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marketing so we invite our audience on a journey that leads them
right to the theatre?”
A good example of the value of engaging online is the effective
way the American Theatre Wing has handled social media.
Sherman explains their approach. “It is an opportunity to create a
bond between the audience and the organization. The Wing isn’t
a physical thing so it doesn’t afford us direct personal interaction
with our public. Consequently, with the rise of social media over
the last couple of years, we saw it as an opportunity for fostering
a more direct relationship.” Theatre companies have a physical
presence but not always as direct a connection, the value of
which doesn’t escape most companies. As Sherman points out,
“Most not-for-profits know that people support organizations
with which they have personal relationships and social media is
an opportunity to do that.”
It is important, Smith explains, that companies need to think
beyond the simple show announcement and ticket info ideas. “In
most cases, it should be a supplement to the traditional marketing
plan. Social media extends before and after a traditional campaign
for a specific production. People outside the marketing office are
more likely to play a role in your social media campaign, so helping
them understand marketing objectives can be useful. I like
when many people in a company are encouraged to use social
media and really engage with audiences, outside of the two or
three hours your audiences are in the theatre. It also allows for
professional networking for the theatre staff—to meet other staff
across the country and as an outlet for creative expression.”
hard but can be intimidating for some so he explains how to
approach using this newest tool. “Here it is, the big secret of social
media marketing. First listen; then engage; and finally create. All
these social media tools allow you to listen to what people are
talking about. You can see what people are interested in. Keep
an eye out specifically for people talking about you. Then talk to
these people. Don’t try to sell tickets or get a donation. Just chat,
share and make a connection. Engage with people as a person.
Did you talk about something you were both pretty passionate
about? Now you can move to step three, create. Create a piece of
media around this conversation. Chances are that others are also
interested in the topic. Chances are it’ll get some attention. Is this
an over simplified version of what you need to do? You bet. But
that’s the point. We make it harder than it needs to be. There’s
nothing to be afraid of with social media.”
The best social media is the simple, direct conversations and
exchange of ideas that really engage people. Think about your
theatre company’s personality, your work and the value to the
community that extended involvement could bring to both audience
and company. It can be a great extension of the connection
all theatres strive to make with their audiences. Think of it as the
ultimate, ongoing after show talkback but without the bored
house manager trapped in the back row waiting to lockup.
Michael S. Eddy owns Eddy Marketing & Consulting, which handles
marketing, media relations and events. He can followed online at
twitter.com/mseddy2900
Getting Creative
Loehr points out that several theatre
companies are indeed very good
at being creative in their use of social
media. “If your theatre has a specific personality,
I think that social media can
help to enhance that, to emphasize
that. If you are known for being playful
you can share that, like the New York
NeoFuturists. Their Twitter feed (twitter.
com/nyneofuturists) is fantastic, because
they do the information, they do the conversation
and they just put out random,
funny comments too. So they have a very
distinct personality. Woolly Mammoth is
beginning to get that. It’s kind of interesting
to see these groups that are a little
more flexible. The big giant theatres that
are sort of saying ‘Hi, $20 tickets, tonight only. Bye.’ People tune
that out.”
Sherman reminds theatre companies, “that simply by being
on Facebook or Twitter is not enough, it is not the reason in and
of itself. There must be some strategy or concept behind the way
in which it is used.” He remembers, “In the mid ‘80s, with the rise
in personal computers everyone suddenly had to do desktop
publishing just because the tools for design were more available
to more people. The net result was some of the most awful newsletters
and brochures you ever saw in your life. The software was
merely a means of doing something, if you could not design the
tools were useless. The same can be applied to social media. It is
a tool, but if you don’t have a strategy to use this tool that works
with your mission and your goals you are wasting your time.”
Charest knows using social media for theatre companies isn’t
Dave Charest, marketing director and producer with the
Astoria Performing Arts Center in New York City.
Right: David J. Loehr is artist in residence and co-producer for Riverrun
Theatre as well as the creator of the 2AMtheatre website and twitter feed
twitter.com/2amtheatre.
ONLINE BONUS
The use of social media by theatre companies to
attract audiences, educate and entertain is a big
topic, so Stage Directions will continue to look
at this conversation with more one-on-one interviews
online at www.stage-directions.com and
TheatreFace.com. Plus we want to hear your feedback
and experiences as well as the questions you
would like to see discussed.
Contact the writer
of this article at twitter.
com/mseddy2900, or ping
us at twitter.com/stagedirections.
www.stage-directions.com • October 2010 13