momorantings

In my role as Director of Communications at Arena Stage, I supervise media relations in addition to marketing and a few other areas. As originally intended, this blog was developed to discuss arts marketing, however from time to time, I stray a little and write about topics that affect media relations, as will be the case today. A couple of weeks ago, I found myself participating in a very interesting discussion via Twitter with Howard Sherman , Peter Marks , Trey Graham , Nella Vera , David Loehr and Kris Vire . This impromptu panel discussion was centered around the affects of social media on traditional practices in arts journalism. With both publicists and journalists recognizing that the traditional media landscape is changing, it made me think about what's next. Below are my thoughts that formed in the weeks since. For a primer on the subject, may I suggest the following articles: " Should Theater Critics be Allowed to Tweet an Opinion Before Writing a Review ?" Wa

So, I've been noticing a plethora of ads (such as the one above) that feature "real" people. They're cheaper than discredited celebrity endorsements. The trouble is people don't believe they're average and they certainly don't want to identify with the typical customer. They don't see one of us, they see someone they'd cross the street to avoid. Far better to focus on your customers' aspirations than some aggregated categorisation that exists in the marketing department and probably nowhere else.

I was roused from my marketing world exile last night by a live performance of the acclaimed MacLeod - Earls double-act. They were discussing social objects in a convivial social setting (well as convivial as a media member's club can muster). Having known them both for years, it's a subject we've discussed at length, but I never fail to come away with some new nuance. That didn't seem to be true for some of the audience who were still thinking in terms of deliverables despite having been explicitly told not to. The deliverable may, in fact, be the ability to distinguish between a contrived social object and a genuine one. The former is that produced by those marketers who see this as the latest marketing bolt-on. The latter is that which is shared by those marketers who know that disruption isn't gentle and that it requires you to question all your previous assumptions.

I think for most of us that work in the nonprofit theater, our dream is to create exceptional art that is accessible to everyone. Speaking for me specifically, this is the reason I decided to make a career in the nonprofit resident theater, rather than some of my peers who opted for the commercial theater. There are times when I am envious of the visual arts, particularly in Washington, DC, which due to their funding models, many of which can provide exceptional art free of charge to the public. The predominant model for visual arts institutions in DC is based on uninhibited access. Wouldn ’t it be great if the performing arts were the same way? The nonprofit resident theater model developed in a completely different manner however. In fact, Arena Stage was founded in 1950 as a for-profit entity, and thrived for years as such. From the very birth of resident theaters, patrons were charged to access the art, and we have had to fight to keep funding models in place that support accessibl