tag:blogger.com,1999:blog-52349104127058213002024-02-20T14:51:54.812-05:00off-stage rightJodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.comBlogger116125tag:blogger.com,1999:blog-5234910412705821300.post-10316613426876954532009-05-09T01:24:00.001-04:002009-05-09T01:24:52.069-04:00George Thorn, theater guru – interview in THE OREGONIAN<h5>I had the great honor of being a student of George Thorn at Virginia Tech (I actually think I was his last graduating student).  George and his partner in Arts Actor Research, Nello McDaniel, continue to be among the wisest counselors for theater and dance in the country – we used to call them gurus and I think it still fits.  The books that were published by Arts Action Research still grace my bookshelves—and many of my friends.  </h5> <h5> </h5> <h5>Interview: George Thorn on the ecology of the arts community</h5> <h6>May 02, 2009 09:00AM. <a href="http://www.oregonlive.com/art/index.ssf/2009/05/interview_george_thorn_on_the.html">OregonLive.com</a></h6> <p><img style="display: inline; margin: 30px 25px 5px 0px" src="http://blog.oregonlive.com/ent_impact_arts/2009/05/large_thorn.jpg" align="left" /></p> <p> </p> <p>If you're a struggling arts organization, who would you call for 9-1-1 advice? </p> <p>Probably George Thorn, the Portland-based independent arts consultant who's likely in the Rolodex of every arts organization in town. </p> <p><a name="more"></a></p> <p>Off and on for more than four decades, Thorn has advised arts nonprofits around the country to plan and strategize finances, programming, board development and administrative infrastructure. Never, it seems, has this expertise been in greater demand than now, during a recession that has forced most arts institutions to cut budgets in response to, and in anticipation of, a difficult year. </p> <p>Born in Indiana, Thorn, 72, studied theater at Butler University in Indianapolis and also at Yale University. In 1959, Thorn moved to New York, where he began a career as a stage manager and then general manager of Broadway productions. After three years in Connecticut as the executive vice president of the Eugene O'Neill Theater Center, Thorn began to shift to consulting, eventually starting Arts Action Research with Nello McDaniel. </p> <p>Thorn and his wife, Nancy, a former theater and television dancer, moved in 1996 to Portland, attracted to the city's modest scale and scrappy arts scene. Because of his partnership with McDaniel, Thorn spent much of his first 12 years in Portland traveling to New York for work. These days, Thorn spends most of his time in town, though he and McDaniel continue to work together. </p> <p>Since 1996, Thorn has advised more than 75 Oregon arts and culture institutions of all sizes, disciplines and levels of success, including the Portland Art Museum, Portland Center Stage, Chamber Music Northwest, Northwest Children's Theater and the now closed Portland Art Center. </p> <p>Last month, he was honored by The College of Fellows of the American Theatre, an organization based in Washington, D.C., that promotes professional theater. </p> <p>Recently, Thorn talked with The Oregonian about the financial health of Portland's arts institutions, the state of fundraising here and other arts issues. The interview was edited for clarity and space. </p> <p>Q: You were so immersed in New York's arts world. Why did you leave? <br />A: Nancy and I left New York in 1974 for a couple reasons. It was the time of New York City's first economic crisis. This great city was disintegrating. It was also the time of a great transition within professional theater. In the theater, professional producers used to be the ones who put the shows together. But at the time, there was this transition from professionals to people who weren't professionals but could raise money. I had another business partner back then and together we managed five different shows for one producer. That producer could raise money. But he had no sense of aesthetics. It was just time to move on. </p> <p>Q: You've been an arts consultant during a time that spans the emergence and maturity of nonprofits. What's been the biggest development? <br />A: One difference is that there used to be this belief in an institutional model. Whether you were an orchestra, a small gallery or museum, you were supposed to fit into that model. People are now organizing in terms of the way they need to as opposed to the way they are supposed to. </p> <p>Q: Is that good or bad? <br />A: It's a great thing because the idea that one model can serve a collective that is so wide-ranging is not healthy. Many small and midsized organizations tried to fit into a model when they shouldn't have. </p> <p>Q: Having witnessed New York's economic collapse during the '70s, how bad is this current recession? <br />A: This is the most serious recession I've ever seen. It's not cyclical. When we come out of this, we will be different. I don't know how, but we'll be changed. There's little in our past experience to help with this. </p> <p>Q: We've seen many arts organizations scale back costs because of the recession. But shouldn't we expect some to shutter entirely? <br />A: I would think so. The way I would describe it is this: If a nonprofit was relatively balanced before the crash and endowed with good leadership, then they'll find their way through this. But if a nonprofit was out of balance financially, then the stress will be a hundredfold. </p> <p>Q: Nonprofits have made budget cuts. But given the cycle of budgets, isn't the worst ahead of us? <br />A: I think everyone is making cuts because income and endowments are down. So in December and January people began to rethink budgets and how to break even. But I think balancing budgets for 2009-10 will be much harder. When the crash happened in October, performance organizations, for example, already had subscriptions, and year-end giving was coming in. </p> <p>But only now and into next year will we truly see the ramifications on ticket sales, fundraising and memberships. I suggest nonprofits conceptualize not only for the several months left in this year but also for the time carrying forward into next year and beyond. People need to be working on an 18-month cycle now. </p> <p>Q: What other advice are you giving nonprofits? <br />A: Be income-driven as opposed to expense-driven. If you are expense-driven, you build an expense budget based on what you want or need to do. Then you create income budgets to balance that. But if you are income-driven, you will develop your expenses responsibly and in line with the money you have. </p> <p>Q: What's the single biggest mistake nonprofits make? <br />A: Growing to a size and scale beyond the mission. That's when it loses its center, its mission, and tries to become something more than its resources indicate. Of course, it's easy to understand why this happens: Our society is based on growth. That's the primary criteria for success: Are we getting bigger, doing more programs? Groups thus feel this pressure to grow bigger. That's how nonprofits get a mile wide and an inch deep. </p> <p>Q: Nonprofits talk a great deal about the shallow funding base. Do you think they're right? <br />A: Yes. Portland is the most difficult city to raise money that I've ever worked in. Portlanders surely appreciate what they have culturally. But what's missing, to a degree, is an understanding by them that an investment is necessary in order to keep what they have. They have to give money. Another reason is that there is a thin layer of support overall. What the city and the Regional Arts & Culture Council (the nonprofit devoted to arts funding for the Portland area) have done is important in terms of funding, but it can't compare to other cities. We also have a thin base of corporate funding because so many businesses are moving out. The foundations have been generous but that, too, is a small base. </p> <p>Q: So it's difficult to raise money here, but do you think there is actually money to raise? <br />A: Overall, no. From individuals, yes. The corporations have been doing what they can. But again, that's a small base compared to other communities in other cities. </p> <p>Q: You've talked in the past about a system of individual donors. <br />A: There is a window closing on the old system of donors here. The old system is composed of the families who long ago took responsibility for patronizing arts and culture and other sectors of the community -- Arlene and Harold Schnitzer, for example. As that generation passes, wealth is spread out across the next generation. But sometimes that next generation doesn't have the same interests and passions of their parents, though Jordan Schnitzer clearly does. Our large budget organizations, like the Portland Art Museum, will likely get through that closing window. But not others. What will replace that new system? We have some elements already -- RACC's Work for Art program, the Oregon Cultural Trust, maybe a dedicated funding stream down the road. In other words, there are a lot of individuals out there with money, but they aren't in the arts and culture system. </p> <p>Q: In the visual arts word, there's been a dream to create a contemporary art center. There have been various attempts, but each has failed. Can it happen here? <br />A: I'm not sure there is a level of support for a center of the quality and size we desire. I think the first thing that would have to happen is that people would have to be prepared to commit a significant level of funding. Because if we are talking about a center with national, maybe international, reach and ongoing education programs, then that's a big price tag -- at least a $3 million or $4 million budget. </p> <p>Q: Why isn't the support there? <br />A: I did a presentation about 18 months ago in Seattle. At the time, Seattle had just expanded its museum with a new outdoor sculpture garden. There was also a new great symphony hall and a new library designed by Rem Koolhaas. We just don't dream like that in Portland. It doesn't mean we don't dream. We just dream differently. We dream about light rail, sustainability, bicycles, green culture. </p> <p>Q: Mayor Sam Adams recently introduced an idea to create a ballot measure for arts funding. What are the chances of such a measure passing? <br />A: It would happen only with a real educational effort to articulate why arts funding would add value to all of our lives. And we are a long way from that kind of understanding. On the other hand, if the arts community can rally all of its audiences, donors, members, workers and volunteers over one or two issues, then they won't be stopped. </p> <p>Q: Don't you think the recession will affect people's willingness to give money? <br />A: Yes, but on the other hand, this is the best time to plan, to strategize, so that when we come out of this recession, we'll be prepared and ready. </p> <p>Q: The ballot measure is really the mayor's idea. But he's been compromised politically because of the Beau Breedlove scandal. How will that affect any possible measure's chances? <br />A: I don't think the mayor will be that key. What's more important is whether a grass-roots movement develops. It will be a collective effort that won't be dependent on any one person. </p> <p>Q: You and your wife, Nancy, could just enjoy a simple life in Portland after many years on the road and having accomplished so much professionally. Why bother with struggling organizations now? <br />A: It's simple. I get to work with terrific people and I love the work that I do. </p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-69319244865130308942009-05-07T17:08:00.001-04:002009-05-07T17:08:04.315-04:00NYTW – Great Twitter contest, even better customer service response.<p>New York Theater Workshop has a fun Twitter contest that captures email address and offer core followers discounts.  It started this morning with tweets for #TheatreThursday counting down to a ticket give-away (twitter category day where you are supposed to tweet followers you recommend).  Then came the tweet with a link to this:</p> <p><img height="1" src="http://www.nytw.org/imgs/x.gif" width="5" border="0" /></p> <p> </p> <p><img style="display: inline; margin-left: 0px; margin-right: 0px" height="600" src="http://www.nytw.org/imgs/todh_new-artwork.jpg" width="400" align="right" /></p> <p> </p> <p> </p> <p>Welcome Tweeters!</p> <p>Here's how to enter and win <br />a free pair of <strong>TwitTix</strong> to <em><strong> <br />Things of Dry Hours</strong></em><em><strong> <br /></strong></em> <br />Email <a href="mailto:marketing@nytw.org">marketing@nytw.org</a></p> <p> <br />with the subject line: <br />First Thursday TwitTix! </p> <p>Please include your <br /><u>name</u>, <u>phone number</u> and <br /><u>email address</u>. </p> <p>The first email received will win a pair of free tickets to be used during one of the following performances: <br />May 22 @ 8pm, May 23 @ 8pm <br />or May 24 @ 7pm. <br />Winners will be contacted by 6pm Friday, May 15th.</p> <p>Good Luck!</p> <p> </p> <p> </p> <p></p> <p></p> <p></p> <p></p> <p> </p> <p> </p> <p> </p> <p>I wanted to see what happened, it looks like a great show, and I wouldn’t mind seeing my friends work (shout out to Ruben Santiago-Hudson and Roslyn Ruff).  So I emailed to see if I could win.  Here is the very smart email I got back: </p> <blockquote> <p>Dear Jodi,</p> <p>Thank you for following NYTW79 on Twitter and entering to win TwitTix. Unfortunately you were not the first to enter. The good news is that next Thursday from noon to 5pm NYTW will be giving away another pair of free TwitTix.  </p> <p>For being an NYTW Twitter follower we would like to offer you a special discount for tickets to <i>Things of Dry Hours</i>. Purchase tickets by June 8 and tickets are just $32.50 each for performances on May 22 and 23 and $40 each for performances May 24 through June 28! (reg. $65). To purchase tickets, call (212) 947-8844 or visit <a href="http://www.broadwayoffers.com/">www.broadwayoffers.com</a> and use code <b>DHTWR430</b>. <br />*Offer expires June 8, 2009</p> <p>Thanks again and continuing following NYTW79 for more free tickets and discount offers!</p> <p>-Becky</p> <p><b>Other Great Ways to Save at NYTW</b> <br /><b>CheapTix</b> <b>Sundays</b> <br />All tickets for all Sunday evening performances at 7:00 PM are $20 (Limit 4 per customer and subject to availability). Tickets are available in advance but must be purchased at the NYTW box office on a cash-only basis. Student tickets ($20) are still available for these performances. </p> <p><b>Student tickets</b> <br />Full-time students with a valid student ID may purchase $20 tickets for all performances (subject to availability). Limit one ticket per ID. Tickets must be purchased in person and require an ID at the box office. For tickets, please visit or call the NYTW box office (212-460-5475). (full-time students only) </p> <p align="left">Rebekah Paine</p> <p align="left">Marketing Assistant </p> <p align="left">New York Theatre Workshop</p> <p align="left">79 East 4th Street</p> <p align="left">New York, New York  10003</p> <p align="left">P: 212.780.9037 X 114</p> <p align="left">F: 212.460.8996</p> <p align="left"><a href="mailto:rebekahp@nytw.org">rebekahp@nytw.org</a></p> <p align="left"><a href="http://nytw.pmailus.com/pmailweb/ct?d=H2KqugByAAEAAADSAALGVQ"><strong>Become a fan on Facebook</strong></a></p> </blockquote> <p> </p> <p>Here is why I am impressed:</p> <p>First, it is personalized. It took a moment on the reply, but it was a nice touch.  </p> <p>Second, it was from a real person with a real email address who will now be the person I reach out to for NYTW tickets (Rebekah, you may regret that).  </p> <p>Third, I got a special offer as a twitter follower.  </p> <p>Fourth, they gave me other options as well.  </p> <p>Fifth, they captured my email address (and my cell number I just realized since it is in my signature) and reminded me to become a fan on Facebook (already am).  </p> <p>And finally, the whole thing felt like NYTW – downtown, cool factor – check, personalized community feeling (check), and bold compelling graphic (check).  </p> <p> </p> <p>Rebekah – I don’t know if this was your idea, but I will send this post to Billy Russo, if he can’t give you a raise he can tell you “job well done.”</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-33363095223191444832009-05-07T01:08:00.001-04:002009-05-07T01:08:48.133-04:00Relationships between commercial and nonprofit theatre primer<p>Partnerships between commercial theatre producers and nonprofits are becoming more and more common across the United States. Each season, I end up consulting on several of these agreements.  For better or for worse the number of people who call themselves commercial theatre producers and shop/buy shows to/from nonprofits has increased significantly.  The partnerships are happening nationwide.  </p> <p>Whether developing new work or creating a new interpretation of a classic, I think it is imperative that nonprofits take the position that as original producers of a show they are entitled to significant participation in the future productions.  The strength of the negotiation position is usually derived from whether the nonprofit holds the right to the production and brings the project to a commercial partner or whether the commercial partner holds the rights.  The former is always more beneficial in negotiations.  </p> <p>It is key for a nonprofit not to get trapped in the idea that these partnerships are just financial transactions – they are so much more than that.  Here are some basics!</p> <p>Simple definition of some key terms:</p> <blockquote> <p><strong>Enhancement</strong>: An individual, group or entity pays the nonprofit a certain amount to produce the show usually based on costs beyond the traditional budget of the nonprofit’s production of a similar show. There is usually a rights exchange between partners. This money is considered earned revenue and is not a donation. The nonprofit would most likely have future participation as original producer. </p> <p><strong>Non-recourse loan</strong>: An individual, group or entity “loans or guarantees” the funds or part of the funds to produce a show. The “loan” is repaid out of “net profits of the production.”  This framework is not used as often as enhancement.</p> <p><strong>Production/producing partnership</strong>: a relationship between nonprofit and commercial theatre where there is no financial transaction but rights are assigned (usually from the commercial producer to nonprofit), but participation in future production is contractual. </p> <p><strong>Producer:</strong> Raises funds for and “manages” commercial production. Participates in producer’s gross royalty and producer’s portion of the net (usually 50/50 split before deals), above the title billing.</p> <p><strong>Investor</strong>: someone who gives money for a commercial production and is eligible for repayment of investment and a share of profits.</p> <p><strong>Donor</strong>: someone who gives money to a nonprofit in exchange for tax deduction or donor benefits</p> <p><strong>Participation</strong>: can include several terms on a future production including but not limited to, royalty, net participation, the right to raise funds for a production, billing, artistic approvals, consultation, etc.  Participation does not necessary equal money.</p> <p><strong>Original producer’s royalty</strong>: Royalty varies, almost certainly includes gross participation (.5-2%) and can include net participation (2.5-10%). Level of participation usually depends on who has the rights and how “hot” the property is.</p> </blockquote> <p>It is a myth that original producer can only have a role in the commercial production if they make a financial contribution. Defining future participation is key to any production agreement.  Three most important factors to a nonprofit for any partnership in a commercial production –  billing, who has the decision to close the show, and financial participation.  Other important issues are approvals and expense/marketing decisions.  </p> <p>Billing is highly contested now. Most producers will now not agree to above the title billing without financial contribution to capitalization. The status of the theatre would certainly affect the deal they can make.  </p> <p>The most important, difficult, and controversial decision in any production is when to close the show.  This is the decision that can ruin relationships between partners.  The factors are not as cut and dry as how well is the show selling.  There are many things to consider: sales, awards, artist relationships, investor relationships, subsidiary rights, and additional productions such as tours.  More often than not these factors are at odds with one another. </p> <p>I encourage every nonprofit entering into an enhancement deal to make sure that they are allowed to serve as actual partners on a future production.  There are two basic models for acting as a Producer/investor in a commercial project if you are nonprofit theater – many organizations use both:</p> <blockquote> <p>1. Form a for-profit subsidiary and raise funds or invest organizational funds (something I would advocate against).  In this model, the nonprofit would act as any other commercial producer or associate producer would with appropriate financial participation and role in production decisions. Risk – IRS could determine income as taxable (unrelated business income), although many precedents against. </p> <p>2. Raise or invest organization funds as the organizations itself. In this model, the nonprofit would act as any other commercial producer or associate producer would with appropriate financial participation. Risk – non-profits and for-profit can not be on same level in LLC structure, so in this model the role in production decisions would have to be legally defined. It also must be very clear that investors are working with the LLC or other corporate structure they are not donors to the organization.</p> <p>Risk in either model is that the nonprofit could be asked to waive original producer’s royalty and participation, which I would fight. It is an easier fight under the first model, but the second model (my favorite) is becoming more and more preferred by many non-profits.  I don’t think an organization should consider an enhancement agreement without the right to raise a significant portion of the capitalization.  It is a right to do it, that can always be waived.  But it is very important to have a choice as to whether to participate as a producer and participate in the producers financial portion of the commercial venture.</p> <p>NOTE: There is no way for a commercial investment <u>or</u> enhancement to count as a donation.  If there is an exchange of rights, billing, repayment of the investment, or other benefit it is not a donation.  This is often confusing in the second instance above or with enhancement agreements.  You must know if the commercial corporation or partnership that is going to be formed is going to account for the enhancement in it’s capitalization – if it is it cannot be counted as a donation in any way.  Without question how funds are designated enhancement (which is earned revenue) or donations needs to be established up front and in writing and can’t be switched back and forth based on how a show does.</p> </blockquote> <p>An issue a nonprofit should address before working with a commercial producer or transferring a show is whether Board of Trustees/Directors membership can be investors or producers in commercial productions:  If the nonprofit theatre does not benefit in financial participation (for example it is not the organization’s show or the organization doesn’t participate beyond original producer’s credit), its role in the production or in billing, investment in any commercial production is considered a potential conflict of interest that must be disclosed, but is not normally consider a problem. If the organization is producer or as associate producer how board members who are commercial producer or want to invest in a commercial production might be a part of a production: (1) Enhancement of a production; (2) separate investment in production in which theatre is participating in (beyond original producer’s credit); (3) the Board member can serve only as supporting investors or partners in a production not competitors (in other words any funds from board members count towards money raised by the organization as part of their producer's participation as seen in model two above).  Most theatres restrict the first two significantly.  Obviously the third is the most ideal for the nonprofit theatre.  Any participation in a commercial venture would require Board member to withdraw themselves from all votes and decisions regarding production or in some cases, a board will require a leave or absence.</p> <p>Should note in terms of moving forward, a board traditionally would vote on the participation in the project but like all producing efforts the commercial participation in decisions and day to day operations would be limited to leadership staff.</p> <p>Also it is important to say that this primer is exactly that.  If your organization doesn't have a strong history with these types of deals or a strong negotiator – hire one.  These deals can have a tremendous impact on an organization and you don’t want to be negotiating after the fact or regretting the deal you signed.  These contract are among the most complicated that a nonprofit can enter into and can if done incorrectly threaten the nonprofit status of an organization.  Make sure you negotiate smart and thoroughly. </p> <p>If you are a commercial producer, rather than thinking you should just negotiate the opposite of all of the above, I encourage you to consider all that the nonprofit adds to the production and the fact that a good negotiation means that everyone walks away feeling good about the partnership.  Nonprofits also have board members and donors who may be part of your future investor pool – this is more common than most people realize.  It is also important to remember that theater folks tend to talk about relationships good and bad.  I have certainly heard about deals that haven’t worked out well or other stories about how great a partner someone has been.  Word travels fast in our community.  And as more and more of these deals happen and as expenses keep rising the commercial world needs the nonprofit world for a lot of project development.  This is one of the few situations where everyone can win if everyone works together with goodwill.</p> <p><em>If you are reading this post via Facebook Notes, please click-thru to </em><a href="http://www.off-stage-right.com"><em>Off Stage Right</em></a><em> and be counted (and keep reading other posts).</em></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-75376435818573584112009-05-06T06:20:00.001-04:002009-05-06T06:20:05.828-04:00No more waiting in line for rush tickets!<p>I got this message this morning on Facebook:</p> <blockquote> <p>A message to the members of <em>reasons to be pretty</em>: A New Play by Neil LaBute.</p> <p>--------------------</p> <p>Subject: New Student Rush Ticket Program!</p> <p>Hey <em>Reasons</em> fans!</p> <p>We've got some great news (you know ... besides our three TONY nominations!): we just launched a new student rush texting program!</p> <p>All you have to do to get your $26.50 ticket is text 'reasons' to 42903.</p> <p>You can start texting 10am on the day you want to see the show.</p> <p>You’ll be notified with a return text of availability for that night. If there’s availability you will have a three hour window to pick up your tickets. You must present a valid student id at the box office.</p> <p>Maximum two tickets per person/performance and cash only!</p> <p>Be sure to send this along to your fellow students!</p> <p>See you all at the show!</p> <p>--------------------</p> </blockquote> <p>People have been making a lot of noise about <em>Reasons</em> other <a href="http://tinyurl.com/c5o864">texting program</a> which is interactive for audience members who are already at the show.  But this new program is a great use of technology.  For all the cynics saying their grosses are low so this isn’t a big deal, you are missing the point.  By using Facebook and text messaging the folks at <em>Reasons</em> are freshening up the age old practice of student rush tickets.  Remember 10 years ago when <em>Rent</em> created a whole new energy around the show with their day of lottery?  Rough times usually spark innovation – let’s hope <em>Reasons</em> lessons in using social networks and texting aren’t lost amongst the cynics.  </p> <p>And if you haven’t seen the show, if the three Tony nominations don’t convince you – take a look at my <a href="http://www.off-stage-right.com/2009/05/reasons-to-see-reason-to-be-pretty.html">reasons for people to see <em>Reasons to be Pretty</em></a>.</p> <p>If you are a student – take advantage of this new program, you won’t be disappointed.  If you aren’t a student, you should still see the show.  Buy your tickets <a href="http://www.telecharge.com/behindTheCurtain.aspx">here</a> and NOW.</p> <p><em>If you are reading this post via Facebook Notes, please click-thru to </em><a href="http://www.off-stage-right.com/"><em>Off Stage Right</em></a><em> and be counted (and keep reading other posts).</em></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-74107516702582982122009-05-05T01:07:00.001-04:002009-05-05T01:07:54.416-04:00Next to Normal the twitter performance<p>So the folks at <em>Next to Normal</em> are trying something fun.  At midnight, they begin a twitter performance of the entire show.  </p> <p>This musical if you haven’t been following it has been following a <a href="http://www.nytimes.com/2009/04/29/theater/29norm.html?_r=3&scp=1&sq=an%20out-of-town%20overhall&st=cse">unique path</a> to being the new darling of Broadway.  It was developed at <a href="http://www.2st.com/">Second Stage</a> in New York (GREAT company with a string of hits from <em>Little Dog Laughed</em> to <em>Spelling Bee</em>).  But it still needed work so after it already had a New York opening its producer, <a href="http://www.ibdb.com/person.php?id=21612">David Stone</a>,  took the show out of town to <a href="http://www.arenastage.org/index.shtml">Arena Stage</a> to be reworked.  </p> <p>The show re-opened in New York at the Booth (after the short lived <em>Story of my Life</em>) with great success as the show has been receiving RAVE reviews.  See <a href="http://www.nytimes.com/2009/04/16/theater/reviews/16norm.html?_r=1&ref=theater">Ben Brantley’s</a> – one in a string of great reviews for current shows on the boards – I was beginning to think there was a conspiracy – The Times gave raves, thus making producers buy ads, thus keeping the theatre section and reviewers in business, but then I read the review of <em>9-5</em> which I won’t link to since I found the show to be a fun night out, although I agree with some point of the review, but I digress.</p> <p>I haven’t seen the show yet – I am going at the end of this month (but maybe I will switch dates so I can experience the entire show via twitter and then see it).  This makes the twitter experiment a bit more fun for me.  It is the same experience someone might have if they whether they lived in Texas, Africa or any other place other than New York – exposure to a new Broadway show in a new media form.  I have been adamant that theatre folks need to explore different ways to use the internet and mix it with performance.  This certainly qualifies.  I am really excited to see how this plays out.  I will be tweeting and blogging my thoughts as I “watch” the show!</p> <p>Click here for the show <a href="http://www.nexttonormal.com/?gclid=CLG5__yupJoCFQOeFQodDD3z-A&gclid=CLG5__yupJoCFQOeFQodDD3z-A">website</a>.  </p> <p>Click to follow <a href="http://twitter.com/n2nbroadway">Next to Normal</a>.  Below are all of the tweets thus far leading up to the Prelude.</p> <blockquote> <p>Starting May 5, follow the characters as they tweet their story – all the lows, all the highs – day by day, song by song.<a href="http://twitter.com/n2nbroadway/status/1653040077">5:47 PM Apr 29th</a> from web</p> <p>Next to Normal: The Twitter Performance. For the first time ever, the full story of a Broadway musical will be told via Twitter.<a href="http://twitter.com/n2nbroadway/status/1660224381">12:10 PM Apr 30th</a> from web</p> <p>Only 4 days until the N2N Twitter performance begins! Each day a new scene will unfold thru June 7th.<a href="http://twitter.com/n2nbroadway/status/1671167563">1:44 PM May 1st</a> from <a href="http://orangatame.com/products/twitterberry/">TwitterBerry</a></p> <p>Next to Normal: The Twitter Performance<a href="http://twitter.com/n2nbroadway/status/1703034970">36 minutes ago</a> from <a href="http://orangatame.com/products/twitterberry/">TwitterBerry</a></p> <p>Hear the Prelude - <a href="http://tr.im/ktuO">http://tr.im/ktuO</a><a href="http://twitter.com/n2nbroadway/status/1703043700">35 minutes ago</a> from <a href="http://orangatame.com/products/twitterberry/">TwitterBerry</a></p> </blockquote> <p><a></a><a href="http://twitter.com/home?status=@n2nbroadway%20&in_reply_to_status_id=1703043700&in_reply_to=n2nbroadway"></a></p> <p><a></a><a href="http://twitter.com/home?status=@n2nbroadway%20&in_reply_to_status_id=1703034970&in_reply_to=n2nbroadway"></a></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-9158409741177285532009-05-04T22:17:00.002-04:002009-05-04T22:35:21.668-04:00Reasons to see Reason to be Pretty<p>I have been urging folks to go see <em>Reasons to be Pretty</em> since it was announced the show was moving to Broadway. I will be deeply disappointed if the play doesn’t receive a large handful of Tony nominations tomorrow morning. It may even make me boycott the entire ceremony.</p> <p>It is the best new play on Broadway. On second thought, I don’t care what the Tony Awards nominations say and who wins. I don’t care what the box office grosses say, it is the best written new play on Broadway. The changes made between the off-Broadway production and the current production only sharpen the lessons to be learned and deepen the discussion that will undoubtedly occur. </p> <p>From the moment the play begins you are dropped into Neil LaBute’s world mid-stream. It isn’t a very pretty world, but it is a normal, very real world. One filled with flawed people who are desperately trying to make their way through life without encountering too much unhappiness. Sound familiar? After all isn’t that what we are all really trying to do.</p> <p>The cast is by far the best ensemble on Broadway – and what a surprise – not a celebrity among them. </p> <p>Tom Sadowski is giving the most truthful, real and endearing performance in New York. His performance as Greg should be required study for every grad student studying acting. I remember being struck by Tom’s talent when I saw the show Off-Broadway, at that time I didn’t know his work. I wasn’t really worried that the performance wouldn’t transfer well, but you never know…delighted to say, Tom’s performance is even better in the current incarnation. His performance is flawless. You feel as if you know Greg, maybe you went to college with him or grew up on the same street as him. You want to leap on stage and pinch him when he makes a stupid mistake or comment and you want to hug him because you can see the pain his loneliness causes. Near the end of the play, after a journey of self-discovery, he makes a self-sacrificing decision that breaks your heart as much as it breaks Greg’s. </p> <p>Marin Ireland and Steven Pasquale are both astounding. They are replacements from the off-Broadway company. I know both of these talented actors personally and have worked with them. I was in awe of the rawness of Marin’s Stephanie. The agony and fury of her insecurity was heart-wrenching. She took Stephanie to an entirely different level leaving me heartbroken that she and Greg couldn’t be together. Steven Pasquale who is one of the kindest and nicest actors I have ever had the honor to meet, plays Kent, one of the biggest assholes ever to be on a stage. Kent isn’t just a chauvinistic pig, he is downright emotionally abusive and manipulative to everyone else in his world. Piper Perabo has turned a part that off-Broadway was a bit two dimensional into a fully-fleshed out character that made me ache for her when she finally admits who her husband Kent really is. She rounds out this fabulous quartet. </p> <p>Terry Kinney’s direction is superb and his design team did an amazing job. The production design transferred more or less intact (with a bit more automation). The lighting and sound assault the audience in perfect tempo with the narrative of the play. </p> <p>I beg you go see this play. Buy your tickets <a href="http://www.telecharge.com/behindTheCurtain.aspx">here</a> and NOW.</p><p><em>If you are reading this post via Facebook Notes, please click-thru to </em><a href="http://www.off-stage-right.com/"><em>Off Stage Right</em></a><em> and be counted (and keep reading other posts).</em></p>Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-73133549959979331412009-05-04T09:14:00.001-04:002009-05-04T09:14:40.097-04:00Interesting articles/blog posts from last week – in case you missed them!<p>Here is a round-up of what caught my eye over the last week.  Let me know if there is something interesting I should be reading!</p> <p>Interesting argument - Text Me Later (Or: How Theater Isn't Baseball) <a href="http://u.nu/5zz3">http://u.nu/5zz3</a></p> <p>Cultural Groups ask what to mount next. The Answer - losses? Washington Post <a href="http://u.nu/3zz3">http://u.nu/3zz3</a></p> <p>To gala or not gala - Iu2019m Honored. No, Actually, I Canu2019t Afford It. NY TIMES. <a href="http://u.nu/6xz3">http://u.nu/6xz3</a></p> <p>How Much Does Mayor Bloomberg Want to Cut from the Department of Cultural Affairs? Clyde Fitch Report - <a href="http://tinyurl.com/dhcugv">http://tinyurl.com/dhcugv</a></p> <p>Anonymous Giving Gains in Popularity as the Recession Deepens - Philanthropy.com - <a href="http://tinyurl.com/d45sky">http://tinyurl.com/d45sky</a></p> <p>More Valuable - The Ticket Buyer Or The Donor? - diacritical - <a href="http://tinyurl.com/d8sbrg">http://tinyurl.com/d8sbrg</a></p> <p>Bad Behavior at the Theater: Reviving an Old Tradition « Clyde Fitch Report - <a href="http://tinyurl.com/d4vjw4">http://tinyurl.com/d4vjw4</a></p> <p>Celebrities Are Taking All the Jobs - <a href="http://tinyurl.com/cm3ur9">http://tinyurl.com/cm3ur9</a></p> <p>Equal Time For Planned Giving <a href="http://viigo.im/rFc">http://viigo.im/rFc</a></p> <p>Fundraising suffered big drop in 2008 <a href="http://viigo.im/rii">http://viigo.im/rii</a></p> <p>99seats: Priorities, Part 1 - <a href="http://tinyurl.com/d4sn4v">http://tinyurl.com/d4sn4v</a></p> <p>Let's Get Practical! - Artistic Manager and Resident Companies <a href="http://tinyurl.com/cpbdse">http://tinyurl.com/cpbdse</a></p> <p>Broadway, Off-Broadway, Theater : How to invest in a Broadway show. Part I - <a href="http://tinyurl.com/d5cgur">http://tinyurl.com/d5cgur</a></p> <p>How to invest in a Broadway show. Part 2 <a href="http://tinyurl.com/dnzg4t">http://tinyurl.com/dnzg4t</a></p> <p>Reasons to be Pretty to Encourage Texting at the Theater - <a href="http://tinyurl.com/c5o864">http://tinyurl.com/c5o864</a></p> <p>Union Calls City Opera Strike ‘Likely’ Given Demands - Bloomberg.com - <a href="http://tinyurl.com/tra5t">http://tinyurl.com/tra5t</a></p> <p>Why Twitter Quitters don't Get It <a href="http://tinyurl.com/c4neyh">http://tinyurl.com/c4neyh</a></p> <p>HarvardBusiness.org: The 24/7 Employee <a href="http://tinyurl.com/dcz8mu">http://tinyurl.com/dcz8mu</a></p> <p>The World of Celebrity Giving: <a href="http://www.looktothestars.org/">http://www.looktothestars.org/</a></p> <p>IRS provides a mini-course on the new 990 form for charities - <a href="http://tinyurl.com/cuo8wh">http://tinyurl.com/cuo8wh</a></p> <p>There are BO users and AO [Twitter] users: Before Opera/After Oprah' ( <a href="http://tinyurl.com/cojbdc">http://tinyurl.com/cojbdc</a> ) </p> <p>Parabasis: No One Edits Poets. Pondering new play development and collaboration - read the comments too. <a href="http://u.nu/4463">http://u.nu/4463</a></p> <p>ArtsBeat: Barlow-Hartman, Broadway Publicity Agency, to Close <a href="http://viigo.im/q2W">http://viigo.im/q2W</a></p> <p>Is Your Social Network Cool Enough To Be A Tree House? <a href="http://viigo.im/pS6">http://viigo.im/pS6</a></p> <p>Social Net Fundraising - All Hype? The Agitator. (Pretty sound advice) <a href="http://viigo.im/pQW">http://viigo.im/pQW</a></p> <p>A Nonprofit New York Times? <a href="http://tinyurl.com/cskgs3">http://tinyurl.com/cskgs3</a></p> <p>Theatre vs. Theatre Companies (The Playgoer) <a href="http://viigo.im/pln">http://viigo.im/pln</a></p> <p>Wall Street Journal Only Top 25 Newspaper To Report Circulation Increase <a href="http://viigo.im/pfw">http://viigo.im/pfw</a></p> <p>Diacritical: Do we need institutions to create art? <a href="http://u.nu/5dp">http://u.nu/5dp</a></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-68016554244616590272009-05-03T00:29:00.001-04:002009-05-03T00:29:08.678-04:00Why don’t we treat ourselves better?<p>The other night I ran into a great friend who I hadn’t seen in a while.  We caught up briefly.  I was delighted to hear that she had reached out beyond theater to radio.  But what struck a chord was when she mentioned how working outside of theatre, made her realize how tired she was from a life lived constantly in tech rehearsals.  This made me think about how unhealthy our business can be. </p> <p>Let’s start with the concept of tech.  AEA standards and what producers can afford comes in packages of 10/12 hour days.   Now let’s be honest on any given tech day very few people involved in the production work 10 out of 12 hours.  Crew, designers, stage managers, etc. are always called before the actors and stay after for production meetings.  Even the actors working under union rules usually work longer than the 10 hours, whether they are running lines, reviewing their blocking, etc, most actors during the tech period through opening are focused on the show they are doing more or less from the time they wake up until they go to bed.  The theory is that the higher the contract tier, the more ten out of twelve days you can do.  For example a Broadway show often does 10/12s from tech to press nights.  Off-Broadway shows may do a week of 10/12s and then rehearse up to 5 hours more each day.  It is exhausting.  And in most cases, designers live in this process the majority of their lives.  Even when a show is up and running there are understudy rehearsals, publicity events, put-ins, etc.  The point is there is a heck of a lot of work outside of rehearsals and performances that most people don’t really think of they just live it.  </p> <p>The staffs of nonprofits, don’t escape the rigorous schedules.  In addition to regular office hours, many leaders and staff members attend tech, have early morning committee meetings and evening board meetings, must participate in a variety of social events, should see shows at other theatres, and must be at the curtain of a show most nights.  </p> <p>In addition to the exhausting schedule, theatre folks spend the majority of their lives in building that are either so cold in the summer that you need a sweater or so hot in the winter that you can feel your throat dry the minute you walk in the door.  Many theatres are in older building that don’t have the best air circulation.  In tech or in nonprofit offices you can spend hours sitting in the same place, in the same position.  Or you can spend all day running from meeting to meeting, rehearsal hall to audition space, etc. always in transition in and out of the elements back indoors.</p> <p>An exhausting schedule, cabin fever, lack of fresh oxygen are just the beginning.  For some reason, theater greenrooms, rehearsal halls and offices are usually filled junk food, snacks, endless supplies of caffeine, and tons of fast food or takeout.  Between short meal breaks, long rehearsal hours and too many cocktail parties and events, keeping a healthy eating schedule is more or less out of the question.</p> <p>As a group we are not eating well, can barely keep our eyes open and our minds focused, and spend less time outdoors than vampires.  Then many theater folks are smokers.  Musicals can wreck havoc on the body without proper training.  Raked stages tear bodies apart (let’s just admit it – you try walking on a rake in high heels, I have had to do it too many times and I’m just short not an actor).  Haze fills their lungs – sorry it aggravates allergies and asthma.    And after a day filled with all of the above, who doesn’t want a drink.</p> <p>Of course I have described the worst of it all.  There are plenty of folks who make frequent appearances at their gyms or yoga classes.  Many even train for advanced body conditioning.  There a lots who have unbelievable discipline in what they eat and treat their bodies like temples (at least reformed temples if not orthodox ones).  But as with many careers this takes a lot of hard work.  Yet when theatres are built (and goodness knows we have built or renovated a whole lot of them recently for good or for bad), staff and artist amenities are the first things cut.  What would happen if every theatre created a small gym and mediation room on site?  What would happen if changed the rules and schedules so people could get a little more sleep and a bit more fresh air?  What if we planned the entire tech process for each production rather than by industry standards?  I challenge that rather than making the process take longer it may actually make us work more efficiently and with much greater focus.  Who says you <u>have</u> to do 10/12s?  What if we said that production meetings couldn’t go into the wee hours of the night and finance committees weren’t allowed to demand 9am or worse 8am meetings?   What if we made all of our nonprofit staffs stop eating lunch at their desks?  Sure it would be a big change, but actually it would be pretty easy to test.  Of course there would still be people who don’t take of themselves, but maybe if we found a better balance more folks would take care of themselves, just a bit better and not have to take a break from working in theater to do so.</p> <p><em>If you are reading this post via Facebook Notes, please click-thru to </em><a href="http://www.off-stage-right.com"><em>Off Stage Right</em></a><em> and be counted (and keep reading other posts).</em></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-24606916288500431652009-05-01T07:37:00.001-04:002009-05-01T07:37:12.088-04:00MCC Theater Youth Company changes lives (last night they changed mine)!<p> It is so rare in the theater to experience the visceral and emotional slap of truth or to have a piece of theater grip hold of your heart to the point that you find you have stopped breathing. But when it happens, you are transformed - not momentarily but permanently. Theater that does this leaves a mark inside of you that does not and cannot ever be removed. </p> <p>Last night a mark like that was left on my heart and will forever burn in my mind. </p> <p>It didn't happen in a Broadway house or even at a "professional" show. It happened when a group of high school kids (and 9 who had graduated and grown up a bit) took the stage for MCC Theater's 2009 <em>Uncensored </em>performance and 10th Anniversary celebration. </p> <p>It was a raw, dark, funny, gut-wrenching roller-coaster ride into the hearts and minds of the kids who wrote and performed it. They were truly uncensored as they shared thoughts on life, self-image, drugs, race and sex - lots of sex. MCC Youth Company found a way to give these kids a voice and let them scream from the rooftops. </p> <p>During the first half of the evening the current <a href="http://www.mcctheater.org/youthcompany/index.html">MCC Theater Youth Company</a> (made up of about 50 kids who audition to participate in the year-round FREE training program that focuses on writing and acting), performed <em>Uncensored</em> (monologues and scenes they developed), one of <a href="http://www.mcctheater.org/youthcompany/performances.html">four performances</a> during a regular year.  The second half was a one-night-only reunion of 9 alumni members and 1 current company member performing (one person from each of 10 years of companies) work created over the last 10 years intertwined with the affect that the Youth Company has had on their lives.  </p> <p>Throughout both performances I was on the edge of my seat.  My heart and mind being banged and dented by the beauty of their work, their pure honesty, their fears, and their abundant hope.   After hearing how the Company had changed and in at least one case saved their lives, the alumni called all current and past members to the stage along with my dear friend who founded, taught and lead the Company for 10 years, Stephen Dimenna.  As I watched the stage fill with kids of every color, shape, sexual orientation and personality and embrace each other and Steve, I could see that they all stood a bit taller and were living a bit larger.  I swelled with pride that I was there in the beginning of this one-of-a-kind program that is so deserving of more than a blog post – all you documentarians and <em>New York Times</em> feature writers get on it.  I couldn’t take my eyes off of the celebration. I thought about the  hundreds of kids who have been Youth Company members who found their voices and a theatrical home, and I realized I was breathless and  the night had permanently left a mark on me. </p> <p>Congratulations and Happy Anniversary to all my friends at MCC Theater, not only do they produce some of the best theater in the country, but they are doing so much more to impact and shape the future of the theater.</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-30248891984992689132009-04-29T22:13:00.001-04:002009-04-29T22:13:39.044-04:009-5 why Dolly is good for Broadway…<p>New York Magazine’s just did a great profile on Dolly Parton (<a href="http://nymag.com/arts/theater/profiles/56148/">Dolly or Bust</a>).  It really gets to the heart of what a wonderful artist, person and businesswoman she is.  Reading it gives you a tiny peek into Dolly’s world.  Now, in all fairness, I am a huge Dolly Parton fan, I have been since I was little.  When they announced <em>9-5</em>, I thought it was a brilliant idea.  Fun movie, had a great story even though it is dated, and Dolly is by far one of the greatest songwriters ever and knows how to tell a story in a song.  </p> <p>Now, when I saw the show, I had the time of my life – I laughed so hard I cried.  The show was true to the movie while poking a little fun at it.  I loved the cast and the music (again between Brian and I we probably own everything she has recorded).  I sent out tweets and status updates declaring what a great time the show was. </p> <p>Obviously the new musical competition is a tough category this year and the reviews won’t be out until Friday, I have to say, I think Dolly coming to Broadway is a really good thing for two reasons:   </p> <blockquote> <p>First and foremost, I think through the press push she is doing this week and the cast album she will introduce a lot of people to musical theatre.   </p> <p>Second, in a landscape filled with American Idols contestants it is good to see a mentor’s work hit to boards (with original songs).  Elton John coming to Broadway had that same kind of thrill – and he has stayed (and it Dolly’s biggest competition this year, although she wrote the music AND the lyrics).  </p> </blockquote> <p>So welcome to Broadway, Dolly.  Happy Opening and I hope you are here for a good long time!</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-90890093534828720132009-04-29T22:01:00.001-04:002009-04-29T22:01:18.084-04:00Sookie: the theater dog<p></p> <div class="wlWriterEditableSmartContent" id="scid:66721397-FF69-4ca6-AEC4-17E6B3208830:28de6dbb-97a5-496b-8efe-6c0d12445bcf" style="padding-right: 0px; display: inline; padding-left: 0px; float: none; padding-bottom: 0px; margin: 0px; padding-top: 0px"><a style="border:0px" href="http://cid-5d7e759b2662b7c3.skydrive.live.com/redir.aspx?page=browse&resid=5D7E759B2662B7C3!114&ct=photos"><img style="border:0px" alt="View Sookie" src="http://lh6.ggpht.com/_LP0nul1Wtb8/SfkGbYyf8oI/AAAAAAAAA-U/s9uX5yeVsZc/InlineRepresentationcae5b6397d484971.jpg?imgmax=800" /></a><div style="width:400px;text-align:right;" ><a href="http://cid-5d7e759b2662b7c3.skydrive.live.com/redir.aspx?page=browse&resid=5D7E759B2662B7C3!114&ct=photos">View Full Album</a></div></div> <p></p> <p>I wrote this today for myself, but even though it is personal I think a lot of theatre folks can relate, so I guess I will go ahead and post it.</p> <p>One of the great thing about most theatre people is that they are animal people.  Almost everyone I know has a cat or dog that takes the career journey with them.  It is common for dogs to be backstage in the dressing rooms, in the box office, or in the administrative offices of many theatres – many theatres have cats (hey, there is a mice issue).  I have always thought that having animals around offices made for a better work environment.  Thank goodness everywhere I have ever worked has not only allowed but encouraged this.  As anyone who knows me (or reads the blog and sees the family photos on the left), I am a huge animal lover.</p> <p>At the Arts Council job I had after grad school, my cocker-lab mix Elle travelled with me to the office and almost all of my off-campus outreach programs.  She was more popular in the public housing units and Fort Bragg in Fayetteville, NC than I ever was.  She was quickly joined by General the tea-cup Chihuahua.   When I moved to New York, they both occasionally joined me at MCC Theater or at the Vineyard.  People would always be shocked to find Elle asleep under my desk and General asleep in a tote bag.  I went to many restaurants with little General asleep in that bag.  When General passed at the age of 17+, Elle and our kitty Emmie were alone for a bit until Sookie joined the family.  Sookie’s first day in New York was spent in the Signature Theatre Company’s offices, where she spent a lot of the next four years.  </p> <p>She was more of a theatre dog than any that came before her or those who arrived after.  Sookie went to the office regularly where she tortured Chris our Production Manager by barking at him constantly – he barked back.  She delighted in crawling up on the couch on with Adam and insisting he pet her despite the fact that he was allergic to her. She knew exactly where Jim kept treats hidden in his cabinet for her and would wait impatiently until the door opened.  She sat through most dress rehearsals on my lap in full attention watching the show, completely quiet except for two notable instances – during <em>The Regard Evening </em>at the end of Bill Irwin’s big juggling sequence Sookie let go with a loud round of barking applause and during the <em>The Baltimore Waltz</em> when Jeremy Webb twisted the neck of the stuffed rabbit cherished by the lead character, Sookie almost leapt onto the stage in a fit of anger.  I swear to this day that she watched and understood most of the shows. One night we lost electricity a few minutes into the first act of a performance, Sookie was in the box office and while I ran around trying to fix the problem a couple of audience members played with her.  When we finally cancelled the show, Sookie was in my arms, and everyone joked that I was holding her on purpose since no one would complain with her little sweet eyes staring up at them (they were right). </p> <p>When we came to Connecticut, our dear kitten Squeakers had passed at the age of two from breast cancer and Emmie was distraught and confused by the move, so Sookie didn’t go to the office as often and some new puppies came into the family who took turns visiting at the Playhouse, but none developed the taste for watching shows like Sookie.  </p> <p>This morning Sookie unexpectedly passed at the early age of 10.  Thank you to all of my friends who called, emailed and sent Facebook messages as soon as they heard.  We really appreciate it.</p> <p>I am sure she has joined Elle, General, Squeakers and a host of other theatre dogs and cats who have kept an endless number of actors, designers, stage managers, producers, directors, etc. company during shows.  </p> <p>Our dear little Sookie - Brian, Emmie, Socks, Tipper, Shea, Roo and I will miss you terribly. In addition to an endless supply of treats, a giant yard to run around in, wherever you are, I hope you get to take in a show or two every once in a while.</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-58001872566269332982009-04-29T20:51:00.001-04:002009-04-29T20:51:03.243-04:00A bright light off-Broadway: ROOMS<p>The other night I had the luck of taking in <a href="http://www.roomsmusical.com/">ROOMS</a>, a new musical off-Broadway.  I don’t write reviews, but when I see something that makes me happy that I spent the night in the theatre, I want to make note of it.   Sure the story was familiar, but the performances were wonderful and the music was fun.  It is just the kind of show that off-Broadway needs (and used to jam-packed with).  The design elements were perfect in the fact that they were sparse, meaningful and appropriate.  There was a band – not just a piano.  It didn’t have a gimmick, in fact in many ways it was the most traditional show I had seen in a while – and there is absolutely nothing wrong with that.  </p> <p>I left the show a bit more hopeful for commercial off-Broadway and with a bounce in my step.  New work was making it to the stage, talented actors were working and there were people in the audience – I call that a good day.   </p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-33924731192046573372009-04-29T00:22:00.001-04:002009-04-29T00:22:18.370-04:00If you wanna win the Bonnet put some bling on it…oh, oh, oh!<div class="wlWriterHeaderFooter" style="float:right; margin:0px; padding:0px 0px 4px 8px;"><script type="text/javascript">digg_url = "http://www.off-stage-right.com/2009/04/if-you-wanna-win-bonnet-put-some-bling.html";digg_title = "If you wanna win the Bonnet put some bling on it…oh, oh, oh!";digg_bgcolor = "#FFFFFF";digg_skin = "normal";</script><script src="http://digg.com/tools/diggthis.js" type="text/javascript"></script><script type="text/javascript">digg_url = undefined;digg_title = undefined;digg_bgcolor = undefined;digg_skin = undefined;</script></div><p align="left">A little while back I wrote a post about <a href="http://www.off-stage-right.com/2009/04/extreme-fundraising.html">Extreme Fundraising</a> that was being done for charities and I wondered what it would look like for the arts.  I noted how the causes were usually very personal and that the people involved put themselves through some sort of rigorous event.  Today I was reminded that theatre actually does have a form of extreme fundraising that is done during certain times of the year and takes a Herculean effort – it is the wonderful work done for <a href="http://www.broadwaycares.org/">Broadway Cares – Equity Fights Aids</a>. </p> <p align="left">In a mere 6 weeks, through curtain speeches the theatre community raised $3,402,147.  That’s right almost 3 and a half million raised by actors and stage managers, often aided by the crews, ushers, and other working on a show through curtain speeches (and ticket sales to the Easter Bonnet performance). </p> <p align="left">The Easter Bonnet is one of many events held throughout the season: </p> <blockquote> <p><strong>The Easter Bonnet Competition</strong> features a parade of bonnets hand-crafted by the cast and crews of dozens of participating productions which are presented in song, dance and comedic sketches. A "must-see" for the Broadway fan, the show is always a highlight of the spring season, with moments both hilarious and heartfelt.</p> <p>This annual spring event is the culmination of an intensive six-week fundraising effort by the companies of Broadway, Off-Broadway and national touring productions. </p> <p>Curtain speeches, sales of autographed posters and programs, auctions and cabaret performances are just some of the activities that enable these companies to bring in generous contributions from audiences on Broadway and across the country.</p> <p>Honors are awarded to the companies that raise the largest amounts of money on behalf of BC/EFA during the fundraising drive. Companies offering the best designs and presentations of bonnets are also recognized.</p> <p>Since 1987, 22 editions of The Easter Bonnet Competition have raised over $35 million for BC/EFA which, in turn, has supported programs at The Actors Fund including The AIDS Initiative, The Phyllis Newman Women's Health Initiative, as well as over 400 AIDS and family service organizations across the country.</p> </blockquote> <p align="left">If that isn’t extreme fundraising – I don’t know what is!</p> <p align="left">And for those of you who weren’t at the show, you missed a fun afternoon.  Some of my favorite highlights included:</p> <blockquote> <p align="left"><em>33 Variations</em> “volunteer” [read be there or supposedly Jane will kill you] rehearsal skit – complete with Jane Fonda leading the cast in an aerobics workout.</p> <p align="left"><em>Avenue Q</em> – Puppet Rod vs. Howie Michael Smith singing a re-written “You’re nothing without me” from City of Angels (one of my all time favorite show tunes), only to be interrupted by the adorable Johnny Tartaglia (full disclosure, I was the GM on the original off-Broadway production and Johnny is one of the nicest, cutest most lovable people I have ever met or worked with).  </p> <p align="left"><em>Billy Elliott</em> – the young ballerinas in the cast being joined by 105 year old Ziegfeld Follies dancer Doris Eaton Travis). </p> <p align="left">Tovah Feldshuh and Joan Allen (two of many masters of ceremonies) who were beyond funny.</p> <p align="left">The dashing Jeremy Irons being charming and witty during the final awards – someone should be booking him now to host a gala.  His self-effacing humor was brilliant.  </p> </blockquote> <p align="left">If you weren’t there you missed a wonderfully fun afternoon – even if there were a lot of Liza references and almost every skit parodied Patty LuPone’s on-stage rant.  If you were at today (or yesterday), the title of the blog makes perfect sense…</p> <blockquote> <p align="left">(Fine – for those who weren’t there the Bonnet dancers did their own version of Beyonce’s hit – All the Singles Ladies, after declaring Seth Rudetsky Broadway’s Sasha Fierce.)</p></blockquote> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-8185505213367823462009-04-28T19:25:00.002-04:002009-04-29T00:40:39.797-04:00Michael Wilson, Hartford StageMichael Wilson knows what he likes - AMERICAN THEATRE magazine. <p>Frank Rizzo interviews Hartford Stage's Michael Wilson, who is one of the most interesting artistic directors out there. </p><p>Wilson on undertaking the nine play Horton Foote Orphans Cycle: "It screws courage to purpose in the not-for-profit, professional theatre to take on an endeavor such as this. It clarifies why we are vital and necessary." </p><p>Couldn't agree with him more.</p>Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-60856566463536188862009-04-28T07:23:00.001-04:002009-04-28T07:23:33.657-04:00Bring it to scale<div class="wlWriterHeaderFooter" style="float:right; margin:0px; padding:0px 0px 4px 8px;"><script type="text/javascript">digg_url = "http://www.off-stage-right.com/2009/04/bring-it-to-scale.html";digg_title = "Bring it to scale";digg_bgcolor = "#FFFFFF";digg_skin = "normal";</script><script src="http://digg.com/tools/diggthis.js" type="text/javascript"></script><script type="text/javascript">digg_url = undefined;digg_title = undefined;digg_bgcolor = undefined;digg_skin = undefined;</script></div><p>Bridgespan has released a <a href="http://bridgespan.org/uploadedFiles/Homepage/Articles/Scaling%20What%20Works%20-%20EMCF-Bridgespan%20April2009.pdf">new report about bringing organizations to scale</a>.   Organization replication and scale is something we tend to forget about when it comes to the arts.   But isn’t the first question we should ask - what is the “right-size” for an organization to accomplish its mission?</p> <p>The Bridgespan report notes some key challenges for nonprofits in determining and fulfilling scale:</p> <ol> <li>Distinguishing promising programs from proven ones is complicated, costly and essential.  Many social service organizations have little if any evidence of their programs’ efficacy. This doesn’t mean that they aren’t producing results. But it does mean we cannot say for certain that they do. </li> <li>Scaling requires rethinking traditional patterns of funding. If we want to make a pervasive impact on our nation’s most difficult problems, we are talking about supporting fewer organizations with larger sums of money. Concentrating resources on a few organizations is rarely how money flows today. </li> <li>Scaling a nonprofit’s programs without investing in its capacity is a recipe for failure. Building organizational and human capacity – putting in place the strategy, systems and, above all else, the right people in the right jobs to convert money into results – is as important a factor in bringing a program successfully to scale as the money itself. </li> <li>Ongoing research, evaluation and performance measurement are imperative as an organization scales. Put simply, there is no other way to ensure that even a well-funded program with proven outcomes will be expanded and sustained. A good idea absent its execution is in fact not a good idea at all. </li> </ol> <p align="justify">Last summer at Harvard Business School’s Strategic Perspectives for Nonprofit Managers, we spent a lot of time talking about scale.  <a href="http://www.off-stage-right.com/2008/07/number-nine-is-it-really-only-tuesday.html">This</a> was the first time I really fully explored the concept in terms of the arts and in particular theatre.  In the <a href="http://www.off-stage-right.com/2008/07/number-nine-is-it-really-only-tuesday.html">post</a>, I pointed out four strategies in terms of scale.</p> <blockquote> <p>1. Get support for fixed costs (and maybe semi-variable costs), and have variable (and maybe or semi-variable) costs covered by earned income. <br />2. Franchise. <br />3. Engage in partnerships (or even possibly mergers). <br />4. Create a subsidiary of a commercial business.</p> </blockquote> <p>Shouldn’t successful organizations and programs be replicated? What would bringing it to scale mean for theatre? Can we "franchise?" Aren’t co-productions, touring, or moving a show be a type of franchising in the theatre?  Certainly education programs are replicated – it happens naturally more often than not without a strategic plan, but why not plan to replicate and take certain ideas for programming to scale.  In a way the NEA Big Read program is doing exactly that.  </p> <p>When talking about <a href="http://www.off-stage-right.com/2009/03/funding-modelssaving-theatres.html">funding models and whether theatre’s should be saved</a>, if we can talk replication, we have to take mergers under consideration.  For some reason in the arts, mergers are often interpreted as failures.  But <a href="http://www.off-stage-right.com/2009/03/time-to-restructure.html">consolidation, restructuring, and resource-sharing</a> can be VERY effective for theatre organizations and individual productions, so why not out-right mergers?  Certainly in terms of scale it may make sense for organizations and the community.</p> <p>We certainly are seeing a form of mergers in <a href="http://www.off-stage-right.com/2009/04/working-together-even-if-you-are-direct.html">co-productions and new play development</a>.   Adrian Ellis wrote in the <a href="http://www.off-stage-right.com/2009/03/adrian-ellis-raises-some-interesting.html">Art Newspaper</a> that this would be one of the three ways to compensate for the losses in philanthropic, endowment and visitor incomes for museums, “what museums accept they cannot do alone, they will explore doing together more thoroughly and earnestly than in the past: collection sharing, joint acquisitions, pooling conservation resources, and pooling curatorial appointments.”</p> <p>Without question determining scale is difficult and requires significant examination, but it seems to be an essential step which we don’t take enough time to address and plan. </p> <p><em>If you are reading this post via Facebook Notes, please click-thru to </em><a href="http://www.off-stage-right.com"><em>Off Stage Right</em></a><em> and be counted (and keep reading other posts).</em></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-87216022891976899682009-04-27T07:00:00.000-04:002009-04-27T07:06:58.189-04:00Key Issues facing the nonprofit theatre industry (a top ten list)<p><b>Issue One: The business model is broken (if it ever worked).   We need a new definition of fiscal health and sustainability based on individual organizations needs. </b></p> <blockquote> <p>Theaters across the US are acknowledging that the traditional <a href="http://www.off-stage-right.com/2009/03/funding-modelssaving-theatres.html">nonprofit theatre model is broken</a> (60% earned/40% contributed). For many structural deficits have become the norm rather than the exception. </p> <p>Other Earned Income resources can be explored but must not pull the theatre off mission.  Enhancement income can be raised from aggressive new play development and active exploration within the industry. Although this is a somewhat unpredictable source of income when done under the right circumstances it can be very helpful in offsetting expenses.  When done for the wrong reasons (read – for the money) it can be devastating.  Co-Productions are another performance related income stream. Similar to enhancement income, the partnership is as important as the income source. Many Education Programs generate significant revenue through participant fees, vendor agreements with academic institutions, or corporate training programs. Real estate acquisition and utilization can be a revenue source for many organizations.</p> <p>Rising Production costs must be reasonably contained, however, eventually many theatres might have to go through a certain amount of correction on their production expenses if they are “living beyond their means.”  Programming, fund-raising and administrative needs of companies need to be assessed regularly. </p> <p>Theatres need to address contributed revenue across the board – annual campaigns, specialized campaigns, and reserves/endowment.  Alternatives to traditional endowments will need to be explored.  Working capital must be addressed.  </p> <p>We must assess our governance structures and make sure there is balance between board, artistic and managing leadership.  Too often healthy discussions become tyrannical demands by one or two of the partners.  </p> </blockquote> <p><strong>Issue Two: Many of our mission statements have become interchangeable.</strong></p> <blockquote> <p>Writing missions by committee has watered down many theatres’ missions.  Consensus has become a compromise to mediocrity.  Organizational values are sometimes difficult to identify and in a few cases have been lost to the whim of leadership changes and egos.  We must return to <a href="http://www.off-stage-right.com/2008/07/number-eleven-cant-sleep-so-you-have-to.html">missions</a> that address a need.  Why do we have mission statements in the first place? We need a purpose.  We have to have an identity right? A uniqueness? A reason our community needs us? We have to use our resources and capabilities to fill some social need.  We need goals to measure our impact against!</p> </blockquote> <p><strong>Issue Three:  We have lost our relevancy within our communities.</strong></p> <blockquote> <p>The first two issues have created the most challenging and threatening issue of all.  Several organizations have veered away from their original mission and become increasingly irrelevant.  Theatre has become about making the safe choice.  We shy away from artistic risks over concerns for finances – just when we should be taking the greatest risks with our work.  We aren’t spending enough time getting to know our constituencies so aren’t picking work that matters to them. <a href="http://www.off-stage-right.com/2009/03/i-was-recently-asked-what-theatres.html">We must live up to the responsibilities we have to our community.</a></p> </blockquote> <p><b>Issue Four: We aren’t investing enough in new kinds of theatre – the evolution of the form.</b></p> <blockquote> <p>Theatre has a bad tendency of being behind the times, we must explore how we use <a href="http://www.off-stage-right.com/2009/04/embrace-technology.html">new technologies</a>, environmental theatre and challenge the definition of the theatre or new forms will evolve without us.</p> </blockquote> <p><b></b></p> <p><b>Issue Five: We should partner more often with other arts organizations or social service organizations.</b></p> <blockquote> <p>We must identify mutually beneficial partnerships and eliminate those that drain resources.  Natural partnerships have formed with <a href="http://www.off-stage-right.com/2009/03/time-to-restructure.html">other theatres and</a> some arts organizations, but we must actively pursue new bonds and relationships that allow us to share resources and fund our expenses.</p> </blockquote> <p><strong>Issue Six: We don’t do enough for families.</strong></p> <blockquote> <p>As members of a community, we must do more for families.  In a world where group experiences are becoming more and more virtual we must provide programming that  brings families together under our roof to experience live storytelling.  We must make theatre-goers.  If you haven’t experienced something you will never miss it.  We need to provide flexible services and scheduling to parents as well as provide the tools with which to explore theatre together with their children.  We need to have programming that reaches audiences of all ages focusing on the major transition periods.</p> </blockquote> <p><b>Issue Seven: We need to make theater more accessible.</b></p> <blockquote> <p>Programs that lower ticket prices must be created so that more people can see shows.  We have marginalized much of the theatre-going experience to the affluent.  Of course not all programming will be accessible to everyone (that is unfortunately inherent in the arts structure).  But we have reached a point of imbalance.  A correction is essential to remain relevant, to serve most missions, and to keep theatre alive.</p> </blockquote> <p><b>Issue Eight: We need to build theater’s <a href="http://www.off-stage-right.com/2009/03/masses-and-why-they-arent-coming-to.html">Audience Base</a>.</b></p> <blockquote> <p>We must create participatory experiences beyond productions.  Education programs, outreach programs, audience development programs – whatever you want to call them, must be at the center of the organization along with productions.  We cannot afford for them to remain or become <a href="http://www.off-stage-right.com/2009/03/masses-and-why-they-arent-coming-to.html">satellites to production</a>.  When all of the information in the world is available in a few keystrokes in a google search, we must feed the desire for deeper, more qualitative, more educational experiences. We have to listen to our audiences, create a dialogue, and create forums for ideas to be expressed.  We have to work as diligently on the relationship with the audience as we work on producing the work.  We must speak their language and use their communication tools.</p> </blockquote> <p><b>Issue Nine: We need to build theater’s Donor Base.</b></p> <blockquote> <p>We must work with the entire nonprofit community to stop complete marginalization of the arts.  We must finally create a multi-layer argument regarding the value of the arts.  We must stop the competition and aggression towards other arts organizations.  Again, we must listen to our donors and create loyalty and generosity that is based on something more than a rewards system for patrons.</p> </blockquote> <p><b>Issues Ten: We must empower and invest in our staffs.</b></p> <blockquote> <p>Without committed and seasoned staffs we will not achieve any of our goals. We need the staffs of organizations to drive programming and ALL activities of the of the organization in partnership with the board to achieve appropriate growth, long-term strategic goals and the necessary fund-raising to sustain the organization.  We need to invest in continuing education for our staffs.  We must break the cycle of short-term employment and increase staff retention.</p> </blockquote> <p>As with any list about an entire industry, of course there are folks working on these issues.   Please share what you are doing!  Learning from one another and working together is the only way to address these issues industry-wide!</p> <p><b></b></p> <p><b></b></p> <p><em>If you are reading this post via Facebook Notes, please click-thru to </em><a href="http://www.off-stage-right.com"><em>Off Stage Right</em></a><em> and be counted (and keep reading other posts).</em></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-61091124832527869632009-04-26T21:52:00.002-04:002009-04-26T21:53:51.013-04:00Recent news worth reading!<p>Someone asked me for a list of the articles that I either tweeted about or posted to Facebook. So I thought on Sunday nights, I would send out the links of things that caught my eye during the week. Let me know if you found something I should read! If you are on Twitter please follow me: <a href="http://twitter.com/jodisc">JodiSC</a>.</p> <p>Corporate philanthropy at risk amid recession <a href="http://www.abc.net.au/news/">http://www.abc.net.au/news/</a></p> <p>WMA and Endeavor are one. <a href="http://u.nu/6wk">http://u.nu/6wk</a></p> <p><a href="http://u.nu/76j">http://u.nu/76j</a> America's most promising Social Entrepreneurs - Business Week</p> <p>Fewer Donations, Shrinking Assets Force Nonprofits to Get Fiscally Creative <a href="http://bit.ly/5mb6H">http://bit.ly/5mb6H</a></p> <p>More Family Foundations Transferring Assets to Donor-Advised Funds <a href="http://bit.ly/PhjUG">http://bit.ly/PhjUG</a></p> <p>NPR For Downsized Actors, Performance Anxiety Looms <a href="http://tinyurl.com/da529s">http://tinyurl.com/da529s</a></p> <p>WSJ America's Newest Profession: Bloggers for Hire <a href="http://tinyurl.com/de99vh">http://tinyurl.com/de99vh</a></p> <p>WNYC Revives Radio Drama <a href="http://viigo.im/nB4">http://viigo.im/nB4</a></p> <p>Race an Issue in Wilson Play, and in Its Production NY TIMES <a href="http://tinyurl.com/dg6sv5">http://tinyurl.com/dg6sv5</a></p> <p>Nonprofits urged to be more open <a href="http://viigo.im/mXb">http://viigo.im/mXb</a></p> <p>White House Social Innovation Office to Have Three Goals <a href="http://tinyurl.com/dkodn6">http://tinyurl.com/dkodn6</a></p> <p>Nonprofits strained to breaking point by recession <a href="http://viigo.im/mWW">http://viigo.im/mWW</a></p> <p>Board Eats Endowment, Gloom Deepens at City Opera: Commentary <a href="http://tinyurl.com/cz6btn">http://tinyurl.com/cz6btn</a> BLOOMBERG</p> <p>Artists vs. Blight - WSJ - will Cleveland be the next artistic center, can artists save an entire city? <a href="http://tinyurl.com/dlw5w6">http://tinyurl.com/dlw5w6</a></p> <p>Staff cuts loom for nonprofit groups - Philanthropy Journal <a href="http://viigo.im/lDE">http://viigo.im/lDE</a></p> <p>Off B-way packs them in (but it's not enough for most to make up contributed losses) CRAINS NY <a href="http://tinyurl.com/c7ydq2">http://tinyurl.com/c7ydq2</a></p> <p>How to Sell a Nanny, a Mermaid and a Lion NY TIMES <a href="http://tinyurl.com/c9w7an">http://tinyurl.com/c9w7an</a></p> <p>City Opera Taps Into Endowment NY TIMES <a href="http://tinyurl.com/cw427k">http://tinyurl.com/cw427k</a></p> <p>More nonprofits engage in mergers for survival BOSTON GLOBE <a href="http://tinyurl.com/cqaepu">http://tinyurl.com/cqaepu</a></p> <p>Hiring freeze spreads - VARIETY <a href="http://tinyurl.com/damkmu">http://tinyurl.com/damkmu</a></p>Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-41788543502933066362009-04-25T15:48:00.001-04:002009-04-27T22:59:14.595-04:00List of Bloggers who attended the first Theater Bloggers Social<div class="wlWriterHeaderFooter" style="float:right; margin:0px; padding:0px 0px 4px 8px;"><script type="text/javascript">digg_url = "http://www.off-stage-right.com/2009/04/list-of-bloggers-who-attended-first.html";digg_title = "List of Bloggers who attended the first Theater Bloggers Social";digg_bgcolor = "#FFFFFF";digg_skin = "normal";</script><script src="http://digg.com/tools/diggthis.js" type="text/javascript"></script><script type="text/javascript">digg_url = undefined;digg_title = undefined;digg_bgcolor = undefined;digg_skin = undefined;</script></div><p>Will be adding these to their own special blog roll but here they are:</p> <p><a href="http://www.creatingtheater.com">www.creatingtheater.com</a></p> <p><a href="http://www.pataphysicalscience.blogspot.com">www.pataphysicalscience.blogspot.com</a></p> <p><a href="http://www.me2ism.blogspot.com">www.me2ism.blogspot.com</a></p> <p><a href="http://www.ccaggiano.typepad.com">www.ccaggiano.typepad.com</a></p> <p><a href="http://www.zackcalhoon.blogspot.com">www.zackcalhoon.blogspot.com</a></p> <p><a href="http://www.off-stage-right.com">www.off-stage-right.com</a></p> <p><a href="http://www.corinescorner.com">www.corinescorner.com</a></p> <p><a href="http://www.theatreaficionado.blogspot.com">www.theatreaficionado.blogspot.com</a></p> <p><a href="http://www.theproducersperspective.com">www.theproducersperspective.com</a></p> <p><a href="http://www.ryanjdavis.blogspot.com">www.ryanjdavis.blogspot.com</a></p> <p><a href="http://www.JeremysGreenRoom.com">www.JeremysGreenRoom.com</a></p> <p><a href="http://www.thedjf.blogspot.com">www.thedjf.blogspot.com</a></p> <p><a href="http://www.broadwaybullet.com">www.broadwaybullet.com</a></p> <p><a href="http://www.onenycstagehand.blogspot.com">www.onenycstagehand.blogspot.com</a></p> <p><a href="http://www.lezbehonest.tumblr.com">www.lezbehonest.tumblr.com</a></p> <p><a href="http://www.stagebuzz.com">www.stagebuzz.com</a></p> <p><a href="http://www.theclydefitchreport.com">www.theclydefitchreport.com</a></p> <p><a href="http://www.justshowstogoyou.com">www.justshowstogoyou.com</a></p> <p><a href="http://www.broadwaystars.com">www.broadwaystars.com</a></p> <p><a href="http://www.ushernonsense.com">www.ushernonsense.com</a></p> <p><a href="http://www.stagerush.blogspot.com">www.stagerush.blogspot.com</a></p> <p><a href="http://www.thatsoundscool.blogspot.com">www.thatsoundscool.blogspot.com</a></p> <p><a href="http://www.sarahbsadventures.blogspot.com">www.sarahbsadventures.blogspot.com</a></p> <p><a href="http://www.oneproducerinthecity.com">www.oneproducerinthecity.com</a></p> <p><a href="http://www.adaumbellesquest.com">www.adaumbellesquest.com</a></p> <p><a href="http://www.aislesay.com">www.aislesay.com</a></p> <p><a href="http://www.tynansanger.com">www.tynansanger.com</a></p> <p><a href="http://www.BroadwayAbridged.com">www.BroadwayAbridged.com</a></p> <p><a href="http://www.kimweild.com">www.kimweild.com</a></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-1314473596816926292009-04-25T08:36:00.002-04:002009-04-26T21:55:30.407-04:00Audience and Donor Types - are you a tag-a-long or loyalist?<p>Whether you are talking about donor or audience members there are some general types – motivations - that apply (as with all things in life). It is important for every show or in the case of institutions, every season and community, to be analyzed to see which of these types may be predisposed to attending a performance or making a donation. </p> <p>Type: Preview Chasers (always try to attend prior to a shows opening) </p> <ol> <li>Subtype: Those looking for a cheap ticket. This is pretty self explanatory. Lots or papering services customers here. </li> <li>Subtype: Those looking to be the first one in their social group to see a show. This group is a bit savvier and tends to attend a show late in previews – often targeting the press nights. These group contains the a lot of theater aficionados – they want to express their thoughts on a show rather than having their opinions shaped by reviews. They see most of what plays on and off Broadway. They are inclined to purchase memberships or subscriptions to nonprofits. This group has sub-subtypes - new plays, musicals and classics. This is probably one of the smallest groups but the most cherished for word of mouth. Most of the theatrical blogger movement comes from this group. </li> <li>Subtype: Those looking for a train wreck. There are people who simply want to see if something will go wrong, usually on a large musical or star studded straight play. I know plenty of people who rushed to see if Katie Holmes would be able to project enough to fill a theatre, let alone create a character on stage. This group is particularly happy when a whole show gets branded a train wreck – Dance with the Vampires. They spend a lot of time on sites like <a href="http://www.allthatchat.com/">www.allthatchat.com</a>. Sad to say that this group has a lot of (bitter) industry members in it. </li> </ol> <p>Type: Review Chasers (purchase based on good reviews from critic(s) they trust – most often, New York Times, Wall Street Journal, etc.) </p> <ol> <li>Subtype: Those looking only for Raves in major periodicals. No mixed reviews for them. These folks show by the adjective or quote ad. They are looking for only the hot shows. They may subscribe to a nonprofit company that has a strong streak of successful shows – to make sure they get in with good seats, but without a good review they simply let the tickets go to deadwood. This group also has sub-subtypes for Bway, off-Bway, off-off, cabaret, etc. </li> <li>Subtype: Those looking for easy access. This group more or less lets the show find them. They don’t seek out the show, but they sample one when they happen upon a good review. They are casual theater-goers who will risk a mixed review if it has the show has an interesting hook – an artist they like, a very familiar title, or a last minute purchase </li> </ol> <p>Type: Event Lovers (if there is a star, a limited run, a British import – or better yet all three – this group is there) </p> <ol> <li>Subtype: Those looking for stars. Reviews or venue doesn’t necessarily matter. If there is a famous person on stage, they are in the audience (and usually at the back stage door). Just think of the advance from <em>Three Days of Rain</em> with Julia Roberts. </li> <li>Subtype: Those looking for a once in a lifetime experience. This group went for the marathon of Coast of Utopia or flock to BAM to see the Royal Shakespeare Company. </li> <li>Subtype: Those looking for a party. Through a gala or benefit and they are there. </li> </ol> <p>Type: Loyalists </p> <ol> <li>Subtype: Those looking for a relationship with an institution. The ever-shrinking subscriber population. </li> <li>Subtype: Those looking to see everything a certain artist does. If artist X is in or wrote it, these fans are there. </li> </ol> <p>Type: Knowledge Seekers </p> <ol> <li>Subtype: Those looking for an exploration of a subject or time period. </li> <li>Subtype: Those looking for a learning component. This group loves partnership programs - talk-backs, behind the scenes workshops, book clubs, symposiums, related programming from other art-forms, etc. </li> </ol> <p>Type: Tag-a-longs </p> <ol> <li>Subtype: Those who were looking to make someone happy. The devoted partner or friend who puts up with a night in the theatre (usually in exchange for something else – a night at the symphony or a baseball game). </li> <li>Subtype: Those looking for a way out. Someone forced them to come. We all have seen these folks. No matter how good the show is they are shifting in their seats and doing a really crappy job of hiding the fact that they are checking their email on the blackberry or I-phone </li> </ol> <p>Type: Gatherers </p> <ol> <li>Subtype: Those looking for a large group experience. Whether it is a church group or club, their attendance is based on a gathering of peers. </li> <li>Subtype: Those looking for a social experience. Whether they attend wine-tastings, ladies night, singles nights, young professionals night – you get the gist. </li> <li>Subtype: Those looking for social-standing. These folks want to be seen, be part of the crowd – especially opening night. </li> </ol> <p>Of course a gatherer looking for a social experience might be at the show with a tag-a-long looking for a way out or a loyalist could be looking to be the first one to see a show. There are infinite combinations of these types and subtypes among individuals, pairs or groups. The difficult choice that one must make for each show or season is how to communicate before, during and after a “transaction” with different types and subtypes of audience members and donors. And as with anything in life, you can never please everybody and you may not be able to hit every type on every show. </p> <p>For example, let’s say a show has a well known artist attached to it perhaps advertising can be either very bold or viral and you can reach several types. But to get those review chasers you will have to use quote ads in the major publications. Every night you will have Tag-a-longs, at least you can make sure they have a pleasant customer experience, so that they aren’t so active in looking for a way out. </p> <p>We can drill down even further on these types and subtypes and depending on you ability and budget to do niche marketing it can be very useful. No matter what our budget is or what our staff capacity is, we have to get better at have a handful of messages for each show. Unfortunately, many nonprofits have not mastered this as well as the commercial sector. It is common for me to get a subscription brochure and postcard in the mail with the exact same language. That language is usually word for word in all materials from press releases to e-blasts to show posters in the lobby. Of course repetition is good but replication is boring. A little tweaking to specific types can go a long, long way!</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-65002986895247129512009-04-24T19:35:00.001-04:002009-04-24T19:35:47.388-04:00Theatre Bloggers’ Social<p>Last (Thursday) night, Ken Davenport (<a href="http://www.producerperspective.com">www.producerperspective.com</a>) hosted a theatre bloggers’ social.  I got there a bit late but I still had time to “social.”  It was great to see old friends, Jeremy Dobrish and Jill Duboff.  Surprising and fun to see fellow Texas Wesleyan University grad, Meredith Lucio.  There were about 30 people there – and that was the tip of the iceberg of theatre bloggers in NYC from what I  gather.  </p> <p>There was a some interesting discussion around the power of the theatre blogosphere.  It was a very fun night with some tips on blogging that I spent last night toying with (anyone playing with <a href="http://www.tumblr.com">www.tumblr.com</a>?).  </p> <p>I did find it very interesting that with the exception of a few (Davenport’s and <a href="http://www.clydefitchreport.com">Leonard Jacob’s Clyde Fitch Report</a>) all of the bloggers dealt primarily with reviews or feature stories.  I was the only blogger that had a focus that included nonprofit theatre. I know there have to be more nonprofit folks in the NYC area who are blogging about theatre – so where are you guys? </p> <p> It did give me some new ideas that I am going to implement over the next few weeks, so keep an eye out for some new features to come to Off Stage Right!</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-34390436634552783322009-04-24T08:44:00.001-04:002009-04-24T08:44:45.265-04:00A smart e-blast…<p>Maybe I am late to the party, but I was very impressed with the message I got on facebook from a couple of friends.  </p> <blockquote> <p>Give the gift of great theater - go to <a href="http://www.reasonstobepretty.com/share">www.reasonstobepretty.com/share</a> and send a customized e-blast to your friends. It's that simple.</p> </blockquote> <p>I was struck by not only the simplicity of this but the pure genius of getting instant word of mouth from a trusted source.  This is the third example I have found/discussed that asks an audience member to participate directly in the marketing of a show.  Long Wharf Theatre puts postcards in their lobby and asks audience members to address them and return them to the box office to be mailed – a “wish you were here” campaign and I have been having several conversations about encouraging audience members to tweet about shows during intermission or after a show.  </p> <p>Of course the one problem with the e-blast campaign is that it is not immediate.  I have two friends performing in the show, worked at the theatre it was originally produced at, know most of the production team and producing team, and I LOVED the show off-Broadway, yet, I still haven’t made my own e-blast up.  Now I could tell you that I am seeing the show May 2, and I was waiting until then to send it out, but it would be a bit of a lie.  Frankly, I have been touting the show left and right on facebook and twitter – to the point that many friends thought I was working on it.  Unfortunately even though I see the box office grosses each week, so I know that I should have sent the blast the minute I got the message, the message itself didn’t imply any urgency to me.  </p> <p>This is the issue with all three ideas.  If you are going to ask the customer to work for on your behalf, you need to make them feel needed.  Some how you have to get them to know that if they loved the show, they HAVE to tell everyone they know or the show won’t be around for them to see or their friends will miss out on something.  In the case of the Reasons e-blast you are asking them to take the time to type up to fifty emails.  That is a lot of work and time commitment (at least suggest they copy paste them too).  I have to wonder if it would have been a good idea to have hire a few people to stand outside the theatre at the end of the show with postcards with the link on them – with a message that implied “save this show.”  </p> <p>For the postcards, what if they were handed out with the programs and the pre-show announcement asked people to turn them into the box office (and said where they could pick up more in the lobby).  </p> <p>Certainly we can also think of ways to ask audiences to tweet their thoughts on the show through encouragement in announcements – I noticed at least one or two nonprofits must be using computers in their lobbies to send out tweets of audience responses on their institution’s twitter account.  </p> <p>After all if I got an email, postcard or tweet from someone whose opinion I trusted, I would check out the show.  It certainly seems worth the cost of a bit of manpower to make it happen. </p> <p>I have to go now – I have an e-blast to send out through <a href="http://www.reasonstobepretty.com/share">www.reasonstobepretty.com/share</a>.  In case I don’t paste your email in.  TRUST ME GO AND SEE THIS SHOW.  Don’t wait, <a href="http://www.telecharge.com/behindTheCurtain.aspx">buy your tickets now</a>.</p> <p><a href="http://www.reasonstobepretty.com/share"> </a></p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-65623415963646781542009-04-24T01:53:00.000-04:002009-04-24T01:55:06.268-04:00Jeremy’s Green Room<p>So if you haven’t checked it out – I wanted to recommend <a href="http://web.me.com/jdobrish/Jeremys_Green_Room/Welcome.html">Jeremy Dobrish’s new site</a>.  I ran into Jeremy at the first Theatre Blogger’s Social.  He is a wonderful director/playwright.  He is working on his blog with one of my absolute favorite sound designers and dear friend – the one and only Jill B.C. Duboff.  In addition to blogging, he has added video interviews (one with the incomparable Lorenzo Pisoni).  His latest <a href="http://web.me.com/jdobrish/Jeremys_Green_Room/Blog/Entries/2009/4/22_The_Smell_Of_A_Director.html">post</a> deals with all the types (and subtypes) of people working in the theatre.  </p> <p>His post sparked some thoughts on the types of people who that fill our audiences and donor circles.  So, go check out the Jeremy’s Greenroom – especially Lorenzo’s interview and Roslyn Coleman’s upcoming interview, and I will go write up a post looking at the types of people we need to make a play move from rehearsals to performances.</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-88434357100892383772009-04-22T16:59:00.001-04:002009-04-23T11:27:14.190-04:00Another Twitter battle in the making…Pogue vs. Marshelak<p>So, David Pogue whose column I read in the Times and have probably since he started it, had a great idea.  He is a twitter user <a href="http://twitter.com/Pogue">@Pogue</a>, and tends to send out questions or thoughts of the day as Tweets.  His idea was a <a href="http://davidpogue.com/bio_photos/twitter.html">book</a> of Twitter questions and answers – whole post below because it is short.</p> <p><strong></strong></p> <blockquote> <p><strong><a href="http://davidpogue.com/bio_photos/twitter.html">The World According to Twitter</a> by David Pogue</strong></p> <p><img height="307" alt="" src="http://davidpogue.com/images/WATT.gif" width="231" align="right" border="0" />It all started with a live demo of Twitter.</p> <p>During a talk, I was trying to demonstrate the real-time nature of Twitter. On stage, I typed: “Anyone got a pun that can fit in 140 characters?”</p> <p>Your responses started flowing within 10 seconds. In fact, the one-liners rained in for days:</p> <ul> <li>I used to work at an orange juice factory, but they canned me because I couldn’t concentrate. (@alancshaw) </li> <li>She was only a moonshiner’s daughter, but I loved her still. (@matthewdooley) </li> <li>Two TV installers met on a roof and fell in love. The wedding ceremony wasn’t so great... but wow, the reception! (@marqueO) </li> </ul> <p>Man, this was AMAZING! Real-time feedback from the masses!</p> <p>Next, I posted a picture of a squirrel in my yard, and asked for captions. You turned out to be the wittiest caption writers ever (<a href="http://bit.ly/V2hSA">click here to read</a>). </p> <p>Then came my call for the best advice your parents ever gave you. This time, there was more than humor; there was practical information and real emotion, too:</p> <ul> <li>Son, there’s a time and a place for everything. It’s called college. (@BarrSteve) </li> <li>Never pass up an opportunity to go to the bathroom. (@_hillary) </li> <li>Don’t let school get in the way of your education. (@Navesink) </li> <li>If you caught a fish every time you went fishing, it’d be called catching. (@BruceTurkel) </li> <li>If you buy the dress, the occasion will arise. (@haejinshin) </li> <li>If someone offers you a breath mint—take it. (@dsr) </li> <li>Two eyes, two ears, one mouth. Use them proportionally. (@pcz) </li> <li>If at first you don’t succeed, we’ll still love you. (@zwb) </li> </ul> <p>That was it. I knew my mission in life: to compile and edit a whole book of these responses, written by my 200,000 followers.</p> <p>Every night for the next few weeks, I’ll pose another question on Twitter. For example:</p> <ul> <li>What’s your greatest regret? </li> <li>Sum up your life story in six words. </li> <li>Tell us about your wedding proposal. </li> <li>What’s the best toast you ever heard? </li> <li>What’s the best Internet joke you ever got emailed? </li> <li>Anyone seen any good bumper stickers lately? </li> <li>Tell us about a Brush with Greatness (a celebrity encounter). </li> <li>What was the most embarrassing thing that ever happened to you? </li> <li>Write a haiku about your childhood. </li> <li>Send me your best anagram of a current famous person’s name. </li> </ul> <p>Each two-page spread of the book will contain the best of your responses to a single question.</p> <p>“The World According to Twitter” will be a charming, irresistible, extremely hilarious little book, a book that couldn’t be written in any other way.</p> <p>If I publish one of your tweets, I’ll send you a free copy of the book, inscribed to you personally. I’ll also credit your response in the book, using your Twitter name. (Don’t come crying to me if you suddenly pick up hundreds of new followers!)</p> <p>So that’s it: a challenge, a ride, a crazy experiment.</p> <p>Let the communal book-writing begin!</p> </blockquote> <table cellspacing="0" cellpadding="0"><tbody> <tr> <td width="60"></td> </tr> <tr> <td></td> <td><a href="http://lh4.ggpht.com/_LP0nul1Wtb8/Se-FP_mlB9I/AAAAAAAAA98/bJrMPbT0Rw0/s1600-h/clip_image001%5B4%5D%5B2%5D.gif"><img title="clip_image001[4]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="1" alt="clip_image001[4]" src="http://lh4.ggpht.com/_LP0nul1Wtb8/Se-FQLugziI/AAAAAAAAA-A/j1T-oDSogfA/clip_image001%5B4%5D_thumb.gif?imgmax=800" width="240" border="0" /></a></td> </tr> </tbody></table> <p>Now I thought this was a grand idea and that Pogue was the perfect person to write it as his field is well – technology.  But today, he tweeted the following <a href="http://blogs.creativeloafing.com/culturesurfing/2009/04/22/heywritemybookforme/">post</a> by Russ Marshaek (whose post in fairness I will put in its entirety as well.</p> <table style="width: 301px; height: 23px" cellspacing="0" cellpadding="0"><tbody> <tr> <td width="60"></td> </tr> <tr> <td></td> <td><a href="http://lh3.ggpht.com/_LP0nul1Wtb8/Se-FQS663YI/AAAAAAAAA-E/J7jq4pSnv7E/s1600-h/clip_image001%5B6%5D%5B2%5D.gif"><img title="clip_image001[6]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="1" alt="clip_image001[6]" src="http://lh3.ggpht.com/_LP0nul1Wtb8/Se-FQqvFQBI/AAAAAAAAA-I/7Q03FIE1hyY/clip_image001%5B6%5D_thumb.gif?imgmax=800" width="240" border="0" /></a></td> </tr> </tbody></table> <blockquote> <h4><a href="http://blogs.creativeloafing.com/culturesurfing/2009/04/22/heywritemybookforme/">@heywritemybookforme</a></h4> <p><small>April 22, 2009 at 3:41 pm by <a href="http://blogs.creativeloafing.com/culturesurfing/author/rmarshalek/">Russ Marshalek</a> in <a href="http://blogs.creativeloafing.com/culturesurfing/category/books/">Books</a>, <a href="http://blogs.creativeloafing.com/culturesurfing/category/pop-culture/">Pop Culture</a> </small></p> <p>Forget the Kindle vs. paper books debate — apparently the days of actually “writing” a “book” are slowly coming to an end. You know, craft, art, substance(s), the actual minutia that all go into making a book a piece of work — it’s all becoming as outdated as banks crash, attention spans diminish, and robots begin serving us dinner in capsule form (OK, that last one won’t happen ’til 2011). In this new cultural landscape, we will need leaders, like the Jonas Brothers, to rise up and, with a firm hand, guide us to new levels of social media interactivity. Fortunately David Pogue, <em>New York Times</em> columnist and author of many books that teach your grandmother how to check e-mail on her eMac, is here to save us via his forthcoming <em>The World According To Twitter</em>.</p> <p>From <a href="http://davidpogue.com/bio_photos/twitter.html">the blog of Pogue</a> (David Pogue, not the Pogues the band, because you know very well that I’d heap high praise on anything penned by <a href="http://en.wikipedia.org/wiki/Shane_MacGowan">Shane MacGowan</a>):</p> <p>It all started with a live demo of Twitter. During a talk, I was trying to demonstrate the real-time nature of Twitter. On stage, I typed: “Anyone got a pun that can fit in 140 characters?” Your responses started flowing within 10 seconds….</p> <p>Wait, wait, dear Culture Surfer reader, don’t check out yet, it gets better (in the way that “better” means “worse”):</p> <p>Next, I posted a picture of a squirrel in my yard, and asked for captions. You turned out to be the wittiest caption writers ever!</p> <p>(Oh, sorry, I added that exclamation point up there. It just needed it, didn’t it?)</p> <p>That was it. I knew my mission in life: to compile and edit a whole book of (Twitter) responses, written by my 200,000 followers.</p> <p>In today’s collapsing publishing landscape this book screams both timely and vital. I’ll be greatly looking forward to Pogue’s well-thought-out treatise on Friendster soon!</p> <p>No, really, all snark aside, this sort of attempt at an of-the-minute cash-grab really irks me. While publishers, authors and other various incidental folk in the book business are actually working, diligently and full of heart, to discover what it’s going to take to turn the sinking ship of books around, Pogue’s trying to ramp up excitement for 200 pages of @SomeGuy tweeting “hey I really like dogs.”</p> <p>And speaking of @someguy — if you, lucky you, end up being selected to be a part of Pogue’s scam project, you certainly get compensated, right?</p> <p>Of course you do. Per Pogue himself, he’ll send you “a free copy of the book, inscribed to you personally.”</p> <p>Oh, wow, lucky day!</p> <p>Meanwhile, he’ll certainly be charging at least $19.95 for the book.</p> <p>Also, while Twitter may be the super-hot “this is going to save the world as soon as we figure out how to use it” topic on the tip of many a CEO’s tongue … well, that’s it exactly. In a matter of time, Twitter will be to to some new social network what Myspace now is to Facebook. Trying to document any social network, in any way, via printed text, reminds me of when I, as an undergrad, was paid far too much money to copy write for what was aiming to be the “first printed guide to web sites” — since, you know, websites tend to stay around forever.</p> <p>I don’t think it ever actually took off the ground. Imagine that.</p> <p>Anyway, it saddens me when I can genuinely say that I prefer <a href="http://www.cnn.com/2009/TECH/04/17/ashton.cnn.twitter.battle/index.html?iref=mpstoryview">Oprah and Ashton Kutcher’s manipulation of Twitter for their own gains</a> over David Pogue’s “you guys can do my job for me and I’ll insert the hot social network of the moment into it to make it timely” approach, but I do. I mean, Oprah’s like everyone’s crazy aunt, so she’s forgiven to being late to the party.</p> <p>Also, at least Oprah isn’t asking her Twitter followers to write a book for her.</p> </blockquote> <table cellspacing="0" cellpadding="0"><tbody> <tr> <td width="60"></td> </tr> <tr> <td></td> <td><a href="http://lh4.ggpht.com/_LP0nul1Wtb8/Se-FQy05_CI/AAAAAAAAA-M/p0b2DC1fejU/s1600-h/clip_image001%5B3%5D.gif"><img title="clip_image001" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="1" alt="clip_image001" src="http://lh6.ggpht.com/_LP0nul1Wtb8/Se-FRDMm8ZI/AAAAAAAAA-Q/S66KlPGM0G8/clip_image001_thumb.gif?imgmax=800" width="240" border="0" /></a></td> </tr> </tbody></table> <p>Now here is my question – David seems to me to have presented an exciting idea that could result in a great book.  Russ seems to be a bit judgmental.  After all, it’s almost all pop culture of the moment?  And a lot of great art has been created in the moment.  Would Russ hate improv or poetry slams I wonder?</p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-40654320213697255612009-04-22T09:17:00.001-04:002009-04-23T11:27:14.190-04:00Relationships!<p>I don’t care about the economy there are some things we can’t afford not to do!  We can’t afford to stop communicating or planning during the downturn. Now is the time to build/strengthen relationships.</p> <p>I was talking to a development director the other day who was saying that she didn’t even want to call individual donors or foundations directors most days because of the economy.  After lifting my jaw off the floor, I went into a passionate rant about how now more that ever it was important to strengthen relationships and build new ones.  Economy be damned here are five quick tips you can do to make sure you don’t lose donors during the downturn and more importantly you still keep attracting new donors!</p> <p>1.  Take a donor out for coffee.  Not lunch, not dinner – coffee.  Conservative cost and much easier to schedule.  It is also easier to talk over a cup of coffee rather than dealing with ordering and eating.   </p> <p>2.  Make it clear that you are there to talk about your relationship and your organization not necessarily to make an ask. Let them know that you have been wanting to build a relationship with them – a LONG term one. </p> <p>3.  Don’t rule out making an ask.  A major donor once told me the worst thing you can do is ask for too little from a donor.  It is insulting.  If you ask for too much it is a compliment that you think they have that kind of money.  Same philosophy applies in downturn.  If you stop asking or ask for too small of an amount you could very likely be insulting the donor.  Perhaps that particular person isn’t experiencing any particular issues or perhaps he or she doesn’t want folks to know they are experiencing problems.  </p> <p>4.  Be completely honest about the state of your organization, but walk the middle line.  Don’t be overly optimistic or too pessimistic.  Share action steps that have worked and share your concerns.  Perhaps the donor has a perspective that could be enlightening.</p> <p>5.  Follow-up!  </p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0tag:blogger.com,1999:blog-5234910412705821300.post-57607107127635449362009-04-21T23:41:00.001-04:002009-04-23T11:27:14.190-04:00Save money on employee benefits (and increase your coverage)!<p>Ken Davenport wrote a post last week about the outrageous <a href="http://www.typepad.com/services/trackback/6a00e54ef2e21b8833011570183913970b" target="_blank">costs of healthcare</a> on commercial shows.  It created a lot of conversations in the blogosphere and beyond.  At last night’s American Theatre Magazine Benefit, I spoke to several people who were in the process of trying to cut expenses and worried about staff retention.  Late last month I had sent the below email to a few close friends, several who have taken action and will be seeing some savings coming their way!  So recent conversations made me think I should just put it up here for the world to see.  </p> <p>During these trying times I have been talking with many of you about how to cut expenses, reward employees and retain what meager staffs we have at nonprofit theatres.   It keeps me up at night.  While complaining to my dear friend Greg Martin about the state of theatre in general he offered to help in any way that he can.  So I am teaming up with him to get the word out that you can sometimes accomplish all three.  And remember as you read this there is no charge for any of his company’s services.  <u>It doesn’t matter where you are located or what type of business you run!</u></p> <p>Now, first question who the heck is he?  Greg runs Manchester Benefits – a full service broker for health, disability, and life insurance benefits.  10 years ago, when I was at MCC Theater I became Greg’s first client when he started the company.  I have used Manchester Benefits at EVERY company I have been at since (and they all continue to use him to this day) and have recommended him to several other organizations since started working with him.  He is working with everyone from ART-NY to NYTW to TDF to HERE.  He can help any organization of any size – for profit or nonprofit.  </p> <p>Second question how can he help?  We all know dealing with benefits for our employees is a difficult process.  Greg is often able to work out a better set of benefits than the employees had before (dental, optical, long term disability) and he works with you on what is affordable.   I have always been conscious of multiple bids and Greg has always found the best coverage for what the organization can or can’t afford. </p> <p>Third question, why him over any other broker – aren’t they all the same?  Actually they really aren’t all the same.  At three organizations, I inherited a different broker and none of them showed the caring or the customer support that Greg does.  Greg takes time to meet with your employees and explain the coverage to them.  His office when notified will follow a claim from start to finish.  Those of you who know me, know I am pretty accident prone, well, last time I was at the ER, I emailed Greg to let him know, and he followed up immediately to make sure everything that was done was covered and I didn’t have to do a thing.  He actually encourages clients to include his staff and him in the process.</p> <p>Fourth question, why does he do it?  Frankly, he is just a really great guy who cares about people.  He is actually passionate about insurance coverage and employee benefits (I know crazy, huh?).  For example, I once complained to Greg about how none of our off-Broadway electricians and carpenters had insurance coverage because they couldn’t afford it and weren’t full-time at any theatres.  He actually went out and started a program for them to get emergency coverage at an affordable rate.</p> <p>Fifth and final question, why does this seem just too good to be true?  Well, we are so used to being treated as second class citizens by most vendors.  Sad but true.  So stand up for yourself and your employees and demand a little more and call me and I will put you in touch with him immediately or just call him (212) 986-9339 x 114.  If nothing else you can just let him review your current coverage – no strings attached to see if he can help you.  Trust me you won’t regret it.  Check around with other companies that use him and you will see how much they adore him.  </p> Jodi Schoenbrun Carterhttp://www.blogger.com/profile/13745640843813627469noreply@blogger.com0