I don’t care who the best marketer is on Broadway.

You know what I really care about?

Who the best marketer is in the world.

Yes, we have a very unique product on Broadway.  But at the end of the day, great marketers are great marketers, no matter what they sell.

And sure we’re a billion dollar industry . . . but what about all those billion dollar companies out there?  What about the people that spend more on media in a month than we could spend in a year?

That’s why I try to look outside our industry for marketing ideas, trends, and lessons that I can apply to what we do.  And you should too.

Need a place to start?

Ad Age, the advertising/marketing world’s NY Times, just published their annual “Marketer A-List” which are their choices for “the Most Creative, Successful Companies of the Year.”

It includes an incredible cross section of different types of companies from CVS to Frozen to my fave,  Salesforce (which I’ve been using for years and promote in Raise It).

See how these companies are making impressions and making money here.

And then see what it inspires you to do.

You may not have as much money or as much market share . . . but you’re in a creative industry!  So I’d argue you can come up with something even cooler.

Just because someone has a bigger office doesn’t mean they have a bigger brain.

So let’s show them what we can do.

And maybe next year a Broadway show will be on this list.

 

(Got a comment? I love ‘em, so comment below! Email Subscribers, click here then scroll down to say what’s on your mind!)

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FUN STUFF:

– Next year’s seminars list is up.  Check out the new dates here.

– Win a free copy of my board game, Be A Broadway Star!  Click here.

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Comments
  • Dan Radakovich says:

    For a Broadway show to get on this list it would need an almost universal appeal, so it would have to advocate itself to all age groups or at least not be objectionable to any and that sort of counters much of accepted theatrical received wisdo from academe, which praises originality and contentiousness as snes-qua-non of literary endeavor. Several questions should be answered positively, kij: Is it timely, tthat is can a large percentage of the population relate to the problems and issues of the characters? Is it favoring certain segments of the population that can be persyaded to give it a chance without alienating others? If such alieation occues can it be assuaged? Sorrty t bring up my own efforrt again but it is useful as an example. It has legs fromt he original author having a prior undeniable success[4 year Broadway rin, Pulitzer and 3 Tonys, generally timeless aspects that met most of the above criteria-the earlier work that is met these, Teahouse fothe August moon], book of this one had 150^ sales figures, is favorable to military, Asian ethnicity, Business and Finance and Investment club communities both in town and countrywide[the last has 16 million members, and most have families]–and the bootstrap and micro economy enthusiasts, , Sweet potato famers and consumers, grain and hog farmers and cooperatives, Fraternity and Sorority members. small college and university students and alumni, has thrree love stories[mature, teen, and a May-September] and 2 buddy/bromances, royalty, satire and some great lines[in this one, the lines are the original authors’ not mine-wry grin!]. the title works for a Burma Shave style succcesive billboard s [can play on the concept the King is coming meme as the title is The king from Ashtabula-( possibly with ann ending question mark-recall hoe Oklahoma! benefitted from its exclamation point)], deals with universal constant issues like retirement worries, adolescent fears of being forced into family business, sudden lifechanges and worries, governmental and military absurdities, cultural clashes, generational differences, etc. Each of these would present opportuities for successful marketing outreach outreach and for regrettable failure. But no campaignwould make up for lack of story or poor acting. It is longish so it should be presented as a relaxing night of enjoyable thater[a a good negotiation on concessions be made and as it is NOT a musical,marketing should take notice that for most people coming to NYC, the whole “Nre York experience” is the viewing of a musical. But because of the expense of the trip, most visitors come between 2 and 4 nights not a week or more. The prices of the musical are higher. So a non-musical should best be marketed as the SECOND play to see, give the audiences’ ears a rest and value for a less expensive straight play and grab them on their second night on the town. Or so it seems to me. And finally some way of working the new JOBS Act authorization to get equity out to people [up to one million dollars] should be done. Almost everyone who will buy a stock share will likely want to come see their money at work and it would be easy to offer stockholders a discount on a seat or seats depending on how many shares they held, but one should try for the greatest distribution possible to attract more in the seats[since it would not be a musical there would be all the empties in the orchestral pit for freebies for students or people with disabilities like blind folks or otherwise handicapped…not sure how or if that could work. But it culld help get buzz, and word of mouth, as the Broadway League’s stats show, is still the best marketing tool for the theater..

  • Stephen Marmon says:

    Fine column, but it’s either unique or it’s not. There is no such thing as a “very unique product.”

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