This Production of “Hairspray” is Not Lost in Translation

The Shaftesbury Theatre in London was the first to adopt the AirScript, a hand-held device that scrolls through a musical or theater work's script in eight different languages simultaneously with the action on stage.  Similar to opera's long(er) time use of supertitles, this device is meant to attract more tourists, but in contrast to projected overhead titles, it has a back-lit LED low-glare screen that minimizes the distraction for neighboring audience members.  

The article by BBC News sites advancements in technology as making this possible and more affordable for theaters to implement.  Audience members at the Shaftesbury can rent the device for 6 pounds at the production of "Hairspray."

While some may still remain skeptical of adding any additional electronics to the front of house atmosphere and the system still has its shortcomings (for example improvised sections of any given work), this cutting edge way of integrating technology to reach new and expanded audiences might just be the kind of advancement theater needs at the international level.
--Leah

Reteetable ads to add to the social network conversation

Viral marketing is nothing new, but according to a recent article in Brandweek, soon we may be seeing the "retweetable" ad, thanks to a deal between Federated Media and Tweetmeme.   So now, we may begin to see share buttons on advertisements allowing the consumer to more easily repost an ad they like on Twitter.  Apparently, Digg already has Dig-gable ads and is planning to expand this product.  The Brandweek article asks how much consumers will be willing to share ads in their tweets and status updates.  If the ads are as clever as many of the viral videos out there or add value to the conversations held over social media, they may indeed successfully increase click through rates. 

I was a spectator for last week's "biggest" holiday: Black Friday, and was stunned by the number of status updates about friends rising early to fight for the best deals at their favorite stores.  Some invited others to join them in the shop-fest.  One status update read: "Anyone want to meet at [outlet mall] at 4:30 am?"  What if the deals on HD TV's and irregular designer hand bags had been retweetable?  No doubt the word would have spread even faster.  Shopping for many is a social event.

The Arts may find another tool in the dig gable, shareable, and retweetable advertisement.  Our younger patrons may be willing to pass an ad along, provided it adds to their conversation.  That's the tricky part.  This tool may be an opportunity to explore when inspiring younger patrons to take part in group sales or spread the word about special 35 and under deals offered by many performing arts organizations.  I'm sure there are any number of creative ways an ad can "add to the conversation."  The retweedable ad gives us a new avenue to explore.      

http://www.brandweek.com/bw/content_display/news-and-features/direct/e3ie96e2720eadfdfa3c183445b50501131

--Joe

Fundraisers in a down economy

Attached is the plan for the Chattanooga Symphony's opera fundraisers.  It's wonderful that they want to bring back opera productions, but I question whether their fundraisers will bring in more money than they cost.  With an elaborate touring show and a new production, this seems like an expensive way to raise money in a down economy.  I wish that this article had included information on whether there had been any special compaigns or fund drives, which would cost less. 

How things have changed

Here's an interesting retrospective on changes in the classical music world over the last 10 years trhough an interview between Anne Midgette, music critic Washington Post, and Tom Huizenga, music critic NPR.  Almost all of the topics discussed involve the difference that the internet has made on music from availability to changing tastes.  I think her arguement that musical tastes are becoming more catholic is true in a fashion.  I'm not sure that people's tastes are changing to incorporate a melding of classical and other (rock, country, jazz) styles.  I think that it's more likely that people have always had these tastes, but now this music is more available.  The widening of what is appropriate in a concert setting, or even what is a concert setting always for greater enjoyment in the classical arts.  I also think that her message on branding is very timely and important.  The classical groups who reach out to the community and rebrand themselves as exciting, open or new offer more to today's audience.  She mentions the changing role of critics and the decent from the ivory tower of good taste as well.  Her section on Classical Radio though made me think that the organizations who are more open to the community should start doing classical radio.  Truly, most classical radio contains repeats of the greatest hits with an emphasis on soporific pieces.  With new and interesting material at hand, it may be another way for more avant garde programming to reach the audience.

Great Composer with Poor Trombone Skills

Sue Addison, a principal trombonist for the Orchestra of the Age of Enlightenment, recently discovered that Edward Elgar who was a world-famous composer and died in 1934 was a terrible trombone player. She researched his trombone which has been kept at Royal college of Music and found a letter from Elgar's friend, Dora Penny. In the letter, Penny said. "On one occasion, he [Elgar] got up and fetched a trombone that was standing in a corner and began trying to play passages in the score. He didn't do very well and often played a note higher or lower than the one he wanted...and as he swore every time that happened, I got into such a state of hysterics that I didn't know what to do. Then he turned to me [and said]: 'How do you expect me to play this dodgasted thing if you laugh?." It is hard to imagine one of the most remarkable composers plays an instrument, and the people laugh at his skills although he wrote a beautiful melodies for the instrument, but then, how many could world famous composers play trombone well? Even if they composed beautiful melodies or pieces for an instrument, it doesn't mean they are also good at playing the instrument. http://www.independent.co.uk/arts-entertainment/classical/news/great-composer-shame-he-couldnt-play-1824125.html       Se Hyun

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180° 달라진 야후! 메일
두둥! 새로운 야후! 메일에서는 메시지를 여기저기 끌어다 놓을 수 있답니다.

Symphony for moms

Earlier at a dinner party, I overheard a conversation among a few expecting mothers and mothers who have young children. They are all between the age of late twenties and early forties, all highly educated women. Some of them are classical concerts lovers and used to attend concerts regularly before they have a family and they expressed their disappointment of not being able to attend concerts regularly anymore. A mother explained that she would need to plan weeks in advance to attend a concert: to find out the information about the concert, then book a nanny for the time she would be away during the concert, and coordinate all the same with another mom who she goes to the concert with. She mentioned that time and planning is one factor that stops her from going to the concert, but money is another factor. A $25 concert ticket suddenly become $60-$80 for the evening for hiring nanny and a night out.

Going to concert should be a relaxing and enjoyable experience, just because you are a mom and have a family should not make it so much more difficult. Most symphony orchestras offer kids and family concerts, but what if the moms or dads just want to attend an adult concert like they used to? Isn't accessibility to quality music is part of the mission for many symphonies?  Perhaps a free babysitting service at the concert hall will be a solution to all? Young professional parents can still enjoy a classical concert or even getting single tickets at the last minute will not be impossible because they could not find any babysitters last minute. Ikea offer a children's corner for kids while moms and dads do their shopping, why not the symphony, theater, ballet or opera?

The Berlin Phil Goes Digital

The Berlin Philharmonic has recently launched an online innovation-- the digital concert hall.  In an effort to make their performances more affordable and accessible to the masses, the digital concert hall streams the orchestra's performance in high definition-- complete with swooping shots and close-ups.  Eager viewers must pay 9.90 Euros per performance, or 149 Euros for a season pass.  Currently the program is not making money.  The orchestra's PR chief, Elisabeth Hilsdorf, indicates that while viewership averages about 2,000 people per event, 6,000-7,000 are necessary to break even.

While I'm excited to see that the Berlin Philharmonic is reaching out and making an effort to bring their performances into the digital age, I was surprised to see that they're charging for tickets.  One wouldn't pay to tune in on television, or to watch on YouTube, so are people willing to pay for this service?  My instinct is probably not.  It would seem that people who are willing to commit that much money to watching an online performance would likely be willing to shell out a little more to see it live.  Possibly because the orchestra is so well known, die-hard fans who are unable to attend for geographical reasons might be willing to purchase tickets for the digital concert hall.  Streaming performances is a great idea, but perhaps more as an outreach project than a financial venture.

http://latimesblogs.latimes.com/culturemonster/2009/11/berlin-philharmonic-by-way-of-the-world-wide-web.html

-Katie

Shaq Leaves the Court for the Gallery

Shaquille O'Neal is taking a break from his normal job this spring, as he curates an exhibition for the Flag Art Foundation in New York. The show, entitled "Size DOES Matter," is set to run from late February through May, and is right up Shaq's alley: it features several works about how scale and size of objects affects our perception.

Though Shaq is no stranger to trying new things, this show in particular is a bit out of his normal realm of entertainment--which includes a small number of bad rap CDs, terrible films, and not-so-highly anticipated cameos on television shows.  

Shaq's "interesting" past in the arts and entertainment business makes me slightly wary of this particular exhibition. On the one hand, Shaq's curating work could mirror his past, highlighting tacky, uncreative, and poorly-done works. On the other hand, since Shaq doesn't actually have to perform, per se, in this effort, it could be an interesting and tasteful exhibition filled with thought-provoking works created by great artists. 

At this point I am happy, albeit a little scared, to admit that I am leaning towards the latter at this point--already Shaq has secured Ron Mueck's "Untitled (Big Man)," which will be on loan from a Washington museum.  Who really knows, though? It could be a huge flop. Either way, I'm happy to see a sports all-star take an active and very public interest in the arts community. 

--Chelsie

Boldness of London Philharmonic Orhcestra's Financial Boss

Cameron Poole, a former financial director for the publicly- funded London Philharmonic Orchestra, is in a trouble because of his boldness. The orchestra believe that Poole dragged the orchestra's money out and spent it for his personal life. The money was estimated to be  £560,000. He quit the orchestra in August, and was also kicked out of the property by his wife, Suzanne who is a Tory councillor. The orchestra and his previous bosses have launched a High Court action to get the money back, and a criminal investigation by City of London Police will be followed. According to Suzanne, she found that he spent  £4,000 for candlesticks which she thought were useless. Suzanne now fears that the family home could be taken to pay the debts. An insider said,"this has come as a real shock for Suzanne. She now faces losing her home and her political career. Suzanne has kicked him out of the house and wants nothing to do with him now." Has he ever had a brain? I was just amazed by his brave spirit and all the staff who didn't even notice until the time they actually found out £560,000 was gone. Indeed, he was the expert although he unfortunately got caught at the end.   http://www.thisislondon.co.uk/standard/article-23773668-orchestras-finance-boss-siphoned-off-pound-560000.do         Se Hyun

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180° 달라진 야후! 메일
두둥! 새로운 야후! 메일에서는 메시지를 여기저기 끌어다 놓을 수 있답니다.

Sex Sells...Even Classical Music?

A German orchestra announced plans on November 17 to bring classical music to where the people are....judging by where exactly the orchestra will be playing, the people are concentrated in the brothels of Leipzig. The article cites that the orchestra's performance will be held as part of the "Sex.Macht.Musik."  festival, an event devoted to erotic music culture and featuring "licentious and erotic works."

While I realize that the primary purpose of this performance is as part of the music festival, to say that it is "bringing music to where the people are" seems a little extreme. Call me crazy...but aren't there people in parks, too?

--Chelsie

Google pairs with US State Department to host images from Iraq's National Museum

Google has announced that it will host 14,000 images of artifacts contained in Iraqi's National Museum.  The museum contains countless artifacts from the Stone Age, Babylonian, Assyrian and Islamic periods.  The images are scheduled to be posted early next year and will be paid for by Google and the US State Department.  Eric Schmidt, Google's CEO, stated "I can think of no better use of our time and our resources than to make the images and ideas from your civilisation, from the very beginnings of time, available to billions of people worldwide."  

I find it very interesting that Google is being involved in what appears to be cultural diplomacy.  It is no secret that the US has received criticism for its dealings in Iraq from the international community.  Cultural diplomacy had long been a part of international relations, but it was abandoned in recent times.  The Obama administration is trying to reintroduce that in part to mend international views of the United State's.  What is especially interesting about all of this is the inclusion of the technology juggernaut Google.  Is it dangerous for a private company to become entangled in international politics?  I think it could, but the exposure for google will be monstrous.  Here's to Google for continuing to be the innovators in our ever-changing technological world.  

http://news.bbc.co.uk/2/hi/middle_east/8376554.stm

Have you voted yet?

Not only not-for profit organizations could take advantages of social media for marketing and community outreach, for-profit business could also benefit from social networking sites. ChaseCommunityGiving is giving away 5 million dollars to 100 local charities in the US, and your votes decide which charities the money goes to. All you need to do is to vote for your favorite charity and then rally for them by spreading the word to your friends, family and co-workers to keep the votes going. But of course, you have to become a fan of their fan page before you can vote. I think this is a brilliant idea; both the idea of community giving and facebook voting. It is amazing to see how fast does the word spread out and how it can get people involved by having them vote for their favorite charity. Don't we all want to believe our vote matter? Don't we all want to do something that can make an impact to what and who we care about? Although this is a community giving program of the bank and is not selling any products or services directly to the fans, it does for sure help to build a very positive brand image for the bank itself.

~Gloria~

The Fluid Piano!

Geoff Smith, a Brighton-based composer and performer, invented multicultural acoustic piano called a fluid piano. The fluid piano has 88 keys just like other regular pianos, but what makes the piano totally different from others is that Smith placed sliders on the piano strings so that instead of staying on fixed sounds, performers can alter the tuning of notes before or during a performance and access to different scales. Smith has been recently invited to take his fluid piano to a Chopin festival in Poland. It seems that the fluid piano has gained attention from classical music admirers whether or not they like this new revolutionary piano. Smith said that his dream is to get his fluid piano manufactured. As you can see and hear on the video, it doesn't sound like a piano at all, but I found this very exciting. Just as Bartolomeo Cristofori invented a piano and now we play and enjoy the instrument a lot, this fluid piano might be a next step of piano evolution, so whenever in the future, people play the fluid pianos and treat the regular pianos in the way we now treat all the ancestors of the piano such as harpsichords. While reading and watching the video, I thought George Crumb would love this piano. http://www.guardian.co.uk/music/2009/nov/23/composer-fluid-piano-geoff-smith       Se Hyun

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180° 달라진 야후! 메일
여러 개의 메시지를 동시에 확인? 새로운 야후! 메일의 탭으로 가능해집니다.

what is the real message?

There has been lots of discussion about how our social media is changing significantly, especially with social networking sites like facebook and twitter. Recent research shows that even though only 27% of twitter users posted daily, 46% checked for updates everyday. It also reflects that younger microblogger users are also highly mobile, accessing social media at various locations. It is not unusual to see people checking updates while working, driving, sitting in class or even in the washroom. So we know users have access to updates everywhere, but the question is, what messages should arts organizations be sending to their followers? "Come see our concert tonight" "Our season  opening play was a great success last night" Or more importantly is to ask the question: what purpose do these updates serve? Are they trying to capture more audiences? or is it simply a tool to keep fans update and perhaps building a customer loyalty or branding image? However, regardless of what direction/strategy arts organizations are taking with these social networking sites, it is still difficult, at least for now, to track the result of the messages it posted on twitter or facebook fan page. 

“The Nutcracker” Can’t Save Ballet

Shopping malls are already decked out for Christmas and its time for ballet companies to put up their once-a-year profit-making performances of "The Nutcracker." The Washington Post's Sarah Kaufman says, "[these performances] can account for as much as half of a ballet company's total annual performances."

The article also discusses conservative programming stemming from "shaky economics" and general lack of funding., so they are forced to rely on old standbys just to survive.  Kaufman also makes the interesting point that no other art form would be able to exist when offering such a limited selection. Then she goes as far as saying we are producing an "inauthentic domestic art" when so many principal roles are danced by foreigners.

On the other hand, one inspiring production I saw last season was Mark Morris' "The Hard Nut," winner of Ovation TV's "Battle of the Nutcrackers."  The production premiered in Belgium in 1991. You can see some clips here on YouTube.  While "The Nutcracker" alone may not be enough to save an art form, the tradition and the opportunity for adaptation means it will still be around for years to come.

--Leah

Does Street Fundraising Really Work?

Daryl Upsall, a head of Madrid fund-raising consulting firm that specilizes in face to face fund-raising and Owen Watkins, a international specialist for face to face fund-raising at Unicef Switzerland, maintain that street-fundraising should be pursuing women in their late 30s, especially ones with professional jobs because they (women in late 30s) tend to be financially stable and give for long term. According to their study, donors in 20s who were recruited in face to face fund-raising tend to stop giving in a year. They also believe that 750,000 donors will be recruited through the street fund-raising in Britain this year, and almost half of them are expected to stop giving within a year. My question is how many organizations actually use the street fund-raising and is it really effective? Does it work? I met couple of people soliciting some donations in parking lots of some grocery stores, and each time, I didn't give any at all because I was not sure how reliable they were. I would never want to give money or any of my personal information to some strangers that I met on the street without thoroughly knowing their organizations. I noticed that some of the solicitors were not trained well and really fail to make me understand about their organizations or the prupose of the fund-raising. http://philanthropy.com/premium/articles/v22/i01/01001002.htm             Se Hyun (Claire)

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180° 달라진 야후! 메일
여러 개의 메시지를 동시에 확인? 새로운 야후! 메일의 탭으로 가능해집니다.

Music Journalists Stuck in a Quandary over their Audience

Howard Mandel's October 7 article delves into the discord between "traditional" and new-age music journalists at a policy summit presented by the Future of Music Coalition Conference. While the traditionalists maintain that the art should be accessible yet still educational and enlightening to all, the new thinkers tout social media as the savior of music journalism, seemingly claiming that the new audience is not, well, the audience, but rather advertisers and record labels. In other words, new music journalists are pushing for an emphasis on better marketing of the art through social media, and losing interest in developing content. 

....Wow. I can see good points on both sides--art needs to be accessible.....but we do always need to increase audiences in whatever way we can. However, despite the many times we've learned that word-of-mouth marketing can trump any critic's review, I absolutely cannot agree that the role of good content is dead. Mandel put the entire dilemma perfectly in the title of this article: "Future of Music Journalism: It's about the Audience (?)."

Personally, I agree with the sentiment that we should be able to both write about music in such a way that it does both illustrate and entertain, while still secretly escorting the reader to a higher level of education through a series of big-picture connections. Apparently this view is one that is seen as attainable only in a perfect world (though it shouldn't be that way).  Perhaps this is too base of an observation for the high-level thinking that occurred at this particular panel, but it seems to me that there is a middle ground, a "happy medium," if you will. 

--Chelsie

Kessler Anxious to Condemn Obama's Commitment to Arts Ed

With the new "Race to the Top" guidelines only recently released, Richard Kessler's November 12 article just couldn't wait to forecast hypocrisy in the ranks of the Obama administration. The article draws attention to the new guidelines, proclaiming that they yet again label the arts as an outlier in what we consider "important" education. Kessler makes the claim that Obama has yet to actually improve the case for arts education, citing that he has done nothing but talk about its importance. 

But isn't this something in itself? Perhaps Kessler is asking too much, expecting a reform in the most miraculous sense of the word--as a complete, immediate turnaround. As we constantly ask ourselves how to help the world grasp the importance of arts education, do we really have a right to be discontent with the steps that have already happened in the first year?  Like Kessler admits, the Obama administration has advocated the importance of arts ed more (and more rigorously) than any previous one; at the very least, the administration is raising awareness. I can't help but think that, at the very least, some good will come of the heightened attention. 

--Chelsie

Can the Traditional Model of a Symphony Orchestra Work in the United States?

Michael Kaiser, president of the John F. Kennedy Center for the Performing Arts, shares a question raised by a fellow from the Kennedy Center Arts Management Institute: Does the Symphonic Orchestra Model Work? The fellow from the Institute observed that the salaries for musicians and conductors are high, and ticket revenue has been struggling because of high prices and low demand. In addition, contribution income is under pressure to grow fast enough to cover the gap between the costs and ticket revenue.   This article made me wonder how many orchestras could survive eventually. Regional orchestras depend more and more on contribution income especially under this painful economic weather in which I don't believe the contribution income satisfies their needs. Almost too often, we hear that major orchestras have huge shortfall in their budgets and are about to close or shorten their seasons. One thing he talks about in this article is that that  the management side of most orchestras considers salaries for orchestra members as high fixed costs, so when a orchestra struggles financially, the salaries for musicians become an easy target to reduce. However, would this be a solution? I know when the existency of an entire organization is questionable, reducing salaries is inevitable, but for many times, I hear that forcing to reduce the salaries causes another sub problem in addition to all the other existing problems. http://www.huffingtonpost.com/michael-kaiser/does-the-symphonic-orches_b_350464.html       Se Hyun (Claire) 180° 달라진 야후! 메일 알아서 척척! 새로운 야후! 메일은 새로운 메일이 도착할때 마다 새 메시지를 받아온답니다.

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180° 달라진 야후! 메일
두둥! 새로운 야후! 메일에서는 메시지를 여기저기 끌어다 놓을 수 있답니다.

Can the Traditional Model of a Symphony Orchestra Work in the United States?

Michael Kaiser, president of the John F. Kennedy Center for the Performing Arts, shares a question raised by a fellow from the Kennedy Center Arts Management Institute: Does the Symphonic Orchestra Model Work? The fellow from the Institute observed that the salaries for musicians and conductors are high, and ticket revenue has been struggling because of high prices and low demand. In addition, contribution income is under pressure to grow fast enough to cover the gap between the costs and ticket revenue.   This article made me wonder how many orchestras could survive eventually. Regional orchestras depend more and more on contribution income especially under this painful economic weather in which I don't believe the contribution income satisfies their needs. Almost too often, we hear that major orchestras have huge shortfall in their budgets and are about to close or shorten their seasons. One thing he talks about in this article is that that  the management side of most orchestras considers salaries for orchestra members as high fixed costs, so when a orchestra struggles financially, the salaries for musicians become an easy target to reduce. However, would this be a solution? I know when the existency of an entire organization is questionable, reducing salaries is inevitable, but for many times, I hear that forcing to reduce the salaries causes another sub problem in addition to all the other existing problems. http://www.huffingtonpost.com/michael-kaiser/does-the-symphonic-orches_b_350464.html

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180° 달라진 야후! 메일
알아서 척척! 새로운 야후! 메일은 새로운 메일이 도착할때 마다 새 메시지를 받아온답니다.

21st Century Ticketing

In a recent New York Times article, Ben Sisario points out that not very much has changed about online ticketing since 1997.  While I think we can agree that the role of the internet in everyday life has been completely transformed since the late 90s, online ticketing is still text-heavy and cumbersome.

Enter Andrew Dreskin-- a concert promoter and entrepreneur who is working to bring online ticketing into the social networking age.  Dreskin founded Ticketfly, a web-based marketing company which has positioned itself as an alternative to larger companies such as Ticketmaster.  Ticketfly has found its niche with clubs and smaller theaters, which appreciate a more personalized approach to business.

As Dreskin points out, "The needs of a club promoter are different than the needs of a professional sports team".  TicketFly's approach makes purchasing easier for audience members, and allows smaller arts organizations to incorporate online ticketing into their infrastructure without the giant price tag or red tape.  Additionally, the company offers web development services that facilitate the flow of information to and from social networks-- a service that's especially useful given the success of the word-of-mouth advertising that thrives in mediums such as Facebook or Twitter.

"Events are social by their nature," says Tom Higley, a dot-com entrepreneur in Boulder, Colorado. "People will actively click a link and buy a ticket when prompted by a friend or acquaintance, versus the same info sent from a venue or a team or an artist. That higher conversion rate is very interesting to people in the ticketed-event industry." 

Even if your audience is not one that is "on Facebook", in my opinion it's wise to start developing a social networking presence.  While you may be skeptical about immediate results, in the long run, it could be a wonderful tool for attracting and maintaining larger audiences.  The range of people involved in social networking expands every year.  Who can say what it will be five years from now?  There's infinitely more to gain than to lose.

http://www.nytimes.com/2009/11/14/arts/music/14tickets.html?_r=1&partner=rss&emc=rss

-Katie

Opera Relevancy in the UK

BBC News released an article over the weekend featuring ways that opera is striving to be more relevant in the UK.  It brought to my attention, yet again, how organizations are emphasizing accessibility and medium as a means to promote their relevancy in their communities.  The Royal Opera House is starting tickets as low as 5 pounds and "going Met" with their cinema broadcasts and live outdoor casts in the summer.   The English National Opera is bringing in high-profile directors, however Opera Magazine's Kate Molleson points out that appealing to "some sort of projection of what people think a younger audience might want is often quite an embarrassing prospect." 

 

The article also tells about opera cross-over recordings and a reality show that follows celebrities training to be opera singers as ways that might breakdown some of the barriers.

Again, Molleson has some words that sum up my reaction, "What matters is the quality of what you are doing."

 

Throughout the article I couldn't help but wonder where the audience's voice might fit into shaping these kinds of relevancy efforts.   Here's Molleson again, "It's not the art form that is elitist but it is sometimes the industry that surrounds it."

 

http://news.bbc.co.uk/2/hi/entertainment/8359379.stm

 

--Leah

Fascinating project; powerful outreach from Theater of War

As we discuss outreach, education, and marketing from an administration standpoint, it is easy to lose sight of the value of such programs beyond dollars and cents.  I highly recommend taking a look at Theater of War, a production company that presents readings of Sophocles' " Ajax" and "Philoctetes" to military bases, beginning conversations about the soldiers' experience and readjusting to civilian society.

 

The company recently received $3.7 million from the Pentagon to bring its readings to service members at 50 military bases.  In an article in  The New York Times, Theater of War's founder, Bryan Doerries is smart to clarify that the program is not psychotherapy.  Although it is aimed at addressing the psychological health and well-being of soldiers and veterans facing post-traumatic stress, Theater of War's effectiveness has not been studied in clinical trials.  The powerful Theater of War video shows the performances and post discussions in action.  Doerries calls the presentations for service members and their families "a complete revelation" for the artists.  The discussions with the military audience have lead to a deeper understanding of what Sophocles' plays are about, and the struggles soldiers face after combat. (Chilling in light of the recent Ft. Hood tragedy)

 

This isn't just an "outreach" program embedded within a larger organization, Theater of War exists for outreach purposes.  However, as an arts organization examines its outreach and education programs, there is much to learn from the conversations started by Theater of War, and the lessons the company is learning from dialogue with its audience.

 

--Joe

Orange County Opera Buzz

 It's been one year since the demise of Opera Pacific in Orange County, CA where they filed for bankruptcy with debts of $1.693 million and apparently only three benefactors giving 98% of the donations.  However, this LA Times article reports ways other companies and grass-roots supporters are trying to fill the void for the areas opera-goers. 

 

A new company, Long Beach Opera, which focuses on new and obscure works, hopes to attract Orange County audiences with "The Diary of Anne Frank" in May.  Another appeal to the Orange County audiences was considered by the LA Opera.  The article mentions packages to bus the opera-goers to the Dorothy Chandler and provide a meal.

 

While other companies try to take advantage of the gap left behind, a group has formed to consider a renewed effort to produce grand opera locally.  The ideas proposed by the local supporters are to include budget conscious planning, utilize electronic media to produce visual aspects of opera at lower cost and to focus on education programs.  These strategies might seem obvious for any arts organization that wants to be financially viable and relevant to their communities, but are actually in stark contrast to the "plan big, raise millions later" tactics at the late Opera Pacific. But before the new group sails a new ship into unsustainable waters, I really hope they look at whether Orange County needs a grand opera, with one of the top companies in the country (LA Opera) just 40 minutes away. 

 -- Leah

 

http://latimesblogs.latimes.com/culturemonster/2009/11/hope-stirs-but-the-sounds-of-silence-linger-on-oc-opera-scene-since-opera-pacific-folded.html

A Star Is Born

The Los Angeles Philharmonic has certainly rolled out the red carpet.  From mugs, to t-shirts, to billboards, to online video games (not to mention actually spelling his name out in fireworks), the staff at the LA Phil is well their way to positioning their new conductor, Gustavo Dudamel, as no less than "classical music royalty".  

While plastering faces on buses and hanging banners all over town may seem over the top, the effect felt by these advertising techniques is measurable.  In addition to massive amounts media coverage, the response from the general public has been overwhelmingly positive.  "He's a genuine star," said Martin Kaplan, a former movie executive and professor at USC.  "He's young. He has amazing hair.  He has a great back story.  He has a fantastic name.  He's the dude!"  At 28 years old, Gustavo "The Dude" Dudamel's star power has already been compared to that of Leonard Bernstein.

So what's the price tag on all this?  The LA Phil has spend $750,000 beyond their usual advertising budget to promote Mr. Dudamel.  Is it worth it?  I guess we'll find out.    In the mean time, the LA Phil has capitalized on a great opportunity-- a new, incredibly talented, young conductor.  While the promotional methods they've undertaken may seem somewhat unconventional in classical music, I applaud their efforts.  Arts marketing in the 21st century is a difficult task-- we have to convey the intrinsic value of what we're producing, while simultaneously creating a pitch that's enticing to current and potential audiences. 

Don't have $750,000 to commit?  Explore viral marketing strategies, or promotional events.  Have your music director appear on local morning shows.  Perhaps there are lessons to be learned from for-profit companies, or even athletics.  The bottom line is that we need to generate more buzz, and get people excited about what we're doing.  We shouldn't feel compelled to stick with traditional concepts, or scared to try new ones.

Certainly a little creativity will be necessary, but hey-- we're the arts!

http://www.nytimes.com/2009/11/13/arts/music/13dudamel.html?partner=rss&emc=rss

- Katie

Amanda Palmer Goes on the Attack with "Why I Am Not Afraid to Take Your Money"

While I can honestly say that I don't think Amanda Palmer is a publicist's dream, she does bring up some interesting points in her September 20th blog, shamelessly entitled, "Why I am Not Afraid to Take Your Money"  (Insert "Really Foul Language" warning here). Essentially, Palmer is lamenting the fact that people want good art--in fact, fully expect it--but aren't necessarily willing to pay for it. Artists often go unappreciated, and those who truly love their work often seem to go gently into the good night that is the life of a "starving musician." In her very forward way, Palmer is asking that those who want the art need to realize that artists are indeed doing their work  as a career , too, and they have--*gasp*--basic needs which can only be achieved with the financial support of their fans. 

It does certainly seem that we are always tinkering with the various components to find a survival technique for our arts organizations.....i.e. we need this much education, that much "pops" programming, and a little dash of "art for art's sake" to remain financially stable. My question draws a parallel to Palmer's argument: why aren't the arts worth more? Why are they expected to be present as a staple of a strong community, yet so few want to support them?

--Chelsie

A Customer Loyalty Programs for Arts Presenters

Yesterday, I received a brochure from Alkahest Artists & Attractions for a customer loyalty program for arts presenters.  I'd place a link for more information, but I couldn't find anything about this on the web.  You can check out the Alkahest Artists management agency here.

 

Their "PlayPoints" brochure boasts, "PlayPoints is a reward program that will reduce the costs of your next Alkahest program!"  Essentially, the presenter earns a range of 5-40 "PlayPoints," every time it books an Alkahest Artist.  More points are earned when the presenter spends $1000 on an exclusive attraction/artist, than when it spends $1000 on a non-exclusive attraction/artist.  The presenter earns 40 points if it books three Alkahest Artists/Attractions for a single season and 5 PlayPoints when it writes a letter of recommendation regarding an Alkahest artist/attraction.

 

Like many other customer loyalty programs, once a certain number of "PlayPoints" accumulate, the presenter may exchange the points for a discount on their next purchase.  In this case, 200 points may be redeemed for "PlayPoints Cash" worth $1000, which may be applied toward payment the next time the presenter books an Alkahest attraction.  Points expire after a 30 month period of inactivity.

 

Many managers are open to negotiating discounts or package deals when a presenter books multiple acts from the same agency, but I had not seen this kind of formalized customer loyalty program model applied by artist management.  I'm skeptical about how well it will work.  I've never booked any acts from this particular agency, but the rewards program made me take more than a moment to glance at their brochure.  Personally, I prefer discussing and negotiating costs on a case-by-case basis, rather than "earning points." I also prefer the process of building a relationship with a particular agent willing to work with our budget.  The points system seems a bit cold.  It really isn't an "either/or" situation, but for me, this particular points approach does not really enhance the appeal of working with one agency over another.

 

Has anyone seen the customer loyalty "reward points" model applied to other arts organizations?  Again, I'm not really sure how it would work or if it would be worthwhile. It may an interesting idea to examine. 

 

--Joe

Community- Supported Agriculture Effort Inspires A Theater Company

Jon Stancato, co-artistic director of the Stolen Chair Theatre Company, recently interviewed local farmers and decided to adapt their business model. Community supported farms raise money from a group of supporters, and in return, the supporters receive various benefits including chances to participating in the process of producing. The Stolen Chair's "creative Harvest" will invite 75 supporters who are willing to pay $110 in minimum to support the development of the theater's annual production which will this year delve into arts and physics. Supporters will have chances to get more closely involved in the production related activities such as live rehearsals and a discussion between scientists and artists so that they can be more familiar with and understand better about the process of the production. I thought that this well reflects what's called "donor centered fundraising."  One of the big reasons for lapsed donors is insufficient or poor quality information concerning their gifts at work. Donors, especially first time or second time givers, would definitely need to know about the effectiveness of their donations at work. More loyal, proactive donors would probably give money anyway regardless of the information on how their money is spent, but in order to lead donors to that stage, organizations need to build up relationship with donors by giving noteworthy information on how well and crucially the donations are used for the organization. By getting the supporters involved in the process of their annual production, the Stolen Stair would be able to offer hands on experience with the organization, and I believe that this will build up better, stronger relationship.   http://philanthropy.com/premium/articles/v22/i03/03000701.htm     Se Hyun (Claire)

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New Philly E.D. is a Champion of Change--all $528,000 of it

In late September, The Philadelphia Orchestra announced its pick for a new CEO--Allison Vulgamore, the former leader of the Atlanta Symphony. Given the dire straits the Orchestra is facing with a previously projected deficit of $15 million, Philly is truly hoping for a miracle with Ms. Vulgamore, who plans to align Board and Orchestra and implement a fresh business plan. Touting Ms. Vulgamore's successes in Atlanta, the Board brought her in at a whopping $528,000 in annual pay.

The most troubling thing about this pay rate is detailed in a September 30 NY Times article. Aside from being a $108,000 increase from the previous ED's salary, the staggering number begs the question, "What exactly are they paying for?" Vulgamore's so-called successes include boosting the endowment and budget, beefing up audience numbers, and adding valuable community engagement programs. However, these accomplishments seem hollow when compared with her $300 million campaign to build a futuristic outdoor amphitheater--a campaign which missed its mark by a monstrous $186 mil.  Ms. Vulgamore is apparently jumping ship, leaving the ASO reeling in unavoidable pay reductions and eliminated positions. 

Aside from this, I can't say that it's even ethical to accept a salary of over a half-million dollars when the sole purpose of Vulgamore's move from the ASO is to salvage the Philly Orchestra from its current financial woes, ultimately preserving one of the Big Five. Not to seem cynical, but I can't help but wonder what effect this type of leadership may have on classical music in The City of Brotherly Love. 

--Chelsie

Despite economy, Oregon Shakespeare announces best numbers in history!

It is not a secret that the economy has caused a lot of problems for arts organizations throughout the past year.  Many organizations are desperately trying to stay alive, so when a theatre announces that it has set a new record for attendance and revenue during its 2009 season, you need to pay attention.  Oregon Shakespeare Festival has recently announced that is has set a new record for attendance (410,034)  and revenue ($17,098,115) during its 2009 season.  

Seeing this type of results is quite amazing considering the environment in which it took place.  How was it able to do this?  What strikes me as interesting is that Oregon Shakespeare does not sell subscriptions.  Instead it sells memberships at varying levels which correspond to a specific time period for pre-sale tickets; the more money, the earlier you get to purchase tickets.  Is this type of advanced ticketing the future for arts organizations with shrinking subscription sales?  I, someone much younger than the typical arts organization subscriber, think it may very well be.  It is not a secret that subscriptions are decreasing and single tickets are increasing, so maybe a membership fee is what is needed to garner loyalty from younger patrons.  Advanced planning is not something younger Americans are accustomed to, so why push subscriptions on these and other similar-minded groups of people? 

While I fully understand that subscription tickets are infinitely cheaper to sell than single tickets in most organizations, I see a world where traditional subscribers could become an endangered species.  Let's keep an eye out for good ideas when they present themselves instead of clinging to the past.  

-Brian

George Steel Keeping City Opera Afloat and Affordable

After a canceled season, an expensive renovation, and a runaway General Director, New York City Opera is back with a new season which opened this week. George Steel, 43 year-old former manager of Columbia University's Miller Theater, left Dallas Opera after only four months to take over the troubled City Opera.  Since February, he has raised $14 million dollars and overseen the much-needed renovation of the New York State Theater that will greatly improve the acoustics.

Although the season has only five shows (down from 16 in past years) and the operating budget is greatly reduced, they are staying committed to Mayor LaGuardia's vision of affordable tickets by selling around a quarter of them for $25 or less.

http://www.npr.org/templates/story/story.php?storyId=120090453
http://www.allaboutopera.com/opera_related_news.php?topic=George%20Steel  

--Leah

President’s Committee on Arts and Humanities Announced

Earlier last week, President Barack Obama named 26 members of the President's Committee on Arts and Humanities, which serves to advance arts and humanities objectives by working with the three main cultural agencies including the NEA.  The article from politico.com describes the wide variety of backgrounds and experience that the new team brings to the committee.  The article also illustrates the commonalities and connections between the members.  For instance, the social map shows how members are connected through Hollywood, Vogue, Americans for the Arts, and the Aspen Institute.  

The committee currently has programs in international, youth, and preservation areas.  The committee will certainly benefit from having such a wide variety of people to contribute to these initiatives.  With First Lady Michelle Obama as the honorary chairman, they hope to "connect the people…through dance, music, literature, painting and sculpture" and "define who we are as a people and provide an account of our history for the next generation."  Let's hope they can.   

www.pcah.gov

http://www.politico.com/click/stories/0911/inside_obamas_arts_team.html

--Leah

Honolulu Symphony says no money left for payroll

The Honolulu Symphony revealed that they didn't have enough money to pay the payroll because of the significant fall in subscription and ticket sales. They already delayed two concerts this weekend. Some insiders said that the symphony's executive board discussed about filing for Chapter 11 bankrupsy organization. The musicians' union filed a complaint with the federal labor board. They said that they found the pay of 25 part time musicians got reduced by as much as 50 percent without negotiating with the union. I feel bad not only because they are failing to survive but also there is always lack of communication and understanding between the management and the musicians whenever organizations are financially struggling. All about the organization's mission is not a matter anymore. I can unstnderstand that's reality especially when it comes to the situation you have to fight for surviving, but why do we see all the same scenes of disagreeing each other from different organizations when they have fatal financial deficit.   http://www.kitv.com/money/21525982/detail.html       Se Hyun (Claire)

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Higher Education: Take Note from Non-Profits

In his article regarding current funding models for higher education, Jack Stripling outlines the need for change.  With state and other government funding decreasing, colleges and universities are forced to explore other ideas.  Stripling points out that like many non-profits, higher education institutions have looked to the communities they inhabit for contributions, only to be rebuffed for their lack of actual community involvement.  Many have sought to create outreach programs in order to offer more to their local constituencies.

This is a great lesson for non-profits and universities alike.  It's easy to become absorbed in programs that serve a specific or internal audience, but it's important for both types of institutions to be aware of their constituency and the community that supports them.  Offering programs or performances that appeal to a larger audience can help an organization become more relevant, and develop a positive local image rather than appearing "walled off" or "elitist.  Effective community relations and partnerships are absolutely necessary for arts organizations and universities to support themselves.

http://www.insidehighered.com/news/2009/11/06/cref

-Katie

"Spiderman" Investors, Please Seek Professional Mental Help

When I first heard about Julie Taymor directing a musical version of "Spiderman" with music by Bono several years ago, I must say I was excited.  Anyone familiar with Julie Taymor's stage work (eg. "The Lion King") knows her to be an incredibly passionate and creative director.  Pair that with rock music by one of the world's biggest names, and you have the potential for a life-changing experience.  But now that "Spiderman, Turn off the Dark" is attemtping to get produced, it is very clear to me that the people involved with this project have completely lost their minds. 

The cost of capitalizing an average sized play on Broadway is somewhere around $2 million, and the average musical can reach up to and often exceed $10 million.  "Wicked", a recent mega-musical success story pushed the envelope and carried a price tag of $14 million to capitalize.  Due to overwhelming success, the show was able to recoup its investment in approximately 1 year, something most shows could never dream of with a $14 million price tag.  What is important to note is that it was and still is an overwhelming success.  Now, let's take that one-in-a-million story and apply it to the absurdly priced "Spiderman, Turn off the Dark" musical siting with a price tag of $50 Million, by far the largest in Broadway history.  No, that wasn't a mistake, the show is being capitalized at a price of $50 Million.  Reports also say that this musical will have weekly operating costs over $1 Million, which is unquestionably much higher than that of "Wicked" and should be considered completely ridiculous. 

Production has been halted serveral times so far, so who knows if this thing will ever even materialize.  I personally hope it does, so I can be there to watch it go down in flames.  I am not saying the musical will not be any good, or that the show will not sell well, but when you consider how long this musical would need to be an astounding success in order to pay off its capitalization costs, it is laughable.  I'm sorry, but investors in this show should seriously question their mental well being. 

-Brian

 

http://artsbeat.blogs.nytimes.com/2009/11/05/fate-of-spider-man-musical-could-be-determined-on-friday/

 

 

 

What would possess them?

While flipping through last Sunday's New York Times, I came across a full-page ad for the Broadway revival of Neil Simon's Brighton Beach Memoirs.  The same day, the $3-million dollar show closed, after only one week.  The same day, the NY Times published a story speculating on why the show flopped.   Common reasons were suggested:  no big stars, poor marketing, and passé comedy.

But here's something very interesting in light of the NY Times' speculation:  Michael Riedel of the New York Post reports that Brighton Beach Memoirs' producers struck an advertising deal with the New York Times that may have lead to the show's demise.  Here's the column, but in short, the NY Times offered deep advertising discounts in exchange for exclusivity.  According to Riedel, this meant that the show could not advertise through any other means – not even direct mail.  Riedel adds this advertising detail to the long list of possible reasons for the show's massive failure.

I find it hard to believe that anyone would give exclusive advertising rights to a newspaper … even the NY Times.  Sure direct mail is expensive, but it's one of the most, if not the most effective form of advertising.  So I'm left wondering what would possess anyone to strike such a deal in this day and age.  Sure, much of Neil Simon's comedy may be dated … even passé to some … but an advertising campaign resting solely on one newspaper is really behind the times.  I'm of the opinion that if you cannot saturate the airwaves, web, networks, and print with your ad campaigns – you probably shouldn't bother with general awareness advertising.  And as newspapers continue to shrink in content (and quality), I'm beginning to believe that newspaper ads are rarely worth the investment.  But even with a deep discount (Riedel doesn't give a figure), what could possibly be the benefit of such a deal?  

If you've ever flipped through the NY Times Arts section, there is so much advertising "noise" that at times it is hard to find the articles.  Sometimes there is page after page of full page ads.  The reader learns to block out the noise, keep flipping until they see some text.  It wasn't until I read about Brighton Beach Memoirs closing, that I realized I had noticed an ad for it the same day.

Could be interesting...

In an October 31 New York Times online article, writer Michael Gordon points out that the hottest thing in music right now is two video games-- Guitar Hero and Rock Band.  He goes on to raise the question, "So, why not Symphony Hero?"  With the institution of the Boston Symphony Orchestra's new interactive educational tool "Beethoven's Music Lab", the idea of involving audiences through new forms of media has entered the spotlight.  The first program of this sort, called "Keeping Score" was pioneered by the San Francisco Symphony.  Beethoven's Music Lab goes beyond Keeping Score-- allowing audience members to go so far as to re-write development sections of the composer's symphonies using their web-based interface.  Nintendo launched a foray into this area of interactive music-making with Wii Music-- which allows players to perform a variety of instruments using different motions and controllers.

These ideas definitely represent new and innovative angles of promoting classical music.  So will an interactive digital learning model take hold with classical music audiences?  It will certainly be interesting to find out.

http://www.americanorchestras.org/todays_news/309.html#403989

-- Katie