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Two Shows, Three Trucks

January 12, 2021

by:

Joe Patti

I was talking with an agent for some Broadway show tours this week in order to get a sense of what things might look like for productions in Fall 2021/Spring 2022. I was intrigued to learn that they were considering sending out two shows in repertory.

What that means is the same cast and crew rehearse so they are capable of mounting two different shows. This was once a common practice in theatre, and is still not terribly uncommon, especially among Shakespeare festivals.

I have seen some smaller touring productions offer this option, but never heard of it on the scale of a Broadway touring show. Given that you can do so much with projections these days, they can cut down on built set pieces to allow the tour to go out with the same number of trucks a Broadway tour of a single show would.

I am not sure if this is the right solution, but this is the first group I have spoken with that seems to acknowledged that times have changed and touring productions need to adopt new approaches.

This offers an opportunity to be more responsive when it comes to routing a show. Usually the tour of Show A will have one schedule and tour of Show B will have another schedule. It doesn’t help either me or the production company if Show A is touring near me but I want to see Show B. The repertory approach means they can send one tour out and perform one show 150 miles away and then another show in my venue. Since they are only sending one tour out with one set of cast and crew, there is a potential to save money vs. sending the two shows out separately.

If they were particularly well-organized and a venue had the space to shift and store things, they could feasibly do one show one night and the other show the next night and have the labor costs involved in doing so be economical for the venue.

How this might impact the quality of the show and the production values people expect, I don’t know. It is absolutely possible to execute a high quality experience with the investment of enough attention.

I suspect the first year or so of post-Covid touring will be an environment that will see even tours of single productions stumbling to find their footing and how well they handle that will be the biggest factor in the success and quality of their product.

Audience Relations, Business Models, General Musings, State of the Arts, Working In The Arts

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Take The Opportunity For A Reboot

January 11, 2021

by:

Joe Patti

Research has shown that offering free admission doesn’t lead to an increase in participation by new audiences. In most cases those that are attending are the people who normally attend, they are just showing up again a little sooner than they might have.

This past October/November I actually paid attention when I visited a museum that was offering free admission on a day that the featured artist was speaking. Sure enough, except for friends of the artists that came from out of town, there were only a handful of people who appeared to have never visited before. Most everyone else were greeted by staff as familiar faces or entered and made a beeline down the correct hallway to the exhibit.

Recently Seth Godin made a post titled “Why isn’t there a line at the library?” which addressed an aspect of what keeps people from showing up. He notes that if any other company was giving their core product away for free, people would cram through their doors.

A century ago, information was truly scarce and books were far more expensive than they are now. A decade ago, obtaining the instructions on how to do something was difficult indeed.

“It’s too expensive,” or “I can’t get access to it,” used to be really good excuses. But they obscured the truth: “It’s too much work.”

And that’s the answer to the question. It’s too much work to change our minds. It’s too much work to dance with the fear of failure. It’s too much work to imagine walking through the world differently.

Let’s be clear, this is true for all of us. There is always something we decide is too much work to engage with and yet will pour five times as much effort into something else. People will periodically ask me if I want to return to acting on stage, but the prospect of investing the proper time and energy to do a good job turns me off the idea. Yet there other things I have been working on regularly for decades. (This blog, for one, to think of it.)

There has also been an ongoing conversation in the arts community about the fact that an environment has been created around what we do that makes it a lot of work to comfortably participate.

Certainly, there are things that our potential audiences/participants already eagerly engage in that require more effort. But in many cases there is also a more widespread sense that you will be joining a bunch of fun, like minded people in this pursuit. Often that is not the vibe we give off.

This forced pause in operations the coronavirus has created provides an opportunity to shift the context and narrative for the future. It can start with social media posts and then transform into practice. Any return to activity is likely to begin on a small scale as people venture out which provides a low stakes environment in which to experiment with change and make your mistakes. Starting out small may not be great for the bottom line, but it offers a chance to reboot narratives and expectations regarding what we are all about.

Audience Relations, Building Public Will For Arts And Culture, State of the Arts

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Lack of Perks Don’t Make Or Break Donor Relations

January 6, 2021

by:

Joe Patti

Advisory Board for the Arts just sent out a summary of four takeaways about what motivates arts donors based on interviews conducted this past November and December.. While this post is going to be quote heavy, it isn’t going to include all their observations so I encourage you to take 2-3 minutes to read the whole thing.

The first takeaway was basically “first impressions set the tone for the whole relationship.” Once someone makes a donation, future donations will generally fall in the same area. The amount donated is fairly dependent on their perception of what a person like themselves has a duty to donate.

“…which is a combination of what they can afford to give and what they believe is their duty to give, based on factors like marital status, whether they have children, and how much they get out of the arts. When prompted to discuss whether he would consider increasing his giving to arts organizations, for example, one interviewee said that increasing “would probably be appropriate for a couple or a family. Just being single, $1,000 is already a high tier.”

The second takeaway probably holds no big surprises. Donors like to support different organizations, but they have a core group of entities (~2-5) with whom they concentrate their support and perhaps up to 20 others which they vary their support.

The third takeaway is very promising for organizations during and after Covid. While people may donate at a certain level to gain perks, taking away those perks won’t cause them to reduce their giving, by and large.

A handful of donors we spoke to pointed to benefits like free parking and access to donor lounges as reasons for their giving — but across the board, donors indicated that they would not change their giving habits if those perks were significantly reduced or removed entirely (as has been the case for many during the COVID-19 pandemic)… Many donors expressed a desire to help their communities, including by attracting business and building a vibrant local economy, through a demonstrated commitment to the arts. They stated their views clearly: the arts are not a luxury. They belong — they are needed — as part of the social fabric of every community…

The last takeaway is also probably not a surprise. Relationships and connections matter–both with the organization and other participants.

…the opportunity to meet and to know other people is what brings them back each year. Interviews revealed they have an acute awareness of what would be lost without those relationships.

Importantly, donors emphasized the difference between arts organizations’ (often costly) initiatives to foster community-building and the community itself. One interviewee summed this up succinctly when she told us that “perks like donor parties and receptions create community, and that is one of the satisfactions people get from donating. It is something people get besides the altruism of giving to the arts. But there are a lot of ways to create community without parties.”

We spoke to some donors who had met lifelong friends through the opera or symphony; we spoke to other donors who jumped at every opportunity to speak with artistic directors and performers and curators. They weren’t planning on discontinuing those relationships anytime soon. To do so would be to leave the community that had brought them those friends in the first place.

Audience Relations, Fundraising, State of the Arts

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Prioritizing Cultural Practitioners To Receive Covid Vaccine

January 5, 2021

by:

Joe Patti

NPR story came across my social media feed yesterday about how the Cherokee Nation has prioritized giving the Covid vaccine to those who are fluent in the Cherokee language. I sought out a little more information and learned that there are about 2500 fluent speakers and about 20 have died to Covid in the past year. The first allotment of the vaccine was about 900 does and there are other categories of people on the priority list so they aren’t going to be able to inoculate everyone.

The fact that the Cherokee Nation moved to protect cultural practitioners and had the need to do so provides a lot of complicated issues consider.

Not the least of which are the indications in both the NPR and Tulsa World stories I linked to that suggest some of these people might be normally disinclined to get vaccinated if it weren’t for the value being placed upon them. Based on what they had heard, nearly everyone interviewed expressed concerns about the safety of the shots.

“Language is an essential link to preserving the culture of the Cherokee Nation people,” Montgomery said of the decision to prioritize Cherokee language speakers in vaccine scheduling.

“When I walked through (the center) earlier today and I saw a couple of native (Cherokee) speakers that were getting their vaccine, I can’t describe the emotion I felt knowing they’re here overcoming any fear they might have of receiving the vaccine and doing so to protect themselves and their families.”

John Ross, a Cherokee language translator, …Asked about the tribe’s decision to prioritize him and other language speakers for vaccines, he said he was initially shocked to learn that he would be vaccinated this week but felt “elated.”

State of the Arts

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