with booking great acts, ticket sales, expense controls and fundraising events. So our job often ends up being about getting the owner and operator to agree on what it is they want from the building — what is their common definition of success and how can it be measured moving forward. And inevitably this brings us back to mission. What is the purpose of the building and the value it delivers to the community? How should it operate to achieve that purpose?”
read the whole article here: measuring-success-in-performing-arts-facilities
“If you want to sell something to somebody, you have to tell them how it will satisfy their desires. It’s one of the oldest truths known to humankind. But in the arts, we don’t really know who our new audiences are, we refuse to learn what they want, and without knowing what they want, we can’t tell them how our products will satisfy their desires. So instead we blather on endlessly about how wonderful we are – or how wonderful people should think we are – and hope that young, culturally diverse people will somehow magically find us as appealing as traditional audiences once did.”
So Trevor O’Donnell diagnoses the problem with arts marketing (at least in the US) today. While his accusations of lazy, ego-driven marketing might be exaggerated, there is much to ponder here. I certainly agree that much arts marketing is still too ‘arts-centred’ and uses too much ‘arts-speak’, instead of being customer-centred and using customer language.
Read his full blog post here. He’s so passionate about this subject he’s written a book about it, titled Marketing the Arts to Death. It’s certainly worth thinking about the language we use, and how we evaluate the quality of our marketing, to ensure our first objective is to establish meaningful communication with our potential audiences, about the types of experience they can expect to have with us.
Great case study from the Marketing Sherpa team here, on the Canadian Opera’s real-time email campaigns. Sending the right message to the right person at the right time is the key to success for many email programs. The Canadian Opera Company, the largest opera company in Canada, sought to implement real-time email messaging to subscribers and send promotional emails during performance intermissions to encourage additional ticket purchases.
See how the team created and implemented perfectly timed sends and coordinating phone follow-ups to achieve a 50% sales conversion rate from follow-up calls stemming from emails. Full article and a sample of one of their email texts here: canadian-opera-real-time-email-case-study and the sample email: canadian-opera-email-example