Start Small, Think Big: Producing Indie Theatre Productions With High Standards

By Victoria Muzzio

Tom Viertel of the Commercial Theater Institute and Shay Gines of the Innovative Theatre Foundation came together for a course on Indie Theatre Productions at the Anne L. Bernstein Theatre on Friday, June 9th. There were eight sections presented by nine people who gave advice, experience, and a basic pathway for those interested in learning how to efficiently produce theatre on a limited budget.

Erica Rotstein from Broadway Across America & Amy Ashton from Colt Coeur

When diving into a career in the arts, you need to first make sure that you’re passionate about your work because it is not an easy industry, and success does not happen over night. It is so necessary to do it for the love and expression, not just the rewards that you wish to reap. As an audience member walking in, I wasn’t exactly sure what to expect from this seminar because my focus was always on performing or assisting in various technical jobs. By the end of the day, I gathered that there would be good runs and bad runs in theatre just like there would be good days and bad days in life no matter how passionate you are or how well planned it all seems. However, this seminar essentially gave its audience a checklist to keep a production on track and running as smoothly as possible to avoid a huge crisis.

Passion is key, yes, but it is unfortunately not enough to bring art to life. Here are some ways you can begin your production process in NYC:

Tim Errickson from Boomerang Theatre Company

 1) BUDGET! This is extremely important because without funding, it is nearly impossible to produce a show worthy of any revenue. Keeping in mind that every show will vary in how much it needs to be a success, create a business model. By creating a business model, you are essentially finding ways to fund your show — and there are many different ways, so don’t settle until you thoroughly research and figure out what is best for you and your business. There are legal and non-legal entities. For example, an LLC is a corporate legal structure that gains funding through investors. It also ensures protection on any personal funds outside of your business in case of liabilities or debts. A non-profit, on the other hand of the legal spectrum, does not accept investors because it instead solicits donations and grants. While you are granted some sort of protection from tax and liability issues, it is best to seek a lawyer's advice on the specifics. As far as non-legal entities go and an extremely uneasy way to proceed is as a Sole Proprietor. Responsibility for debts, as well as the actual funding lies on the person who owns the business. Along with all of this are Fiscal Sponsors. This is when you go under a larger organization; however, applying for a sponsorship is very rarely given to individual artists and small companies in NYC.

2) GATHER YOUR RESOURCES! While the arts can seem like a tough place to start, there are a multitude of organizations looking to support or service your business and watch it succeed. I personally believe that research is an important start because here you will find organizations with additional resources that have access to the best of everything on a budget — from funding support to performance spaces to costume shops, and so on. This is also where you can begin to find off-stage help (stage management, etc.) and eventually on-stage talent. For example, websites like Backstage and Actors Access are very easy to navigate and can be used to find the necessary help with your production.

Heather Cunningham from Retro Productions

3) SET THE SCENE! What I mean by this is to find a home for your production. It is so easy to google locations and read an inaccurate yelp review. Get on location and support local theatre. By going to shows with a similar vibe to the one you hope to produce, you not only get to see the space for yourself, but you also get to meet the staff and more often than not make a connection with other artists in the community. It is so crucial to find a destination that not only meets the requirements for production but also meets the requirements for a delightful experience by the audience. Getting on location will assure you that everything is up to standard.

4) CONTRACTS! When the time comes that you begin looking for talent and a production staff (director, stage manager etc.), you will find that there are many rules to be followed whether they are hired as union or non-union. As a beginning producer of a small production, it is rare to be able to offer a whole lot but regardless of that, you will want to make sure that there is a contractual understanding of what is being offered in return for the others' work. It protects you, your business, and the production but it also offers no surprises and keeps things afloat.

Kevin R. Free

5) MARKET! MARKET! MARKET! NETWORK! NETWORK! NETWORK! Promote your work and sell tickets by researching various marketing plans or creating your own. Strategize based on results and further implement successful ideas into your plan to reach your goals. It is a fortunate era of social media — take full advantage of it. Facebook, Twitter, and Instagram have grown tremendously and expanded within themselves as a major marketing tool. Create business pages, stay active online, and always interact with those liking or commenting on your page. Perhaps your show is coming up — create an event page on Facebook and send out invites, get creative with Instagram, and post sneak-peek photos, or post Twitter updates regularly and chat with others interested in the arts. This brings us to networking, which can of course be done to an extent online; but the best way to network is to get yourself to an event. There are always networking events going on for artists in the theatre community (CTI happens to hold them as well). This is a comfortable setting because you know there will be people with similar interests but it’s also a great place to get advice from those who may have been in the game a while longer than you, so be sure to ask questions. Another way to network is by regularly attending shows. While Broadway is wonderful, the best way to meet those who eventually make it there are at Off-Broadway and Off-Off-Broadway productions. Support other small productions, and they will for sure support you!

I am a firm believer that what you put out into the universe is what you attract back in — this has to do with your work ethic and your attitude. You have to believe in yourself, your production, your team, and most importantly, you have to believe in the power of art and the effects it has on an inspired audience. Have the desire to inspire and work tirelessly because it all will come full circle. Start small but always think big because eventually your dreams will match your reality.

A huge thanks and credit to the speakers for taking time out of their busy schedules and sharing their tips on Small Productions: Tim Errickson (Boomerang Theatre Company), Mark Finley (TOSOS), Erica Rotstein (Broadway Across America), Amy Ashton (Colt Coeur), Heather E. Cunningham (Retro Productions), Morgan Lindsey Tachco (Creative Consultant, Performing Artist), Akia Squitieri (Rising Sun Performance Company), Nick Micozzi (Innovative Theatre Foundation), and Kevin R. Free (Actor, Director, Producer). I have gained a new appreciation for the people who work on smaller platforms in this huge community.

Akia from Rising Sun Performance Company

Astoria is Not That Far

x

Contributed by Guest Blogger of the week Tom Wojtunik.

I took over as Artistic Director of APAC in 2008. Next week we open the first mainstage in our 10^thanniversary season, a remount of Joshua Conkel’s MilkMilkLemonade, featuring the original cast. It’s a terrific piece that had a critically acclaimed, though criminally short, run in the 45-seat UNDER St. Mark’s in September of 2009. Like all indie theatre companies, in addition to readying the physical production for opening night, we are also focusing on ticket sales, especially for the all-important opening weekend, when press attends and fates are decided. 

APAC audiences tend to split in thirds: our core Astoria supporters, friends/family of people involved in that particular production, and Manhattan theatergoers. We can always count on the first two categories—it’s the third that can sometimes remain elusive. The argument we always hear, of course, is that Astoria is too far, that the commute is too much for people. So I’m going to shamelessly use this public forum to attempt to debunk that myth…

Astoria is not that far! I promise. I’ve lived in NYC for thirteen years, and Astoria for eight. I love it. It’s quiet and the commute is super easy. During the week, I can get to midtown in twenty minutes. Sure, weekends can be tougher, especially with MTA construction going on, but that’s a city-wide problem. Honestly, it took me longer to get places when I lived on First Avenue on the Upper East Side than it does now.

Hands down, the best thing about Astoria is the food. Arguably, Queens has the best in all of New York. A.O. Scott of the New York Times called Queens “demographically the most cosmopolitan of the five boroughs and something of a foodie mecca.” Artists who have worked at APAC in the past (and who don’t live in Astoria) often come back to the neighborhood to revisit their favorite restaurants from rehearsals.

Come see MilkMilkLemonade. You’ll have a terrific time at the show, and since it’s only 75-minutes, why not enjoy some Astoria-cuisine before or after the show? Here are some suggestions:

Sac’s Place

The best pizza in Queens, and a favorite of Al Pacino’s and David Chase (Johnny Sack on “The Sopranos” was named after this restaurant, a favorite of the creators during shooting). The ravioli are handmade every morning, but you also can’t go wrong with the pizza:

Sweet Afton Bar

Probably the coolest new bar in Astoria, with fun drinks (Dirty Pickle Martini!), great draft beers, and a limited but delicious menu. APAC is currently raffling off a $50 gift certificate to Sweet Afton—buy your tickets for MilkMilkLemonade by 12:00pm tomorrow (Wed 10/20), and you’ll automatically be entered to win! The cheeseburger alone is worth it:

Vesta Trattoria & Wine Bar

An APAC favorite (we often have opening night parties here). Amazing staff and ambiance and terrific pizza, pastas and entrees. They have wine on tap, and if you tell them you’re going to(or just saw) MilkMilkLemonade you’ll get a free Baby Jesus Cake for dessert (it lives up to the name, I promise):

Hungry yet?

There is a lot of terrific theatre happening in the boroughs. Grow up. Get on the subway. Have an adventure.

MilkMilkLemonade runs October 28-November 13^th. Buy your tickets here.

P.S. The joke about needing to get your passport stamped to leave Manhattan is tired. I’ll give two free tickets to MilkMilkLemonade to whoever comes up with a better one (submissions accepted on comments to this blog posting only!).

x

Tom Steps Out

x

Contributed by Guest Blogger of the week Tom Wojtunik.

My first blog post. Ever.

I’m the guy who still does not have a Facebook account. I think that “checking in,” so people know where I am at all times, is like something out of Brave New World. And I definitely do not Tweet. I am, admittedly, something of a social networking dinosaur. 

Don’t get me wrong—I’m not a technophobe. I communicate more through email than the phone. I read blogs and visit various websites, daily. Once upon a time I had a MySpace account, and before that I was even on Friendster. I have an iPhone!

So why am I so reluctant to join the social media craze? 

For one, I don’t really have the time. It’s hard enough to stay on top of email, and I suspect I would be easily sucked into the world of Facebook if I allowed myself. While I’m intrigued by the voyeuristic opportunities, there’s something to be said for learning about a person in a natural way, over time. I guess I actually enjoy the mystery in life.

From a professional standpoint, I’m uncomfortable with how much Facebook mixes the personal with the professional. Of course, theater is a business that thrives on that interconnectedness, and it’s actually one of my favorite things about it. Still, I think it’s possible to go too far.

An actor I once worked with used their Facebook status to comment on the progress of rehearsals, which I found appalling. The rehearsal room should be a sanctuary—a place where actors feel like they can safely experiment and fail. It’s completely unnerving to have a friend not involved with the production say, “Heard you had a bad run-thru last night.” Another time, while casting a large musical, I was told about the blog of an actor who was auditioning for me. He desperately wanted one of the lead roles, and had started a blog chain following his audition process, all the way through final callback. He ended up not getting the role, and he wrote about that, too. It was especially disturbing that he used names—my name, the theatre, even the name of the actor who ended up getting it. The tone of the posts was decidedly one of someone who had been “wronged.” To this day, it leaves a bad taste in my mouth, and I honestly couldn’t imagine ever hiring this actor.

I currently serve as the Artistic Director for the Astoria Performing Arts Center and last season, we brought on a Marketing Director, Dave Charest. I’ve known Dave for years—we went to college together and he’s one of my oldest friends. And he couldn’t disagree with me more. He sees the potential in social media, and is excellent at using it.

He’s constantly scheming new ways to get me to join Facebook, and we often butt heads about these issues. He has an incredible knowledge of the social networking arena, and he’s so connected to the theatre blogosphere and beyond, it’s intimidating. I’m positive he’ll find this blog post without me telling him about it, and chances are he’ll comment—so “Hi, David!”

Dave has been an invaluable addition to the APAC staff. Our audience base has grown, but more importantly, we’re communicating with them more effectively than we ever did. And even better than that, they’re communicating back with us. So I’ve seen firsthand the value in these newfangled marketing techniques.

So here’s to me Blogging, at least for the next week, and stepping out of my comfort zone! (Just don’t try to find me on Facebook.)

x

Price is not the problem

Contributed by Guest Blogger of the week, Leigh Goldenberg.
 

After years of producing Off Off, while learning from fabulous Arts Administrators Off Broadway, I jumped ship for regional theatre in Philly where I now focus on Marketing. I've found this focus is a good combination of creativity and numbers, while close enough to the actual work so I don't forget I work at a theatre. Here's something I've been thinking about from Off Off land that totally applies to my marketing universe.

Price is not the problem

Equity caps Off Off's ticket prices at $18 (or a whopping $25 if you have made it to the Seasonal code). Even if you aren't using union actors, this is probably the limit you will charge for a ticket since it's the market price. You may charge even less. You may make up discounts for students, seniors, community groups. You'll probably give comps to fellow artists, friends of cast members, people you are trying to impress, the press.

In the scheme of things, Off Off is a ridiculously cheap way to spend an evening, especially among the vast, overpriced options of New York.

Does the fact Off Off is a ridiculously good deal mean that your audience is packed? Absolutely not! (It still may be packed, and if that's the case, please share the formula for success with us all!)

I'd even venture to say that because Off Off is so cheap, this might even deter people from forking over their money to sit in our theatre, if only because something cheap can't possibly be as good as something overpriced. (All marketing tactics aside, wouldn't most people rather return from to their trip Big Apple bragging about spending $200+ to see Nathan Lane from 100 yards away instead of your big ideas up close in a Lower East Side basement?)

In the regional theatre scene, I feel like we talk about price all.the.time. Should we discount? If so, when? How much? Should we raise prices when something is popular? Who are we alienating? Who are we subsidizing? Why aren't we making ends meet even when our houses are full?

With less flexibility in pricing in Off Off, this conversation doesn't seem to happen so much.

But the fundamental issue is the same in both situations - how much a ticket costs has very little effect on if people will want to come. Our challenge is to make sure that what we put on stage is relevant, intriguing, and worth seeing. Potential audience members have to be convinced somehow that the 2 hours they spend with you is the most valuable thing they can be doing with their time. It's not just good for them, but fun and, maybe more importantly, hip.

Our job as theatre makers is to create plays that can't be missed, part of the culture, desirable.  The bigger challenge from a marketing standpoint is to communicate that your play, whether it costs $100, $10 or nothing at all, is unmissable.

How will you do it?

x

Twit You Say?

x

Contributed by Guest Blogger of the week, Jon Hoche.

I was honored that IT Awards asked me to be their guest blogger this week.  I was honored and also terrified.  I am a pretty simple guy with simple thoughts.  Nothing too profound or awe inspiring comes from my noggin.  So I wasn't sure what I should write about that would be of any interest to the Independent Theater community.  What could I possibly offer to the thousands of talented producers, writers, and actors out there in NYC making Off-Off-Broadway the place where the new great American theatre is being created?  Then to make it completely official and public, the great people at the IT Awards posted this on their twitter feed.

@NYITAwards: Our guest blogger of the week is Jon Hoche http://ow.ly/17tR8M

And then I thought to myself.  Twitter.  Has anyone talked about "Twitter" and how it can benefit Independent theaters?  This sparked my interest and here we have it.  Ladies and Gentlemen.  I give to you my blog of the week.

"What the hell is Twitter and why you as a Theater Company need to be on it."

So let's start at the beginning and give you a little background information.  Twitter is the fastest growing social network to date.  Users are able to create a user name and are allowed 140 characters to post "tweets".  Think of it like a giant bulletin board.  Ideas, Opinions, Links to websites and pictures can all be posted within these 140 characters.  (We'll get back to that) At the time this blog goes live, there are 19 million people on Twitter worldwide.  In the beginning the people who were using Twitter were celebrities and tech geeks.  However, now a days, small business owners are finding Twitter to be their best marketing tool AND IT'S FREE.  I came across this short video tutorial to help me out.



So why not use Twitter as another tool to help spread the word about Independent Theater?  More importantly YOUR independent theater!!  I follow numerous actors and theater companies that are already embracing Twitter.  They have used Twitter to do things like:

- Post auditions
- Countdown their upcoming show
- Post a link where people can buy tickets
- Link a review on someone's website
- Show production photos

They are reaching their fans, and the public at lightning speed and generating a fan base.

Now let's get to the nitty gritty shall we?  If you decided to embrace Twitter as a marketing tool, then EMBRACE it!!  So many times theater companies hear what I'm saying now about Twitter being a great tool and they'll agree, however not utilize it to the fullest.  They will do all the things I listed above, but why not take it one step further?  Your theater company has a certain mission statement, right?  They have a certain aesthetic, I'm sure.  So really create that persona on Twitter and not only make it informative to follow you, but FUN!

I think the best example of a theater company that is really taking Twitter by the reigns are the New York Neo-Futurists (@nyneofuturists).  Not only do they post all the types of information I listed above, but they go way beyond that.  They will post PSA's which will consist usually of a link to a news article or picture and their own witty commentary on it.  Also, they do TWITTERPLAYS, where they give their followers an assignments and their followers will have only 140 characters to respond.

example:

 @ Nyneofuturists: TWITTERPLAY Assignment: write a 1-tweet play that has an INVISIBLE PERSON or OBJECT. #tp63

and here are some of the results:

@swestdahl:
Lights up on A sitting opp. empty chair. A: Thank you for meeting w/ me, Mr. Fingledoofer. We’re downsizing the Imaginary Friend Dept.

@ socialarts:
4 actors mingle on stage. An invisible elephant enters and stands among them. Actors become very uncomfortable. End.

@ JennaStern:
What shall we do today, hmm? The library? The Park? A movie? Just stay inside and watch the rain? Sweetie? Sweetheart?

So not only are the Neo-futurists reaching out and informing their audience via Twitter, they are also entertaining and creating something new and creative in a new platform.  I think we can all take a lesson from them.

x

If it waddles like a Duck, don't call it a Chicken!

Contributed by Guest Bloggers of the week, Katie Rosin & Antonio Miniño of Kampfire Films PR

Promoting the truth goes a long way.

It is easy to embellish what the production you are promoting is about in an attempt to gain the attention of a wider range of ticket buyers. You might try to change the focus of your marketing strategy to fit certain groups, without taking into consideration its relevance in the play or project in question.

A lot changes from the script to stage production. You could have read the play and have a certain idea of what themes lie within it, but that might not be the focus of this production. This is why it is key to maintain a clear and constant communication with your producer/director to make sure the angle you are using will enhance the experience rather than diminish.

It all comes down to word of mouth created by your audience and the press. You may have come up with what you think is a great way to sell the show, and it might get your audience in the theater, but once that audience doesn’t see what they were promised two things happen:

1. They will be disappointed, obsessed and focused on what they were expecting to see and will not appreciate the great things that the show really is about.
2. They will not tell their friends to come see the show. A referral is the most powerful tools in selling theater tickets.

I recently experienced a case of misleading advertisement as a theatergoer. Both the press materials and postcard/ads suggested the show fervently dealt with gay marriage and Prop 8. Well it didn’t. At least not in a way that drove the plot. But it was still a good production with talented actors and crisp direction. I was able to put aside the fact that I was cheated and lead to believe it was about something that it wasn’t. But my friend who saw the show with me was not as forgiving, and neither was the press. All the reviews focused on how poorly the subject of gay marriage was tackled within this play.

Be true to your project and never promise something you can’t deliver for the sake of ticket sales. Trust that people will like what you are selling, and remember the importance of word of mouth.


x

TDF presents: Off-Off @ $9!

In an effort to expand its audience to Off-Off Broadway, Theatre Development Fund has announced a new ticketing program designed just for us: Off-Off @ $9! From the Press Release:

Theatre Development Fund announces the launch of a new on-line service, “off-OFF @ $9,” designed to make it easier for TDF members to attend off-Off Broadway shows all over the city. “off-OFF @ $9” provides TDF members with instant access to the exciting world of off-Off Broadway at less than the cost of a movie admission! Now, more than ever, TDF members can explore the smaller stages, beyond Broadway and Off Broadway, where innovative artists are creating new and adventurous works, with all tickets for only $9 with no handling fee.

“This program will supplement our long standing voucher program. With “off-Off @ $9,” members can buy their eTix ahead of time and know that they will have a seat waiting for them at the venue. It will help our members, and in doing so, will assist the theatres as well,” said Victoria Bailey, TDF’s executive director. “I am pleased that we can start this program in the summer in the midst of the many play festivals around the city.” Full Press release here.

Any show can be made available for Off-Off @ $9. The Producer develops a profile for its show, TDF sells tickets for $9 to the patron and reimburses the company in full weekly on Mondays. Click Here for more information, and to register your show.

I am SUCH a dork

I ran across this post on smArts & Culture in my reader about this website, Wordle that creates word clouds out of your own copy, and using it as a tool to re-vamp your marketing, press, donor copy. I ran the IT Awards copy to get an idea...



way too much fun...

More about press in the OOB world

It isn’t always that Sara Ramirez attends one of your shows and decides to help you promote it all over town (or the country via tabloid publications). I get this call from Sara’s publicist and we set up a photo shoot of Sara and the company seen here: www.filmmagic.com

The photographer and I got it picked up in Star Magazine, Life & Style, and The Daily News as seen here: www.nydailynews.com

Now this won’t always happen for your OOB play, so what can you expect from your OOB publicist:

A press agent should be the number 1 advocate for your show, in addition to your cast, crew and company. Your press agent should be the sole voice on behalf of the production to the media.

A press agent, even with the most solid relationships, can not control the press, ie: get you a positive review.

A press agent should work to get your features, listings and reviews. Leveraging their personal relationships with the press will do this for your production.

Kampfire PR publicity campaigns include:

1. PRESS RELEASE:
a. Production Announcement: pertinent information on the production – who, what, where, when, ticket prices, where to purchase tickets, etc.
b. Listing Request: specific listings request submitted to listings editors with information clearly outlined in the manner in which they are accustomed to receiving it.
c. Review Requests: Leverage personal relationships with reviewers and editors in pursuit of critical coverage for your production.
2. FEATURE OPPORTUNITIES: Customized Story Pitches: Pitch feature story ideas to press, generated and developed along with the production team.
3. PRESS KIT: Includes press releases, cast bios, crew bios, past press, script, photos.
4. ONLINE PHOTO ROOM

In this theatrical climate it requires more than great public relations to increase audiences and awareness for your shows. I think an integrated campaign, which includes publicity, marketing, and audience building are required.

Marketing includes your posters, postcards, e-blasts, website, advertising, and more...

Audience Building is reaching out to specific members of the community who would be interested in your production.

I’d be happy to discuss this more with you.

Your friendly IT Awards Press Agent,
Katie Rosin
Kampfire PR
pr@nyitawards.comwww.kampfirefilmspr.com
917-438-9223

From the Pregnancy Haze...Audience Building

Well, with T-minus 66 hours to go until my scheduled c-section (baby girl green is due to arrive Wednesday, January 23), I sit down to write my IT Awards blog with some Audience building advice for OOB.

One of the biggest struggles facing OOB these days is PBIS (Putting Butts In Seats). It takes an entire army or the best efforts of everyone in a company implementing a coordinated effort of Marketing, Public Relations, and Audience Building to successfully PBIS.

But what does Audience Building mean? And how does one implement it?

Well, it can mean a variety of things and here are some of my top 5 FREE tips to increasing awareness for your OOBR company...and it helps if everyone involved with the show and theatre company implement these tools:

1. Add an email signature with a link to your theatre company's website, upcoming show information, and ticket information--this means every email you send out will have this information accompanying it.

2. Carry your postcards or company business card with you at all times. You are a walking billboard for your company and you can talk about it whenever and wherever you are...think the receptionist at your doctor's office.

3. Send an email blast to your entire email list with information on your upcoming show. Have your marketing director/graphic designer create something eye-catching for you to send out. Create a ticket discount with a special "Friends/Family" code so they know they are getting a special deal.

4. Utilize FREE social networking sites such as Myspace and Facebook. Build your friend lists and continually add to it. Don't forget to build the show events into the pages. Other ideas include making short videos to post to SuperWalls and blogs! (Just don't film the equity actors in rehearsal or on-stage, this is a "no-no" with equity.)

5. Plan talk-backs, special events, benefits, networking events, and more with other organizations which will in turn promote your show for you.

I look forward to seeing more BIS this 2008 season.

Feel free to contact me with questions,

Katie Rosin
Press Agent
IT Awards
katie@kampfirefilmspr.com

101 Ways to Promote the Arts

Hey all I know this is cheating a bit, as I'm going to post an article written by someone else, but it is so invaluable to the OOB/Indie world, I think this is a great place for it. Additionally, on Wednesday I'm recording a Podcast with Martin Denton about Publicity, I'll let you know when it is airing...stay tuned.

101 Ways to Promote the Arts:
Compiled by the Arts & Business Council of Miami

When looking at the suggestions on this list, consider your Target customers. Try
to see things through the Target customer's point-of-view. Will they respond well
to this particular type of promotion? Is the type of Promotion likely to reach the
customers your organization is trying to capture? Do you have facts to back up
your assumptions?

1. Develop relationship with neighborhood shops
2. Point of purchase displays to sell tickets
3. Hand out postcards and fliers in neighborhood
4. Opening Night Sponsorship with local business
5. Tie-ins to other events
6. Perform at halftime at a sports event - Hand out information before and
after
7. Live radio broadcasts at programs in return for free media ads
8. Statement stuffers in local banks, stores, etc.
9. Contests for children to win free tickets
10. Grocery bag printing about event
11. Newsletter
12. Print restaurant trays with info about event
13. Posters
14. Holiday decorations display or sale at December performances and
events
15. Speak at a local Rotary or Kiwanis club
16. Local business provides all the ushers for a performance as a corporate
team
17. Media co-sponsorships
18. Endorsements or ads by celebrities
19. Target specific groups. Example: Women, Families
20. Fliers in chamber newsletters
21. Special campus promotions to sell tickets
22. Give away the Front Row as Radio Promotion
23. Opening Night Reception with the Artists
24. Meet the Artist events
25. Restaurant, show, limo packages for patrons
26. Special hand out nights - Example: Fang giveaway for Dracula
performance
27. Slides at local movie theatres
28. Special extras for season subscribers
29. Family promotions at matinees - Example: Tea party with the dancers
for Nutcracker
30. Behind the scenes events and promotions
31. Costumed courier to hand out information
32. Mall exhibits and ticket giveaways
33. Fashion show themed around program - Example: a swimsuit show for
South Pacific
34. Videos of performance highlights
35. Local weather remotes - broadcast live from your site, cast sings "You
Are My Sunshine"
36. Celebrity or VIP Ushers
37. Discounts for specific groups
38. Special Offer mailings to Target audience
39. Benefit tie-ins - food drive during opening night
40. Co-host performance and reception with charity
41. Broadcast e-mail about upcoming events
42. Website with performance and ticket specials
43. Balloon drop with free tickets in some balloons
44. Neighborhood store theme Window Displays
45. Beverage company tie-ins - xyz wine night with free samples, wine
company advertises event
46. Win a Dinner Date with the star or an artist
47. Singles performance with reception
48. Pre-show demonstrations
49. Place postcards about upcoming events in shops and restaurants in the
neighborhood
50. Video streaming on website to showcase
51. Patron buttons or cards to receive special gifts
52. Scavenger Hunts
53. Neighborhood Restaurant Bill Promotion - a flier for your event is
presented with each bill
54. Related visual art display in the lobby
55. Photo contest
56. E-mail newsletter
57. E-mail invitation with special discount
58. Trio Discounts - buy three shows get one free
59. Collective ads with neighborhood groups
60. Annual event tie ins
61. Senior citizen programs and discounts
62. Bounce back ads on back of tickets
63. Perform at malls - hand out information
64. Perform at festivals - hand out information
65. Radio promotions with free tickets
66. Nursing home appearances by artists
67. Children's hospital appearance by artists
68. Easter egg hunt with spring shows - some eggs have free tickets
69. Focus group brunch
70. Costumed characters at business event
71. Arts Talk
72. Gallery walk with collective ads
73. Arts Night in the Neighborhood
74. Bring Your Neighbor promotion
75. Door hanging invitations
76. Ads in church and temple bulletins
77. Audience Surveys
78. Test Drive Promotion - Car dealer gives free tickets to your performance
to anyone who tests drive a specific car - dealer pays for tickets and
advertises event in their test drive ads
79. Postcards, fliers at related performances
80. Trade ads with related arts groups
81. Niche advertising
82. Customer Appreciation programs
83. Lobby promotions with local business
84. Concierge - Dinner reservations in the lobby
85. TV public service announcements
86. Cable television tie-ins
87. Giving tree in the lobby
88. Performance/event on Arts Council website
89. Performance/event on visitors bureau website
90. Condo group sales promotion
91. Perform at local condos - sell tickets
92. Event/performance featured in sponsors ads
93. In-house business Promotion to sell tickets
94. Listing in Arts Connection newsletter
95. Listings in free social and community websites
96. Calendar listings - be creative
97. Supervised children's area for parents
98. Tell A Friend campaigns
99. Perform at libraries
100. Tickets to hotels/concierges
101. Shuttle buses to event from hotels/condos

ArtsMarketing http://www.artsmarketing.org

As always you can contact me with questions!
Fondly,
Katie Rosin
Publicist New York IT Awardswww.kampfirefilmspr.com
pr@nyitawards.com
917-438-9223

PR in the OOBR world

Hello from the IT Awards publicist, Katie Rosin/Kampfire Films PR. Since it is my job to raise awareness of the IT Awards to the media, as well as the fabulous OOB shows I represent, I thought I would give you some pointers on what a Publicist can and can not do for your productions.

First the definition of publicity:
pub·lic·i·ty
1. extensive mention in the news media or by word of mouth or other means of communication.
2. public notice so gained.
3. the measures, process, or business of securing public notice.
4. information, articles, or advertisements issued to secure public notice or attention.
5. the state of being public, or open to general observation or knowledge.
(publicity. ( n.d.). Dictionary.com Unabridged (v 1.1). Retrieved August 31, 2007, from Dictionary.com website: http://dictionary.reference.com/browse/publicity )

As you can see this is not defined as "putting butts in seats" (PBIS) nor does it have a direct correlation to PBIS.

A publicists job is to raise the awareness of your production to the media and in turn your potential audiences. I feel it takes calculate and integrated efforts of PR, Marketing (which includes posters/postcards/e-blasts/flyers...and advertising), and Audience Building in order to PBIS. The later I will discuss in a future blog.

Here are some components of PR that a publicist can do for you:

1. Press Release: Include the Who, What, Where, When and Why of your production
2. Feature Idea: Create (with the help of all involved Artistic Staff through the cast) story ideas to pitch to the appropriate media
3. Review Requests: Ask critics to come and see your show and review for their outlet

But the publicist cannot wait around for the news to present opportunities. They must also try to create their own news. Examples of this include:

* Arrange a speech or talk
* Make an analysis or prediction
* Issue a report
* Take a stand on a controversial subject
* Announce an appointment
* Invent then present an award
* Issue a commendation

The advantages of publicity are low cost, and credibility (particularly if the publicity is aired in between news stories like on evening TV news casts). New technologies such as weblogs, web cameras, web affiliates, and convergence (phone-camera posting of pictures and videos to websites) are changing the cost-structure. The disadvantages are lack of control over how your releases will be used, and frustration over the low percentage of releases that are taken up by the media. (Publicity. (2007, July 15). In Wikipedia, The Free Encyclopedia. Retrieved 13:24, August 31, 2007, from http://en.wikipedia.org/w/index.php?title=Publicity&oldid=144714064)

Additionally, it is the job of everyone in the production to think about PR. It is NOT their job to contact the media (too often I'm picking up pieces when this happens). Should someone involved in the production have a great idea, a great press contact, or be involved with something press worthy they should immediately contact their publicist and discuss it with them. I find these are the best leads for the publicist.

Keep these ideas in mind when deciding if and who to hire as a publicist on your production. Please feel free to contact me with questions on this subject.

See you on the 24th!

Katie Rosin
Publicist
www.kampfirefilmspr.com