Last minute alert: A Panel about Theater Festivals 2Morrow and more and I’m on it!

Hey Producer’sPerspectivePro readers!

If you’re in the NY area tomorrow, Saturday, September 20th, and are interested in hearing the dos and don’ts of writing, producing or directing a show for a theater festival (like this one), then you must come to this panel, brought to you by The Off Broadway Alliance!

You’ll hear from me (and how we started Rave as well as my experience with producing Altar Boyz the very first year of NYMF) and other festival experts including Producer and General Manager Sharon Fallon (Indecent), Producing Artistic Director of NYMF West Hyler (Paramour, Georama), and writer/director Rebecca Aparicio (Pedro Pan, Gloria: A Life) and Producer Robert Driemeyer (La Cage aux Folles, Tennessee Williams’ The Two-Character Play).

And there will be tons of networking opportunities with other people just like you (and even some free bagels and coffee), so come!

All the details are here.

See you there!

Did you know Broadway has a loyalty program? And why you should have one too.

One of my favorite theater reporters wrote an article for the Associated Press recently and with the headline alone, he nailed something that I had been thinking for years:

A Broadway Secret:  A Frequent Flyer Program for Theater Fans

If I had the insight to write that article, I would have headlined it, “Why the @#$% do more people not know about the awesome thing that is Audience Rewards, for @#$%’s sake?”

And that is one of the many reasons I don’t write for the Associated Press!

If you don’t know about Audience Rewards, click here, learn more and join.  It’s the “Official Loyalty Program for Broadway” that was started years ago, in a tri-partisan partnership between the major theater chains (which ain’t such an easy thing to broker, by the way).

As a member of Audience Rewards, you earn points, you save money, you get freebies.  Bingo, bango, bongo . . . who doesn’t want that?

Don’t misunderstand, AR is a vibrant program with a ton of members.  But why doesn’t it feel like an Airline or Hotel loyalty program, which has entire websites dedicated to how to earn more points, hacking VIP status, and more?

In other words, why aren’t YOU a member?

It didn’t take me too long to realize one of the answers.  You see, AR is an “industry” loyalty program, not a brand-specific loyalty program.

You’re probably a member of a whole bunch of loyalty programs:  American Airlines, Marriot, Hertz, Chili’s, your nail salon, poke bowl place, etc, etc.

You’re probably NOT a member of these loyalty programs:  Travel, Hotels, American Chain Restaurants, Beauty Salons, Fast Food Fads, etc.

See what I mean?  Industry vs. Specific Brand.

In fact, our loyalty program is probably one of the FEW industry-wide loyalty programs out there (again, a testament to the power brokers who negotiated this deal – because it’s somewhat unprecedented).

I’m so thankful for Audience Rewards, because it gives our fans something to hang their loyalty on, and for us Producers, it puts butts in seats.

But what I’d like to see is more show-specific loyalty programs.

What punch card can you offer your most loyal fans for coming back more than once . . . or even better, recommending your show to others?  What type of upgrades can you offer to the audience members who pay full price rather than discount? What non-advertised secret clubs can you create that people can aspire to get an invite to (see American Airlines Concierge Key program).

If you’re not rewarding your customers for their loyalty to you and your brand, then you are missing out on one of the most important parts of your marketing campaigns.  Because keeping the customers you have happy is so much easier than acquiring new ones.

So just because our industry has a terrific loyalty program, doesn’t mean you shouldn’t have one too.

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Learn more marketing tips live and in-person from some of the best in the Broadway biz here.

 

 

 

Broadway Grosses w/e 9/15/2019: No More September Slump

The following are the Broadway grosses for the week ending September 15, 2019.
The Broadway grosses are courtesy of The Broadway League
Read more here:

Podcast Episode 194 – Broadway Super Attorney to the Stars and More Mark Sendroff

I’ve been negotiating with Mark Sendroff for over two decades.  And I’ve always known he was a good rep for his clients.

But it wasn’t until a few years into our relationship that I realized how great a rep he was.

See, there was this artist I wanted to work with, so I asked him who his rep was.  When he answered “Sendroff,” I grimaced.  Because I knew that I was in for a ten rounder that was going to cost me everything in my budget, and maybe even a bit more.

(Tip:  You don’t actually want your agent or lawyer to be the most loved rep in town.  While I believe all representatives should be constructive rather than an obstructionist, you want your Producer or General Manager to “sigh” a bit when they hear who reps you.)

In addition to his skills as a negotiator, Mark is quite the businessman, having built one of the most successful practices in town, including creating a niche market repping Conductors, Musical Directors, Arrangers, Orchestrators, and more.

That’s why he reps some of the biggest names in town (you’ll hear just who in this podcast), and, get this, always works across the aisle, repping producers and shows as well.

It was a great treat sitting down with Mark when a contract wasn’t on the line, and we were able to discuss:

  • How he got his first job in an entertainment law firm, and how the same process could work for you today.
  • Yes, yes, it’s true . . . the day Barbra Streisand called him for some work.
  • Why he doesn’t represent everyone he could and why that was so important on his way up.
  • The difference between being an agent and an artist’s attorney . . . and why he chose the latter.
  • How he establishes new precedents in an industry that doesn’t like hates change.

Enjoy this master class in negotiating and so much more.

  • Click here to listen on our site!
  • Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)
  • Download it here.

This week’s #SongwriterOfTheWeek is Or Matias! If you enjoyed the outro music in this episode, go on over to www.ormatiasmusic.com/ for more tunes.

This episode is sponsored by National Alliance Music Theatre (NAMT). For more information, go to namt.org/

What I loved about the Harry Potter Times Square Takeover.

In case you missed it, on September 5th, Harry Potter and the Cursed Child did cast a spell over all the digital billboards in Times Square.

As you can see in this clip,  it was the largest advertising “takeover” in NYC on record . . . and probably the world.

Why did I love this marketing move so much?

Is it because of all the “traditional” forms of media still being used today, Outdoor has held its value, while print, tv and more have dropped precipitously?

Is it because it was a “back to Hogwarts” campaign that was calendar-synced to our back to school week . . . and timing your campaigns with what is on the mind of your consumer always strengthens your impression?

Is it because while Potter continues to do good biz, there has been some chatter about why it isn’t bigger than Hamilton and others, with the brand it has (I’d say it’s the doubleheader – which is never easy for a US audience to embrace)?  This stunt answered the question of its size, especially with the coincided announcements of productions in San Francisco, Toronto and Hamburg.

Is it because Sarah Jessica Parker was there?

I loved it for all of those things . . . and for one other.

I’m positive that when the idea came up in the advertising meeting of taking over every billboard in Times Square, someone said or at the very least thought . . . “That’s impossible.”

And then, someone whipped open their spellbook, gave that person the head of a donkey with no tongue, and made this takeover effin’ happen.

It probably cost a small fortune.  It probably was a giant pain in the a$$.

But the best marketing (and the best everything!) is what hasn’t been done before.  And things that haven’t been done require passion and perseverance.

And, they always pay off.  Always (even though sometimes you can’t see it right away).

Kudos to the Producers, the Ad Agency, the Press Rep and to everyone on the Potter team for doing/imagining the impossible and making it a reality.

Now, if they could only make quidditch a real sport.

 

 

 

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