Customer Relations Management / Marketing Mini-Case: Gladstone’s Bums in Seat Promotion

As mentioned in a previous post, I recently went to see Doubt at The Gladstone. This happened for two reasons. First, I am trying to get a sense of the Ottawa performing arts scene (especially theatre) because I want to know if there is a hole in the market that I can fill with an arts-focussed enterprise. Accordingly, I am cruising the internet identifying different companies and community leaders. I’m also trying to see as much Ottawa theatre as possible. Second, I happened to surf my way across the Gladstone website when they were offering a two for one seat sale for Doubt — a production I wanted to see. Badda boom, badda bing. I found a friend who wanted to go and I called to book seats.

It took a while for a person to pick up (I almost hung up) but, when a woman did pick-up, she was friendly and efficient. When I mentioned the promotion, she asked me how I found out about it. Good. This is crucial information and effortlessly gathered. I explained that I was researching theaters in the Ottawa area and I came across the promotion on their website. I could tell the person was a little surprised by this response, perhaps because I was so forthcoming or perhaps because it wasn’t the typical answer (which all market research suggests would normally be something like, “my friend recommended it to me”.)

Whatever the reason, at this point, very loud bells should have been going off in this person’s head. By word and deed, I had identified myself as a person who is very interested in theatre, as a person who takes the initiative to engage with theatre, and as a person who organizes others to go to theatre (notice, I was booking a two for one ticket which means I had to organize someone else to come along). In other words, I am performing arts manna from heaven. I am exactly the kind of person with whom performing arts enterprises should be trying to connect and trying to establish a substantial and mutually beneficial relationship. The only other thing that could have made it better is if I let slip that I was billionaire looking to donate.

So, at this point, as a bare minimum, she should have asked if I wanted to be put on a mailing list for future two for one offers, up-coming shows, special deals, etc. She might have also used the opportunity to personalize the relationship with a bit of small talk or a recommendation for an up-coming show. Again, my manner and answer implied I was in no rush, so here was an opportunity to build and add value to our relationship. Instead, she only took my details, which included a credit card number, phone number, and an email address. I received an email confirmation almost immediately and that was greatly appreciated.

Now I should say there is learning moment for me here too. Essentially, I suspected the woman wanted to ask more questions and I did not use that as an opportunity to network. Now, whoever was on the end of that line is someone who is passionate enough about theatre to be working the phones on an Wednesday afternoon. So, she is someone I want to know and connect with — whether she is a volunteer or the Director of Marketing. So, I also missed an opportunity. In other words, we all of have lots to learn. My strengths are research, analysis, strategy, and management. Networking is not my strong suit, but I am working on it. 

At any rate, I then promptly did what people like me often do. I rustled up other folks who might want to go the show. Two more tickets were sold because of me. Two people who would not normally go to theatre went and, as it happened, enjoyed themselves (market research also indicates this is what normally happens — people who get to the performing arts normally enjoy themselves). This is why people like me are performing arts manna from heaven. We get other people to buy tickets. It also explains why most people, when asked how they found out about the show, say, “my friend told me about it / recommended it.” 

I should also note, on the night of the performance, the front of house staff were friendly, efficient, welcoming, but ultimately passive. Although my friend and I had arrived early, bought drinks, and soon found ourselves staring at the wall, no one made any effort to grow the relationship. Here was an opportunity for everything from a simple hello and thanks for coming to a request to fill out a marketing survey or promote another show. Very soon, we were not the only early arrivals standing around with time on our hands. Another missed opportunity. I also need to add, as good as the front of house folks were, they were also very loud and easily heard in the theatre during the first part of the show. This is inexcusable at any level of theatre.

There was a talk-back after the show which I did not attend (not my cup of tea) but I can only hope that some effort was made to grow the relationship with those who attended. If you want to read about the talk-back experience from a performer’s perspective, check Kris Joseph’s thoughtful comments, here.  

Now here is the kicker and the thing that sparked this post. Accidentally, and by word of mouth, I found out that the Gladstone offered two for one seats to last night’s opening of The Radio Show. Problem 1. I had no idea a new show was opening. Problem 2. I had no idea that there was a two for one offer. Either of those facts may have drawn me to the show. If you put them both together, I would have been there for sure and organizing other people to go. As a matter of fact, I was out watching theatre that very night (more on that later). 

Let’s put the pieces together. For all intents and purposes, I am exactly the sort of customer The Gladstone should be identifying and creating a relationship with (I organize other people to go to shows). Heck, I even blogged about the previous show. They have my email address. Moreover, I am actively seeking out theatre and did not hear about the new show. So, clearly their promotions strategy can’t be targeting the right communications channels and they need to refine their customer relations management practices.

So here are some lessons I draw from this mini-case:

1) All staff, from top to bottom, need to be trained that their ultimate goal is to create, manage, and add value to lasting relationships between themselves (acting as representatives of the theatre) and people who are the target market for that theatre. They need to know who they are looking for and how to engage with them. Successful arts marketing is not only about getting bums in seats, it is about nurturing lasting and mutually beneficial relationships with the people attached to those bums — especially “social organizers”.

2) Keep a checklist by the phone and train folks to use it every time they pick up the phone. Even the most seasoned professional forgets or overlooks the most obvious opportunities. A check list may help avoid these oversights. Constantly update the list. No single list will ever be wholly complete (e.g. “Hey, are you on Twitter / Facebook, we up-date regularly?” probably should be added right now).

3) In this day and age, someone in a theatre company should be taking a few minutes each day to see if people on the internet are talking about them. On-line posts can provide incredibly useful marketing information and provide opportunities to communicate directly with potential customers. A simple two minute reply thanking a blogger for a post and mentioning the next show on offer could pay dividends. Moreover, do not “set it and forget it.” Social networking accounts are not opportunities for costumers to find you, they are opportunities for you to find customers.    

4) All of us still have plenty to learn, whatever our profession, trade, skill, or craft, and we should all be trying to learn from self-analysis or by analyzing the efforts of others on a regular basis. Even a generally positive trip to a theatre can provide lots to think about and learn from.

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