Running head: Marketing the Performing Arts

Marketing the Performing Arts:

Strategies to address a difficult brand
Alison Cox
Western Kentucky University

Abstract

Marketing the Performing Arts

The performing arts sector can, at times, be difficult to predict in

terms of how successful a certain production will be overall. In order to form
a positive perception of a performing arts event, a strong marketing plan
would need to be implemented. This paper will examine the ways to
maximize the potential of the performing arts through the application of a
successful marketing plan. Topics such as establishing an appropriate
audience, social media & web marketing, and the marketing mix will be
discussed as how they can contribute to a successful performing arts
marketing campaign. In addition, a brief case study will be presented on a
real-world performing arts organization, The Kentucky Center for the
Performing Arts, and how it reaches out to the mass market when promoting
its brand and productions.
Keywords: performing arts marketing, non-profit organization
marketing

Marketing the Performing Arts

Marketing the Performing Arts

Alison Cox

When marketing for any brand or organization, a strong presence is

necessary to reach the widest market. Performing arts marketing,
specifically, involves influencing the behavior of a market segment. In order
to do this, the organization must get the audience to move beyond reviews
and into the theatre through the use of advertising, promotions, and public
relations strategies. Bringing an audience into a theatre can be a difficult and
taxing process, but with an efficient and appealing marketing campaign can
increase interest in the performing arts and bring in an enthusiastic
audience.

The Role of the Marketing Director

The marketing director in a performing arts organization serves
as a liaison between the marketing and creative departments. Their sole
responsibilities include building an image for the arts organization, getting
the best and most appropriately prepared bodies into seats, and bringing the
most income possible for the smallest possible expense (Cox 1983). Regular
interaction between the marketing director and the artistic director is crucial
to a successful and efficient marketing campaign. A close working

Marketing the Performing Arts

relationship between the two can allow for better insight into what the
overall vision is and how it can be portrayed through a marketing campaign.
When developing a marketing campaign for a performing arts
production, the marketing director must follow a plan to identify the product
and the likely market segments, motivate customers to make the purchase,
and maintain and expend the customers commitment to their product (Cox
1983). Each of these steps is vital to not only expanding to a larger target
market, but also maintaining the current audience and creating loyal and
returning patrons.
Long-range and short-range planning are both aspects that are
considered by the marketing director when developing and implementing a
marketing or branding campaign. For example, the number of events to be
produced in a season, the balance of subject matter, and the type of
audience that might be sought after are all long- and short-range plans that
need to be considered. Also, packaging of ticket and subscription plans is a
long-range plan that needs to be recognized by the marketing director in
order to maximize ticket sales per performance and for an entire season.
Examples of packaging plans could include a subscription plan, single-ticket
sales, student and senior citizen discounts, and group sales (Cox 1983).

Establishing an Audience
The performing arts audience is unique in that it can be divided and
segmented in almost an infinite number of ways. This, however, can make it

Marketing the Performing Arts

difficult for marketers to select a target market and promote their

organization to that one specific segment. To simplify this segmentation
tactic, the performing arts audience can initially be divided into two groups:
the low involvement audience and the high-involvement audience. The low
involvement audience consists of those patrons who only consider a small
financial risk when purchasing tickets to a performance and bear an
insignificant consequence for an unsatisfying experience. The high
involvement audience, however, utilize higher levels of decision making and
financial commitment, such as spending $200 on a ticket for a prestigious
opera, as opposed to $20 on a small community theatre production of a
popular musical. Considerable time is spent researching options prior to the
purchase, with a high dependence on reviews, ratings, and word-of-mouth
recommendations (Sayre 2008).
Whether a performing arts organization is looking to implement a
general branding campaign or promote a specific performance, a target
audience must be identified. As stated above, an audience can be divided
into two categories: high involvement and low involvement. However, within
two categories are multiple subcategories that can better specify the
audience markets of a performing arts organization.
First, the loyalists are those patrons who attend performances
regularly. These are usually patrons who purchase season subscriptions and
attend nearly every performance. They serve as the primary marketing
segment for every brand and genre.

Marketing the Performing Arts

Next are the information seekers. The patrons in this subcategory are
partial to a particular brand or genre, but are not completely loyal. This is a
niche segment that is ideal for targeting genre specific marketing messages.
The routine buyers dont necessarily attend every genre specific
performance, but are likely to attend performances by a favorite artist. In this
case, performer-based brand marketing would be the most efficient and
effective in reaching this audience.
Finally, the brand switchers are not loyal to one specific genre or
performance; they attend whatever their mood dictates. This segment is the
hardest to identify and target because genre and brand are insignificant
factors in determining choices. In this case, price promotions would be the
most motivational tactics (Sayre 2008).
Applying the Four Ps of Marketing to the Performing Arts
When developing a general marketing plan for any organization, the
foundation will most often be found in what are described as the four Ps of
the marketing mix: product, price, promotion, and placement. When
combined into one marketing campaign, the reach to current and potential
audiences is radically increased, creating an overall successful promotional
plan for the organization and any current productions.
The first component, or P, of the marketing mix is the product. This
may be the most important because without a product, there would nothing
to promote. The product is simply what the business offers to the consumer
in an exchange. In the case of the performing arts, the product could be a

Marketing the Performing Arts

production, or any experience or event offered by the organization that

brings in an audience. However, consumers dont necessarily buy a product;
rather they are purchasing the perceived satisfaction that comes with the
purchase of that product. For an arts marketer, this means taking a given
product and then identifying what real or imagined needs it satisfies. The
presentation of the product is structured to emphasize the real benefits for
which the selected markets are willing to exchange. Packaging is a prominent
way in which an arts organization can make their product most responsive to
the market. The concept of packaging in performing arts marketing is the
only way in which the product can be molded to match the real and
understood needs of the segmented markets with putting constraint on the
artistic vision of the organization (House 1983).
Pricing is another important component of the marketing mix in which
the goal is to maximize potential income while simultaneously stimulating
sales and opening new markets. Pricing structures are generally recognized
as capable of addressing many objectives, including generating a cash profit
or maximizing profit, covering expenses, stimulating the marketing to make
additional purchases, and in rare cases turning off a market. The most
favorable pricing strategy for a market is always the low price. Low prices are
often set when an organization would like to attract the greatest number of
customers in a short period of time. This is also known as market stimulation
(House 1983).

Marketing the Performing Arts

In a performing arts environment, pricing discrimination is often

common to accommodate to the diverse market. For example, there are
typically discounted ticket prices for students, military personnel, and senior
citizens. Also, there is often location-based pricing, meaning that prices can
vary depending on where in the theatre the seats are located. Other pricing
discrimination techniques could consist of timing; charging less for weekday
matinees than for weekend evening performances, and offering different
prices for different products being offered, such as charging more for wellknown musicals than for dramas. When dealing with non-profit organizations
in general, pricing strategies must be reflective of the realities, behavior, and
perceptions of the marketplace in compliance with the objectives, realities,
and true costs of the organizations (House 1983).
The objective of promotion is to not only inform the public of a product,
but also present it in such a way that it speaks directly to the markets wants
and needs. In order for promotion to be successful, it must inform the
selected markets of who is selling the product, what is being sold, when it is
being sold, where it is being sold, and how it can be purchased. Promotion
should also make the association between the desire for the product and the
satisfaction it can provide. In order to execute a successful promotion, the
organization must reach as much of the market as possible and surround
them with enough information and stimuli to motivate a purchase decision
(House 1983).

Marketing the Performing Arts

The final component of the marketing mix is the placement of

the product, which incorporates where and how the purchase can be made
and where it will be consumed. It can be shown that the easier it is to buy
and use a product, the more likely it is to be purchased. For example, if
tickets for a performing arts production are easily accessible and readily
available for purchase, more people will be willing to buy them. The primary
objective of the performing arts marketer should be making sure tickets are
within an arms reach of those wanting to make a purchase (House 1983).
This can be done so with an efficient and sale-oriented box office. The boxoffice personnel are often seen as the salespeople of the theatre, therefore
they must be competent and confident in dealing with ticket sales and
customer inquiries.

Utilizing Social Media and Web-Based Marketing

No matter the organization, a strong social media presence is
crucial to a successful marketing campaign. Due to the rapidly growing
technological dependence in todays society, more and more consumers are
turning to the internet and social media to gain information on products,
services, and organizations. In the performing arts, social media can be a
very effective addition to an already implemented marketing or branding
campaign.
As opposed to a traditional broadcast mechanism, social media allows
for content to no longer be created and published exclusively by an

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10

organization. It is instead created, modified, and disseminated by all kinds

of users in a participatory and collaborative fashion (Hausmann & Poellmann
2013). Social media profiles allow audiences to interact with the organization
in a more immediate fashion, as opposed to contacting the organization
directly.
There are numerous social media platforms available to a performing
arts organization. Collaborative platforms such as Wikipedia and Yelp allow
for users to add, remove, and change information at their leisure. This is
beneficial to an organization because it allows their target market to state
their personal opinion on how they perceive the organization. In addition to
collaborative social media sites, weblogs allow extensive interaction between
the blogger and readers via a comments section. Posts on a weblog, or blog,
present regular updates on which contributions are published in reverse
chronological order. In addition to weblogs, microblogging has become
increasingly popular in marketing campaigns. The most prominent
microblogging platform, Twitter, is seen a hybrid of blogging, instant
messaging, and status notification, like that of Facebook. In order to be
successful on Twitter, however, an organization must gain a mass of
followers, i.e. people who subscribe to the updates of the user. In order to
gauge the success of the content, the number of favorites on a tweet or
the sharing of tweets with ones followers, also known as retweeting, is
examined and analyzed.

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11

Content communities are a useful way to display different types of

media developed by an organization to a target audience. YouTube, Flickr,
and Slideshare are content communities that focus on content and file
sharing between users. YouTube, for example, allows for users to post
original videos for anyone to view. Performing arts organizations could use
these content communities to their advantage where they provide a
relatively inexpensive possibility for visualizing otherwise intangible services
such as a concert, dance production, or play. These platforms emotionally
activate the user before actually using a cultural service and support their
decision in favor of a real visit (Hausmann & Poellmann 2013).
From a marketing standpoint, performing arts is considered a difficult
brand, meaning it consists of constrained availability and uncertain
outcomes. The gaps in time between performance offerings mean that there
are limited opportunities to satisfy the consumer, making it difficult to
establish salience for the performing arts brand. However, there are times
where this can be beneficial to an organization. The scarcity factor, meaning
the unique opportunity of the moment, can translate into a heightened sense
of urgency and superior value (Johnson & Preece 2011). This can only be
achieved, though, if the organization can maintain customer interest
between performance opportunities. The most effective way of doing so is
having a strong web-based presence in which consumers can still remain
connected with the organization during year round.

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In addition to its constrained availability, the performing arts can

struggle with predicting the outcomes of its performances. While it may
seem as if a performance will receive a positive acceptance from an
audience, it is often unpredictable how it will be perceived. Audience
dissatisfaction can result from a lack of appreciation for that type or genre of
performance. This could mean that after a single disappointment, a
consumer may choose not to return at all. In order to minimize this risk of
disappointment, audience members often times choose performance that
they are more familiar with, almost guaranteeing satisfaction. In order to
reduce any future disappointment, a performing arts organization should
accurately represent the performance being offered, as opposed to trying to
create hype through misleading promotion. A web presence can reinforce the
components that have traditionally served to promote persistent presence
such as logos, building appearance, critical reviews, and season descriptions
(Johnson & Preece 2011).
The internet serves as an interactive medium between an arts
organization and its target audiences. It can also, however, serve as a
communication source among audience members. It allows them to discuss
their perceptions of the organization and its success in effectively and
accurately promoting a production or just the brand in general. Online media
has the potential to provide persistent presence and to facilitate the small
world interaction that is necessary to maintain the connection between an
organization and its patrons (Johnson and Preece 2011).

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Case Study: The Kentucky Center for the Performing Arts

Located in downtown Louisville, Kentucky, the Kentucky Center for the
Performing Arts, also referred to as simply the Kentucky Center, is home to
many of many of the citys major performing arts organizations. It presents
the best in music, dance, theatre, and more to the city while remaining one
of Kentuckys most popular performing arts venues. Housing the Louisville
Orchestra, Kentucky Opera, Louisville Ballet, Stage One, and PNC Broadway
Across America, the Kentucky Center promotes arts enrichment in the city of
Louisville through its diverse repertoire. As its mission statement articulates,
The mission of The Kentucky Center for the Performing Arts is to lead and
enrich the artistic, educational and economic vitality of the region by
providing unparalleled programming and cultural events (The Kentucky
Center for the Performing Arts).
Because of the diverse demographics in the city of Louisville, the
Kentucky Center has year round productions and events to cater to each of
their segmented markets. In order to reach out to the targeted markets, the
Kentucky Center works to influence the behavior its audience through
promotional and marketing techniques. Take, for example, one of the
Kentucky Centers resident organizations, the Louisville Orchestra. The
Orchestra is considered a cornerstone of the Louisville arts community. The
popularity of classical music is gradually declining, but the Louisville
Orchestra strives to bring a fresh perspective to the genre. By offering a

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wide variety of concert series such as traditional classical programs with

world renowned guest artists, lighter classical and pops performances, and
educational and family events (Louisville Orchestra), the Orchestra is able
to reach all of its segmented markets and possibly even beyond that.
A way for the Louisville Orchestra to reach out to its segmented target
markets is to appeal to the emotions of the audience. For example, by
featuring a star performer or well-known piece, the audience will be more
emotionally inclined to attend that event. Also, promotional materials such
as brochures and advertising spots should include messages that would be
considered favorable towards the audience. They should provide clues as to
what the audience should expect out of the performance, all while
positioning it as distinctive from its competition (Sayre 2008). Finally, the
Louisville Orchestra, and any professional orchestra must focus on what the
audience wants. By loosening the definition of classical music and offering
more visual stimulation, it is easier to draw in an audience that wouldnt
typically be considered a target market segment, such as young adults.
The PNC Broadway Across America is one of the most popular
organizations within the Kentucky Center. Each year it offers a variety of
highly successful Broadway performances. The 2014-2015 season offers
productions of I Love Lucy: Live on Stage, Newsies, Once, Disneys The Lion
King, and Pippin (Louisville Broadway). In order to promote these stage
performances, the Kentucky Center must influence the behavior of the
market segment to make a purchase decision. The most efficient way to

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persuade the audience is through promotional materials that display

commanding artwork, such as logos which become the brand idea of the
show. Radio and television advertisement spots are also ways to promote the
quality of the production values of sets, costumes, and cast (Sayre 2008).
Take, for example, the Kentucky Centers production of Disneys The
Lion King that runs from March 9-23, 2015. The target audience of this
production is predominantly families with younger children, but in reality it
has proven to attract audiences of all ages. When developing a marketing
plan to promote this production, there are certain aspects that must be
considered. Sales packaging is a component that should be evaluated in
order to bring in the highest possible income. The most efficient way to do
this would be to offer special prices for children, students, senior citizens,
and groups. Also, targeting any press announcements towards the target
audience is a way to initially bring awareness to the production. An effective
advertising schedule is one that is visible throughout the run of the
production, most importantly including the pre-opening period. The audience
should be aware of the production from its initial announcement to its final
performance.
Public relations and publicity is very important to the success of the
Kentucky Center. Year-round the organization puts on educational events and
programs that bring in potential donors and new patrons. For example, the
Kentucky Center is home to nationally recognized programs such as Arts in
Healing, School Programs, and the Governors School for the Arts which

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have in turn have served 25,000 patrons in the year 2012 alone (The
Kentucky Center for the Performing Arts). Arts education has been shown to
have a positive impact on the overall education of young people. The
Kentucky Center reinforces that by integrating educational elements into its
standard production schedule. This allows for more visibility, especially with
young people, on how the Kentucky Center has a positive impact on the city
of Louisville, and the Commonwealth of Kentucky as a whole.
As this case study has shown, marketing the performing arts can be
difficult when the reactions of the public to the brand are somewhat
unpredictable. Also, the visibility of the performing arts is considerably low
compared to other aspects of the entertainment industry. In order to promote
and advertise individual performances and the organization as a whole, it is
important to listen to the wants and need of the audience and market to
those specifically. Also, developing a marketing plan that encompasses all
segments of the target market can be the most efficient way, in terms of cost
and time, to expand the audience and bring in new patrons. As a whole, the
Kentucky Center does an exceptional job at accomplishing that and should
serve as a model for the other performing arts organizations in the area.

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Works Cited
Cox, P. (1983). Marketing the performing arts: A personal view. In J. V. Melillo
(Ed.), Market the Arts (pp. 43-51). New York: Foundation for the
Extension and Development of the American Professional Theatre.
Hausmann, A., & Poellmann, L. (2013). Using social media for arts marketing:
Theoretical analysis and empirical insights for performing arts
organizations. International Review on Public and Nonprofit
Marketing, 10, 143-161.
House, M. (1983). The marketing mix. In J. V. Melillo (Ed.), Market the Arts
(pp. 65-75). New York: Foundation for the Extension and Development
of the American Professional Theatre.
Johnson, J. W., & Preece, S. B. (2011). Web strategies and the performing
arts: A solution to difficult brands. International Journal of Arts
Management, 14, 19-31.
Louisville Broadway: 2014-2015 Season. (n.d.). Retrieved December 5, 2014,
from http://louisville.broadway.com/
Sayre, S. (2008). Entertainment Marketing & Communication: Selling
Branded Performance, People, and Places. Upper Saddle River, NJ:
Pearson Education Inc.
The Kentucky Center for the Performing Arts. (n.d.). Retrieved December 2,
2014, from http://www.kentuckycenter.org

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The Louisville Orchestra | American Orchestra. (n.d.). Retrieved December 5,

2014, from http://www.louisvilleorchestra.org/