Community Theater (longish)....Let's Talk.

[theatahguy]

Posted: 4/26/07 at 11:04am

I'm trying to do a little research on how other community theaters do things in order to revamp some of our procedures.

A Little Background Info about my theater:
**Strictly volunteer.

**It's an arts center--the theater is the main thrust and what brings in the most money, but not the only thing happening.

**Not in a metropolitan area--about an hour outside of a major city

**The shows we've sold well in the past 9 years I've been with them are the same shows that sell well anywhere (Midsummer, Beauty & the Beast, Sound of Music, Wizard of Oz, Alice in Wonderland). Most other shows turn a very small profit (generally between $500-1,200).

I'm thinking about this because we have just come off of a production that was the biggest production we've ever done--in terms of--everything. We had nearly 2500 people come thru the doors (which is HUGE) and sold out 9 out of 10 performances and made about $12,000. While it was a good, solid, entertaining show, it certainly had flaws. On the other hand, we've got a TERRIFIC show running right now--recognizable-ish title, heavy drama, very well acted, well costumed, well directed--but it's playing to audiences of 10 on a nightly basis. We stand to lose several hundred dollars (which we cant afford to lose), which is sad because it came in so far under budget.

HERE ARE MY QUESTIONS:
1) How does your theater pick it's shows and directors?
2) How/where do you advertise or otherwise sell your shows?
3) What kind of budgets do you have?
4) How do you keep your audience once they've come thru the door?
5) How do you (or do you) strike the balance between strictly family-friendly shows and shows that are a harder sell?

I'm VERY VERY interested to get some fresh ideas that I've not thought. The thought of our theater closing its doors is not appealing, but I'm afraid that's where we're headed in the next few years if something doesnt change.

Feel free to send private messages if you prefer.

THANKS!!!

[Joelbeans]

Posted: 4/26/07 at 11:17am

I am the president of a community theatre group here in St. Louis. Your company sounds amazing to me. We are nearing our 10th anniversary in a couple of years. Our company was founded to help raise money for local charities. I wish we had a permanent home. Right now we have to rent space, which takes most of any profit that we make, and leaves very little for us to donate. We only do musical, or that is what we have done so far, becasue we have an amazing choreographer, and his dances are amazing. We are family oriented, so we have to continually watch what we are doing. We did Footloose a couple of years back and got a few comments made on the pelvic thrusts made on stage. I would like to try more daring pieces but our board is staying very conservative. For a while we had a theatre for free, and were able to donate and save quite a bit of our profit, but now that facility, like all the rest, wants to charge for the use of their facility. As for publicity, we look for any free publicity we can. We have a local TV show in the mornings and afternoons here, and they allow people to come to the window, and promote their event, sort of like the Today show, so we get a group of people, and sometimes perform, it is good, free publicity. We had a member that worked at a radio station and was able to get us a spot here and there on the radio.
I just hate not having a home that we can build the set in, rehearse in all the time, and have plenty of time on the set, instead of changing things when we get into the theatre, because you know everything changes when you move into the theatre. The set changes the blocking and choreography, etc....
I would love to continue to talk about this. We are always lookinf for ways to help our group.

Joel
President
Bravo Theatre Group
St. Louis, MO

[Michael Bennett]

Posted: 4/26/07 at 11:20am

Having never actually run a theatre, I can only speculate, but I actually think most theatres - community or otherwise - take into some account a profit/loss scenario when they plan their seasons. Exactly as you say - they know they will make money on THE SOUND OF MUSIC but realize it will be offset by less ticket sales for a production of a David Mamet play.

There isn't really any way around that if you want to have well balanced, diverse, stimulating seasons. Just look at the grosses on Broadway for plays compared to musicals - there is a huge discrepency.

Advertising and PR will honestly only take you so far in any not-for-profit theatre setting. All theatre depends upon the "kindness of strangers" to thrive and to exist at all -- i.e. donations.

You might try to work up a five year business plan for the theatre and specifically pinpoint how you can raise more money to offset the cost of productions, because you simply will not be able to run any kind of theatre if you are dependent on ticket sales to stay open. It simply can't happen.

Do Fundraisers - yes - but try for more corporate sponsorship. Write letters. Start with selling more advertising space in your playbills. Create excitment about your theatre's "unique" mission statement in local papers.

Keeping a theatre open takes a lot of work. A LOT. But it can be done.

[theatahguy]

Posted: 4/26/07 at 11:47am

Thanks for you input. So it sounds like corporate sponsorships and family-friendly fare are the way to go. It just bothers me that Tony and/or Pulitzer winners or new works or the classics get pushed to the back because they wont sell. I played The Glass Menagerie a few years ago, to 2 people. We've got 2 actresses who would KILL (um, no pun) in Night Mother. 2 more who would astound in Streetcar. I'd love to do Rabbit Hole (or any other damn thing by David Lindsay-Abaire), or Virginia Woolf. There's gotta be a way to meet halfway and be financially successful and retain the artistic integrity.

Joelbeans, no one has ever accused us being "amazing"! LOL I know what you mean about getting flack from the community for the things you do. A few years ago we caught hell for doing Gypsy. Several letters to the editor talking about how "tawdry" it was, etc. But on the flip side, as soon as those letters appeared, we got several calls asking if we still had tickets available.

[Michael Bennett]

Posted: 4/26/07 at 11:59am

Well, if you aren't doing it already - you also MUST sell season tickets. That's how you make money up front, and how you rope audiences into seeing shows like say RABBIT HOLE that they've never heard of and wouldn't normally go to on their own.

You will never please everyone, so don't worry about that aspect. You could do ANNIE and get complaints from certain audience members. That said you do need to know your audience. If you are in an ultra conservative area - a season made up entirely of Tony Kushner plays probably won't go over well.

Find that balance. And find out who is giving money to the larger theatres in your neighboring cities...

[theatahguy]

Posted: 4/26/07 at 12:04pm

Season tickets are being sold but not many being bought! How have you seen them pimped successfully?

[Michael Bennett]

Posted: 4/26/07 at 12:15pm

You have to raise enough front money to do ads in local papers and to do mass mailings. You also need to offer a "significant" enough discount to make it worth people's while to buy a package.

Selling season tickets does work but requires a signifcant amount of PR work. Add that to your task list - to find somebody who can really help you as a sort of press agent.

[theatahguy]

Posted: 4/26/07 at 12:23pm

check.

[Enjolras77]

Posted: 4/26/07 at 12:37pm

Here are my two cents...

First of all I want to echo everything that Michael Bennett has said. He makes excellent points.

As stated before, make sure you know your comminuity and what types of shows, music, entertainment are popular. Do one or two shows a year that would appeal to the community and then use these funds to cover the expenses of some of the less well-known or "edgy" works.

I work for a community theatre about an hour outside of Charlotte, NC and a couple summers ago we had planned on doing a large-scale musical but the rights were pulled at the last second and we were left having to find a substitute. We ended up doing the show Smoke on the Mountain. I don't know if you are familiar with it or not, but this former Off-Broadway show is set in a small baptist church in 1930's North Carolina and the score consists of religious and bluegrass music. With a community still located within the "Bible Belt" this show took off and sold out its run. The show was very inexpensive to produce (unit set, few roles, no costume changes, etc) but it made enough profit to pay the performance rights for the rest of the season. As a result we did an encore run of the show the following season as well as the sequel to the show The Sanders Family Christmas. All of these shows sold well and allowed the theatre to afford doing more obscure or less-family oriented shows during the rest of the season.

Decling season ticket sales are a problem throughout community and professional theatres across the country. Many patrons now would rather by single tickets to the shows they want, rather than have tickets to every show. Many of them are not afraid of not being able to get seats if they don't buy a season package. The idea then is to make buying a season subscription advantageous to the patrons. I don't know how many shows your theatre produces in a year, but maybe offer different types of subscriptions. Say you do five shows a year, in addition to full season subscriptions, offer 3 and 4 show packages where they can choose what shows they want. This way people who only want family-fare can choose that option, and the patron who loves the edgy stuff can choose only those shows. Yes you may lose the patrons, who if buying a full season, would be forced into shows they don't care to see -- but you may entice the people who would only come to 1 show per season to see 3.

Also, in addition to ticket discounts, offer special events for subscribers -- like talk-back sessions with the actors, invitations to opening night parties, the opportunity to attend an end of the year awards gala -- and they are allowed to vote on the winners. Special events and opportunities like this would help make being a subscriber more attractive.

One other suggestion -- although it may not be the most popular thing with directors and adult actors do a show every now and then that has a large number of children in the cast. You will always have a decent audience because many of the parents will come to EVERY performance (as well as aunts, uncles, grandparents, etc.). Just make sure to have a strict comp policy (maybe on 2 tickets per performer for the entire run and not each performance) and make sure they pay (even if it is a reduced rate) each time.

Please PM me if you have any other questions. I would be happy to share other strategies and ideas that my local theatre has tried.

[Shakespearean]

Posted: 4/26/07 at 1:06pm

I am surprised it took so long into the thread for someone to mention season tickets. These are often the bread and butter of community theatre. The key to selling these is, well obviously, a strong season which means a big and popular opening, closing and middle show between which you can do something for yourselves and the craft. Don't discredit art or 'harder' shows because it lends credibility to your company. I've done my share of shows in small communities that boiled down to 'I didn't really understand it so it must have been good/art'. Likewise, as long as the season ticket price for five shows is cheaper than four shows individually (for exampls), you can afford to do a tougher show to sell. Don't look at it as indulgence, look at it as perpetuating our craft and, who knows, you might be surprised at who will come out for them.

Another cheesey but effective way to fill some seats in community theatre is to do at least once production a year with a mess of kids in it. Everyone drags their neighbors and family to see Little Debbie in Annie or Oliver. You can also cut a deal with local schools and what the heck? You're not paying your cast anyway, who cares how many kids are in it?

Seasonal staples are another way to sell tickets in a community theatre. Start local family traditions of coming to see A Christmas Carol every year, etc. Corporate sponsorhips will be easier for some of these if you can sell them on the longevity and helps to sell a 5 year business plan.

Last suggestion? If your facility is suited to it, or you can find a local venue, cabaretshows featuring some of your regulars. Light, funny, royalty free shows that make you a few bucks but sell the locals on your talents. Easier to showcase and you can balance out the more family oriented stuff with more mature themes all under your same umbrella.

Just some thoughts! Good luck!

[Shakespearean]

Posted: 4/26/07 at 1:06pm

Wow. Hrm. No idea why this double posted. I will try to put something relevant and pithy in its stead. Um, hrm. Oh!

Bible Belty community? Try 'Inherit the Wind' and let the audience vote as the jury Updated On: 4/26/07 at 01:06 PM

[theatahguy]

Posted: 4/26/07 at 1:35pm

As someone said above, we are "bible-belt"y too, so choosing shows can be difficult.

We generally do 1 or 2 musicals, one show put on by our teen group (cast of teens directed by a teen with an adult advisor overseeing all of the proceedings) and the rest are a grab-bag, making up a 5 show season. If a Christmas-type show is not submitted for consideration, we put some kind of "holiday entertainment" in that slot. We tend to do a Shakespeare play once every two years.

To give an idea of what we do, here's are some examples of some of our previous seasons (in no particular order).

Robin Hood
The Crucible
R&H's Cinderella
The Tempest
Dont Drink the Water

Twelfth Night
The Fantasticks
The Little Prince
Noises Off
Once Upon a Mattress
(this season looks good on paper, I think, but the season as a whole made about $1,100)

Night of the Living Dead
Alice in Wonderland
10 Little Indians
Disney's Beauty & the Beast
The Lion in Winter
(with the help of Alice & Beauty, this was very likely our biggest selling season ever--the rest of the shows made pennies, with Lion in Winter losing $$)


The Lion, the Witch and the Wardrobe
Steel Magnolias
Nuncrackers
MacBeth
Little Women (not the musical)

I suppose that on paper, these season look fine (opinions on that?? would you want to see this lineup?), but something is just not clicking....

[Michael Bennett]

Posted: 4/26/07 at 4:23pm

I don't think the bible belt issue is the main problem. Actually, I think part of the problem may be that you aren't doing enough well known titles as your anchors. For community theatre in most areas - every season needs a big ticket seller -- BEAUTY AND THE BEAST, PETER PAN, CATS...

These shows are more expensive to produce but they will also generate a lot more interest and ticket sales. MATTRESS and CINDERELLA just aren't going to generate big buzz. But, even being in the bible belt, I can promise you if you did HAIR you'd sell out every show...


Other potential problems - unless you are doing "themed" seasons - some of your offerings feel a little repetative. The season with MATTRESS featured three fairy-tale-esque fantasies (arguably 4 if you consider Twelfth Night).

Surprisingly, I also think you might do better doing a few more contemporary straight plays -- The Lion in Winter and 10 Little Indians are such community theatre staples - your audiences have probably already seen 20 productions of them. You can't really blame them for not wanting to come see them again. Being able to say "direct from Broadway" or "regional premiere" I think pulls a lot more people than old chestnuts.

In terms of children - I agree with what has been said above - if you don't want to flood your theatre with actual children - consider doing shows targeted at children, that feature adult actors. The Children's Theatre in Minneapolis and the Dallas Children's Theatre has had brilliant success in doing adaptations of currently popular children's books like JUNIE B. JONES featuring adult actors.


Updated On: 4/26/07 at 04:23 PM

[theatahguy]

Posted: 4/26/07 at 5:04pm

OK!!! This is good, MB. This is the kind of stuff I'm wanting to hear.

Peter Pan....ahhhhhhh, if only we had a fly system.

Cats........errrrrrr....if only we had dancers.

Hair.....hell yeah!! i'd get naked!

Keep 'em coming!!

[Michael Bennett]

Posted: 4/26/07 at 5:17pm

Well, don't limit yourself just based on who you "have." If you announce you are doing CATS; send notices to every dance school in the area. If you do HIGH SCHOOL MUSICAL, send notices to every high school in the region. If you do HAIRSPRAY, get hooked into the different African American organizations in your local cities. The talent will come.

Picking shows just based on who you know you have a) limits yourself and b) keeps your theatre insular.

You want people to come out of the woodwork to audition - it will give new exposure to your organization!

The surest way to do that is to pick shows that "everyone" wants to see and/or be in...
Updated On: 4/26/07 at 05:17 PM

[son_of_a_gunn_25]

Posted: 4/26/07 at 5:26pm

I'd echo offering special events for season ticket holders. Everyone wants to be part of something. You need to make your patrons feel like they are an integral part of the theatre. Be appreciative, thank them for their support, but above all be genuine. People can smell butt kissing a mile away. What percentage of earned income versus unearned income are you operating at? Is there the possibility of further developing giving to the theatre?

If you've never read the book or listened to the tapes, I'd recommend "Managing the Non-Profit Organization" by Peter F. Drucker. Some of what he says about volunteers can be applied to theatre goers who are supporting you. It is a very useful book.

[kyle.]

Posted: 4/26/07 at 7:33pm

Another trick for making more money is having your big seller of the season run longer. If your shows normally run 2 weekends, have CATS or HAIR run 4 or 5. While you will be paying double the amount of royalties you usually pay, you'll be selling double the amount of tickets.

Local restaurant tie ins can also be popular. Dinner and a show for X amount. Great promotion for the restaurant and your show. 1000s of people dine at a restaurant per week. And locally owned businesses usually enjoy helping out local theatres, etc. Advertise the deal on your posters and newspaper ads. The restaurant is getting promotion.

Try to get a business to sponsor each show. They give you X amount of money (which they write off anyway) and you put their name on all the posters, ads, and programs.

The Drama Group presents
The Wizard of Oz
sponsored by Evan Michael Salon

I know of a theatre who got a local car dealership to pay for the printing of their tickets if they printed their logo on the back of each ticket. The dealership has been paying for all their printing costs for years now. And they write it off anyway.

Also, some community theatres do one patron picked show a year. At the last show in the season they insert a ballot in the programs saying We value you! We appreciate you! You support the arts! You are a wonderful person! We are dedicated to providing you with the kind of entertainment you want to see! Out of the following 3 or 4 musicals, which would you most like to see produced next season? You list shows you know you could pull off and whatever gets the most votes gets produced. The audience feels like they play a role in your theatre company.

[SeanMartin]

Posted: 4/26/07 at 7:49pm

I work with a small community theatre in central GA that does one show during the summer. The advantage it has is that the couple who run it are from the local high school (He teaches drama; she teaches dance), which has had a long-standing relationship with the community. The school is well known for its productions (It's taken home awards at the regional and state level for almost a decade), so the community responds well when the summer theatre production is unveiled.

What Scott and Suze have discovered is that audiences are NOT predictable. OKLAHOMA might sell well, but SOUND OF MUSIC didnt. ONCE ON THIS ISLAND did great business, but ANNIE sat there and died. Having a lot of kids in the production isnt a guarantee of success -- ask anyone who's seen the Greensboro Community Theatre productions, which may have upwards to 250 kids but still struggles (mostly because the productions themselves are pretty awful, but that's another point altogether).

IMHO, you *can* do edgier material, but it has to be presented in the right way. Maybe a particular production doesnt need to be performed in your space; maybe you could look at performing it somewhere else, like a cafe or a bar or a library or a warehouse. Because it would play to a smaller audience, the expectations for the company would be lower, but the PR value is without price.

One thing I'm finding is that the truly successful community theatres are looking (and thinking) way outside the box.

[Joelbeans]

Posted: 4/27/07 at 8:31am

Theatahguy, I want to thank you for starting this thread. As stated before I am the president of a local theatre group here in St. Louis and we do one show a year. Here are the shows we have done:
-Crazy for You-did reasonable well ticket wise
-Music Man-Did Ok ticket wise
-George M!-did pretty well since not many people knew the show.
-Joseph-did amazing, we almost sold out a couple of nights
-Footloose-we had problems because this was the first year we had to rent a theatre, and that ate up most of our money.
-Damn Yankees-thought this would be a bigger seller than it was
-42nd Street-this show was jinxed from the start, but didn't sell well, and the tapping was amazing
We are getting ready to do Godspell, and we are renting a church to do the production, it should be pretty good, the church actually does drama there so they are equipped with lights and sound, and has some kick ass musicians to help out.
Since we are so financially strapped, what are some other ideas that can help us make money.
We have done a couple of revues, and they have done decent, but again we donate, this time, since we are having to rent space I think we should do a revue and have Bravo use the proceeds from that to help get the company back on its feet. We had one year, where we were on the verge of closing the company, which breaks my heart. The productions may not be professional, but this is like a family to me. My board has sort of dwindled away. We all started out and were so young, then most of them got married and now they are all dealing with kids, and don't have as much time to devote to the group.