Fortune Marketing 24 June Final

8/7/2019 Fortune Marketing 24 June Final

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Executive Summary

The purpose of this report is to outline the Fortune Theatres Marketing Plan for 2009and into the immediate future.

The Fortune Theatre is operating in a unique environment. The New Zealandeconomy is currently in recession and is expected to remaining a low/no growthstate through to the end of 2010 at least. While we are slightly protected in Dunedin,we are not immune. The economic environment will impact on ticket sales,sponsorship and government funding. The costs of creating and performing are alsoconstantly rising, creating a squeeze all around. Looking at our socio-culturalenvironment it is clear that our population is aging and correspondingly the traditionof regularly attending the theatre is declining. We must look seriously andstrategically at our value offer, our programming and how we spend our limitedpromotional and marketing funds.

There are five brand attributes which make up the Fortune Theatres brand essence.

In order of importance these are; Audience Focused and Relationship Based, SocialExperience, Quality, Creative, Open and Accessible and Proudly Dunedin withInternational Connections. Overall, we are committed to developing closerrelationships with our audience both existing and projected.

Four key audience segments to target during 2009 have been identified. Thesesegments are; Symbols of Success, Provincial Pride, Suburban Comfort and RuralLiving. Each of these segments respond to our brand attributes differently,highlighting the need to speak to each of our audience segments in a different voicewith a different value package.

The focus for the next 12 months will be on one internal and two external marketingobjectives. The most important internal marketing objective is to implement andcommunicate our brand across the whole organisation, so that every staff member isable to deliver on our brands promise. The first key external marketing objective isto increase brand awareness and profile of the Fortune Theatre within Dunedin anddevelop closer relationships with our publics. The second objective is to increasereturn bookings through better use of our data base and further personalising andtailoring our communications to reach target segments. Our media objective for2009 is to re-evaluate our use/ relationship with different media.

Currently we have 42 sponsors. These are renewed on an annual basis and receive abenefit package aligned to their partnership level. The principle sponsorship objectiveis to maximize the sponsorship potential of the Fortune Theatre.

Fortune Theatre Marketing Plan 2009


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CNZ and the Fortune

Creative New Zealand is the Fortune Theatres principal funder. CNZ also contributesto business development through investing in our professional development, as wellas in tools to assist us in our bid to develop audiences. CNZ have expressed theirsupport for the Fortune and its plans to widen its appeal and to build audiences.

Economic Environment

The New Zealand economy is currently in recession and looks to be deterioratingfurther. 1

We are experiencing a steady decrease in external and domestic demand and, as aresult business confidence and expectancy is weak2. The unemployment rate is alsoincreasing, hitting 4.6% in the December quarter of 20083. 2009 and beyond will be

tough for many New Zealanders who will be affected by our economic position andsubsequently concerned about their businesses and families. Theatres are escapist

which will work in our favour. However, the economic environment is likely to impacton theatre sales particularly for our audience segments with tight discretionaryspend4. The economic situation will also have an impact on sponsorship, as adecrease in demand, and/or tighter cash flow conditions force local businesses totighten their belts. We are already experiencing symptoms of this.

The costs of creating and performing are constantly rising. On the other side,revenues and costs (e.g. audience prices, government programmes and artists fees)are not; or, are not keeping pace. There is an economic squeeze all around. As aresult, everyone producing theatre has to make tougher choices. We must lookseriously and strategically at our value offer, our programming and how we spendour limited promotional and marketing funds.

Political Environment

Support for National has strengthened significantly since the election. A recent TVOne News Colmar Brunton poll put National on 56 % support compared to Labour,which is sitting on 28 %. TV3 has exhibited similar polling results 5. While Key hasbeen enjoying a golden period he has a delicate balancing act ahead of him. Heneeds to prepare New Zealanders for tougher times and at the same time keep thepublic reassured the situation will not blow up, so as not to create a self-fulfillingprophecy. Key has promised not to let government debt get near the $65 billion levelthe Treasury is now forecasting6. To achieve this, cuts to spending will need to bemade. On top of freezing his budget and cutting internal costs, Key will need tomake cuts in spending, which may affect us as a theatre.7

Nationals arts policy has not been expanded on, or altered, since the run up to theelection when National reassured the public it would not cut arts funding and wouldlook at cutting internal costs by restructuring Creative New Zealand (the ArtsCouncil). While this seems favourable, if funding is not increased in real terms, this

122/2/2009, http://www.treasury.govt.nz/budget/2009/bps/02.htm

222/2/2009, http://www.treasury.govt.nz/economy/mei/jan09/01.htm

326/02/2009, www.3news.co.nz

4Working Fringe totalling 16.58 % of our audience in 2007

5

22/02/2008, www.stuffnews.co.nz622/02/2009, http://www.colinjames.co.nz/ODT/ODT_2009/ODT_column_09Feb10.htm

722/02/2009, http://www.colinjames.co.nz/ODT/ODT_2009/ODT_column_09Feb10.htm

http://www.treasury.govt.nz/budget/2009/bps/02.htmhttp://www.treasury.govt.nz/economy/mei/jan09/01.htmhttp://www.treasury.govt.nz/budget/2009/bps/02.htmhttp://www.treasury.govt.nz/economy/mei/jan09/01.htm


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policy constitutes a cut. Failure to increase funding will put pressure on the Fortunein the face of rising costs, and the current financial pressure on audiences andsponsors.

The Dunedin Environment

A prudent business culture and sound agricultural foundation means Otago'seconomy is looking relatively good when compared with the rest of New Zealand.This culture means in this part of the country economic highs tend not to be as highand lows not so low. However, we are not immune and while the Otago primarysector is relatively robust, Dunedins service sector is certainly feeling the pinch8.Local retailers, restaurants and tourism operators are suffering as people keep acloser eye on their wallets. As a theatre, we fall within the service/entertainmentsector so we too are likely to see a downturn in patrons; particularly those who havelimited discretionary spend. Like the rest of New Zealand, the economic situation inDunedin is expected to get worse before it gets better.

Socio-cultural Environment

Our population is aging and with it, the tradition of regularly attending the theatre.Contrary to what many arts organisations assumed would happen, once the Boomershit 55 or 60, most have not developed a deep desire to attend high brow arts,despite displaying considerable evidence of disposable income, leisure time, andsophistication9. Many boomers have been found to actually have more leisure timethan previous generations, but they appear to be spending it differently; growingvege gardens, building decks and preparing low key yet gourmet dinners for theirfamilies and friends. Baby boomers are participating in arts and entertainment

activities, but often in a different way than previous generations; learning to play theguitar, taking photos with their digital cameras, videoing their children/grandchildrenand at 55 still going to Rod Stewart concerts.

There is also no doubt that the social values and lifestyle expectations of youngeradults are again quite different from earlier generations, and more diverse. In thelong term, this will mean smaller audiences for different arts and cultural forms, andother types of creation and recreation interests.

For many individuals and families, there are limited incomes to pursue arts andculture, and other learning and recreational interests. At the same time, the numbersof choices and options that are available to individuals and families to learn, play,create, and recreate are increasing, including expanding arts forms and disciplines.The result is that the potential audiences for any particular arts and culturalperformance are narrowing, if not in size, in proportion to the broader community.

The challenge facing performance art is that we are increasingly competing, bothwith each other, and with other types of interests (for example: the internet andsports), for people's attention, interest, time, and money. The same type ofcompetition is also present as local arts organizations seek volunteers, donors, andsponsors.

Also, the ways in which people are communicating are changing with a particularincrease in the use of social media. Young people especially, are using a variety of

822/02/2009, http://www.odt.co.nz/news/dunedin/44448/local-business-outlook-good

95/03/09, www.australiacouncil.gov.au/research/arts_marketing/strategic_planning



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digital media and social systems that connect them much more directly, immediatelyand personally to the world. One of the implications of this change is thattraditionnal forms of advertising such as television, radio and newspapers are lesseffective for communicating with certain segments of our audience. One of theopportunites within this new communication environment is the possibility ofconnecting to certain segments of our audience in more cost effective andrelationship-based ways. There is however, a cost in terms of time to manage suchsocial and potentially personal communications.



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Brand Story

A brand is not an icon, a slogan, or a mission statement. It is a promise a promiseyour company can keep. Kristin Zhivago

List of Fortune Theatre Brand Attributes

Benefits what does the audienceget?

Social experience

Personal experience

Expansive, fulfilling experience

Goose-bumps!

Attributes our promise

Audience-focussed

Relationships

Improve lives through participation inthe arts

Quality

Expand creative boundaries

Essence vision

Egalitarian

Sustainable

Focused on long term relationships

Proudly Dunedin New Zealand withan international reach

To consistently adapt and change(so we remain relevant to ouraudience)

Values beliefs

Fun

Collaborative

Forward thinking

Interdisciplinary

Creative

Community focused

Brand Essence

Audience-Focused and Relationship-Based

Traditionally, theatres around the world treat the audience as a passive partner.However, art really only exists in relation to audiences and their experience,

particularly the performing arts. In theatre, audiences are actually part of theproduct. The actors rely on the energy of the audience, and the audience feeds offboth the energy of the actors and the energy from each other. We believe, therefore,that to be truly relationship-based, we must be audience focused. This does notmean to do only what the audience wants or expects, but rather to place them at thecentre of every decision we make. We will seek to re-define this relationship betweentheatre and audience in every aspect of our organisation.

In the 21st century a cultural shift has occurred. The relationships between people,time, art, and space have changed, as has the way we create, communicate,consume and commune. For example, the opportunities for participation in theproduction, distribution and communication of arts and creative enterprise have

increased. We exist within a social and cultural context - and if that contextchanges, we too must adapt and change. To be relevant to our audience as an



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entertainment experience it is essential to listen and create value that matters tothem. Relevance is also about connecting with our audience on an emotional level.To really connect is to pull on peoples heartstrings in some way. Engaging with ouraudience on this level creates a depth of loyalty and facilitates long termrelationships.

Social experience, full of vitality and life!

Theatre is a shared experience and it is the shared, social experience that is theprincipal motivator behind people attending the theatre. The social nature of theatreexists on a number of levels. Firstly, we have the relationships between groups ofpeople within the building. The pre and post show interaction surrounding attendingthe theatre is also an important part of the experience. Finally, theatre is a socialforum where we explore, share and reflect on our stories, past and present.

Quality

As a professional theatre company quality defined as a degree or grade of

excellence, is fundamental. Quality must be consistent across all aspects of ourorganisation in order to gain and retain the trust and respect of our audience and thewider Dunedin public. Quality is a yardstick, by which all decisions can be alignedand measured - pursuing excellence in every aspect of our organization so that weare proud of what we do.

Creative

Creativity is at the heart of the Fortune Theatre. Creativity is achieving theseemingly impossible on the basis of that which is available. It is a way of workingthat leads to creative solutions. It is about thinking ahead, innovating and expandingboundaries in order to create magic. Also, it is about thinking differently andconstantly looking at what we do and how we do it.

Open and Accessible

As an organisation we believe in being open and transparent both internally andexternally.

The word theatre is loaded and can often be alienating. As an organisation we havean egalitarian culture and believe in breaking down barriers often associated with

theatre or the perception of theatre. Our goal is to be accessible to as wide anaudience as possible.

Proudly Dunedin with an international connections

As Dunedins professional theatre, we see ourselves as firmly rooted in the Dunedincommunity. Dunedin people can be proud and take ownership of the work weproduce.

On a national stage we represent Dunedin as one of the longest established of theseven professional theatres in New Zealand.

Our international reach is also a part of our identity, and is a result of our desire tostay at the forefront of our industry and continue to learn, and grow as anorganisation.



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Brand Attributes and Audience

Audience defined who are we targeting and why?

In the current economic climate, many New Zealanders are struggling to make endsmeet. For the period of 2009-2010 it is therefore in the best interests of the theatreto target audience groups (groups within Dunedin identified by Purple Seven, asuccessful UK audience profiling company sponsored by CNZ) who already have ahigh representation at the theatre and have a relatively high discretionary income.While New Zealand is going through a tough financial period, we are going to get thebest return on investment from focusing on increasing attendance within thefollowing segmen:

Target one Symbols of Success

This group currently makes up 8.34% of households visiting the FortuneTheatre.

This mosaic group consists of three categories made up of the most affluentNew Zealand households. The group generally are high spending familiesand high achievers in the most desirable suburbs in New Zealand.

This mosaic grouping has a predisposition to theatre and has the highestdiscretionary spend of all New Zealanders.

I am well educated and successful. I am well travelled and pride myself on my broad

general knowledge. I lead a well rounded life - I read the right books, I drink theright wine and when there is a buzz around an entertainment act whether it is asports or arts event I always go along. When I go to the theatre even though I mightthink I just want a good laugh, I do want to be challenged to an extent or I dont feelsatisfied. Essentially I want to take something away from the experience. I will oftenbook over the internet and like a glass of wine and a meal out before I go.

Target two Provincial Pride

This group currently makes up 14.87% of households visiting the FortuneTheatre.

This mosaic group consists of three segments that can be generalised as truekiwis in provincial towns. Many are older couples and empty nesters.

A large number of people within this mosaic group are now mortgage free sotheir spending power is relatively high. Demographic profiling informationdoes not identify this group as regular theatre goers, however Vital Statisticshas identified that these people are in fact a key audience segment for theFortune Theatre.

I like to play it safe and I feel secure with what I know. I believe in our country andthat my vote matters in life. I see myself as a quintessential kiwi. I worked hard to

purchase my house early on. I talk to my neighbour over the fence and amcommunity minded. Going to the Fortune Theatre is a treat and a little bit out of the



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ordinary. However I see theatre as a safe entertainment choice, specifically if its acomedy or I recognise someone in it (celebrity or someone from the community). Itend to go to the theatre with my spouse, close friends and family. I am priceconscious and I like to enter competitions.

Target three Rural Living

This group currently makes up 6.63% of households visiting the FortuneTheatre every year. Whilst this is not as high as the others, this mosaicgroup has the highest average ticket yield, so when they do come theyspend a lot.

The mosaic group consists of five categories of rural landowners and workersin New Zealands farming heartlands that have good spending power.

Money is not a problem for me. I can be indulgent, but I am not frivolous and I plan

my spending. While we technically live quite far away from our neighbours, we arefriends and help each other out. I dont come to the theatre very often but when Ido, it is often a planned trip and my husband goes too. He leaves lots ofentertainment choices like this up to me and when we go to town its my day. Ifthere is a recognisable show on for the girls, the wives will go together, have a nightout in town and stay in a hotel. I hold the Fortune Theatre in high regard and everytime I go I love it. I see it as an important part of Dunedin.

Target four Suburban Comfort

This group currently accounts for 14.27% of households visiting the Fortune

Theatre. This mosaic group can be described as three categories of educated

professional families, generally from wealthy areas, living in established andnew suburbs.

People within this mosaic group sit within a relatively high average incomebracket. A high portion of this segment is already theatre goers.

I have access to money. Though I am in a fair bit of debt I think I manage this pretty well. I shop off the internet and like to live comfortably. My home isimportant to me as is home entertainment (like sky and barbeques with all the bells

and whistles). I will go the theatre if a friend suggests it. It doesnt really matterwhats on I think it is a fun thing to do and a good way to catch up with friends. TheFortune Theatre is great and I enjoy taking the kids, but I dont seem to get along tosee adult theatre as much as I should.



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Brand attributes applied across the target audience

Symbols of Success

I expect that the theatre treats me as a valued customer. I need to know that othersconsider me special. If they do I will reward them with continued patronage. I go tothe theatre with my spouse, my mother, my close friend, or a close couple. I willdefinitely critique the play to the people I catch up with over the next week. Qualityis paramount to me and when I go to the theatre I expect a high end performance.Quality needs to be evident all of the way through for me to feel I have got value formoney. I can appreciate the production values even if I dont like the show. I feelthe Fortune is accessible to me, as are all art forms. I know where to find out abouta show if I have heard about it and am interested in it. I am surprised and satisfiedwhen I notice international influences in a production.

Provincial Pride

I dont need to be made to feel special as I automatically feel included. I accept whatis presented to me on face value and respect it. However I do get a real kick when Isee myself on stage. When I go to the theatre I enjoy the whole experience and Ifully engage as an audience member. I normally go to the theatre with my spouse,family or group of friends. I know what sort of play I like. I am easily impressed bythe quality of the Fortune and hold it in high esteem as a Dunedin icon. I value thecreativity that goes into a Fortune show. I feel the Fortune Theatre is accessible tome and feel a sense of ownership of the theatre. I am proud when the FortuneTheatre makes it onto the national stage.

Rural Living

I have a long term relationship with the Fortune Theatre. I see attending the theatreas an important part of a well rounded life. I identify with the Fortune as a touchstone of Dunedins cultural fabric. It is something to look forward to and always agood night out. I value and relish the whole experience. I plan my trip to the theatrewell in advance and normally go with my spouse. I trust the Fortune Theatre and I

hold it in high esteem. I understand its point of difference and value as the lowerSouth Islands Professional Theatre. I very rarely will criticize the play but will noticeif the services around the theatre arent up to my standard. It is a given that thecreative quality of the theatre will be top shelf. It really is an intrinsic part of Otagoand Southland. I see the Fortune as for everyone, though it wouldnt occur to me tojust turn up on the night. I am impressed by big brands whether they are national orinternational.



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Suburban Comfort

I like something that is tailored to me. I have lots of entertainment choices and onlythe weekend to squeeze it in. Decisions to go to the theatre are often made withfriends. I always take the kids to the Fortune Theatre childrens productions as I getpleasure out of watching them enjoy themselves so much. When I go to the theatreI want to be entertained or I feel let down. I expect the quality to be high all around,although I dont want to pay premium prices. I have expectations around the theatreexperience and I like these to be met. I am fickle so if you dont impress me I will gosomewhere else. I tend to take the Fortune for granted as always being there but ifthere is good word of mouth is good I will go. I feel that the Fortune benefits fromits international connections as this ensures things are kept up to a professionalstandard.

Symbols of success

Opinion leaders

Social networks

Book on-line

Listener/Advertorial/Features

Prime target for Gala and Sponsor nights

Cross-selling

Suburban Comfort

Highly influenced by WOM

Importance of Reviews

Importance of Brands e.g. Roger Hall

Importance of added value

Small Group bookings

Provincial Pride

Respond to discounts/specials

Importance of Brands

Local club/works social

Entertainment night out

Importance of local causes

Rural Living

Make feel special Local medial



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Importance of packages

Special occasion

There are several other mosaic segments that are also important to the Fortune in

terms of audience attendance and development. These I will select and target on ashow by show basis.

Singles and Starters

Five categories of students and younger workers living in high density and lower costsuburbs.

Digital natives especially Social media e.g. Face book

Bars/clubs

Image conscious

City centre/student areas

Family Growth

Five categories of young families, mostly with school aged children, living primarily inthe cities.

(Young) Family orientated

Sports/weekend activities

Competitions

Working Fringe

Five categories of mixed families with stretched budgets in outer suburbs. Settled,

mature households in New Zealands blue colour and multicultural centres. Budget - $10.00 nights

Populist

Community Challenge

Four categories covering low income, low spending households in smaller homes andolder people entering retirement.

Group bookings

Special treat



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Discount

Key marketing objectives - Internal

Objective 1

Communicate and monitor branding internally across the whole organisation.(Every person at the Fortune needs to be able to articulate our brands promise,for it to be successful).

Rationale

While staff within the theatre are very much marching to the same beat and we all

have a similar vision and values for the organisation, our brand has never been

formalised. We are therefore likely all to have a slightly different perception of whowe are as an organisation. This inconsistency weakens our brand and is felt by thepublic. Certainly the brand promise drives marketing communications and brandidentity standards and systems. But it must do much more than that. Our venue, ourcustomer service, every point of contact our brand makes with consumers and thetotal consumer experience our brand creates must reinforce our brand's promise.

Tactical Application

Develop the Fortune Theatre brand story for internal use and present to all staff.

Develop and implement a slogan based on brand essence (brand statement).

Internal brand audit especially aligning internal communication vehicles withbrand.

Projected outcome/ measurement to be used

Brand story presented to staff.

Slogan agreed and published.

Brand audit agreed and completed.



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Activity Date Time tocomplete

Cost

Present Brand

Story to the FTstaff

Brand audit agreed

and completed

Friday July 17, 2009

July 24, 2009

5 hours

2 full days

Time only

Time only

SWOT ANALYSIS

Strengths Weaknesses

We work in a collaborative andinter-functional way.

The staff were directly involved inselecting our brand statement andsix key attributes

The Fortune staff are open tochange

The Fortune has a fantastic story.Normally in branding anorganisation you have to createone, but we are very lucky in thisrespect.

Not all areas of our organisationcurrently align with new brand.

Some areas of our organisation arelikely to require considerableresources to fully align with brand.

Opportunities Threats

The current culture, values andoperational processes alreadysupport the brand. Some areas arestronger than others but thefoundations are there to build on.

Improving internal buy-in of brandwill make a big difference to thepublics belief in our promise.

Lack of buy-in amongst staffmembers. Until every member ofthe Fortune can articulate ourbrands promise it will not be a fullsuccess.

Short attention spans. This is along term project.

Inability (for whatever reason) ofstaff to meet the brandingpromise.



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Key marketing objectives - External

Objective 1

Increase brand awareness and profile of the Fortune Theatre within Dunedin anddevelop closer relationships with our publics.

Rationale (fundamental reason or action for belief)

In the past the Fortune had tended to focus on promoting individual shows ratherthan promoting the Fortune as a brand and an organisation. This is exemplified inthe fact that while they may have heard of individual shows, a significant portion of

Dunedins population has not heard of the Fortune Theatre. Amongst those who arefamiliar with our theatre, a large number do not understand the difference betweenthe Fortune Theatre and amateur theatres such as the Globe and the Mayfair, orfeel ownership of the Fortune as Dunedins own (and only) professional theatre.

Tactical execution

Develop the Fortune Theatre brand story for external use.

Formalise Fortune Theatre brand and position in the market place.

Increase visibility of Fortune Theatre around the city by increasing signage andpresence at select Dunedin events.

Incorporate elements or the whole story into key client touchstones.

Reconnect with key groups and stakeholders and reintroduce the FortuneTheatre brand story.

Include brand awareness questions in DCC surveys.

Develop a social media strategy.

Develop closer relationships with key entertainment/ arts organisations (such asthe Otago Museum/ Southern Sinfonia) around the city and work together togrow audiences.

Nurture sponsor relationships and use sponsorships as an opportunity to enhancethe Fortunes profile.

Projected outcome/measurement to be used

Enhanced trust and pride in the Fortune brand, across all of our stakeholders;sponsors, funders and the wider Dunedin community as reflected in feedbackand formal quality surveys.

Increase quality (e.g. more dialogue) and points of contact via social media.

Results from DCC surveys.



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Activity Date Time to

complete

Cost

Develop the FT

brand story for

external use

Increase visibility

of the Fortune

Theatre around

the city by

increasing signage

and presence atevents

Incorporate key

elements or the

whole story into

key client

touchstones.

Reconnect with

Key groups & stakeholders &

reintroduce FT

brand story.

Develop a social

media strategy

Develop closer

relationships with

key artsorganisations

around the city

Nurture sponsor

relationships & use

relationships as an

opportunity to

enhance the FT

profile

July 31, 2009

On-going

End August 2009

Mid- September

2009

Mid July 2009

On-going

On-going

2 full days

On-going from

June 22

On-going from

June 22

2-3 days

On-going

On-going

Time only

Min of $1000

Time & print visual

costs (min $1000)

Time & promotional

materials/post/launch

function (min cost$1000)

Time

Time

Time



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SWOT Analysis


Our brand promise is realistic, and

the foundations for itsimplementation are all there.

Staff are positive, adaptable andopen to change, when the changeis for the better.

Currently there is a significant gap

between how we see ourselves,and how the general public seesus.

Limited resources affectprogramming choices, the look andexperience in-side the building andadvertising spend. This evenfurther necessitates living up to thepromise of our brand throughoutevery aspect of our organisation.


Positioning ourselves in the marketand supporting this with a clearstrong brand should have apositive impact on box office.

A strong brand will increase theFortune Theatres attractiveness to

both sponsors and funders.

Failure to eclipse previousperceptions and experiences of thepublic.

Lack of public buy-in of brand.

Lack of brand alignment in areas ofthe organisation out of marketings

control. Failing to live up to brandpromise will do considerabledamage as we will lose the publicstrust.



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Objective 2

Increase number of patrons making repeat visits throughout the year.

Rationale (fundamental reason or action for belief)

Fortune Theatre has 27,000 records and the majority of these patrons attendinfrequently. CNZ vital statistics data shows that only 1925 households have bookedin 2007 and 73% of the audience only attended once. The Fortune Theatre needs toattract new attendees, capture their details, and work to bring them back. We alsoneed to increase attendance amongst both infrequent and dormant patrons on ourdata-base.

Tactical execution

Prioritise capture all details of new attendees especially email and direct mail

address for patron base. Rationalise communication messages e.g. frequency/style.

More efficient use of patron base to increase and improve use of onlinemarketing (i.e. send out a welcome pack to first time theatre goers; or buildmembership numbers).

More resources (time and money) directed towards developing online sampleand share strategies (web-site redevelopment). Our web-site needs to be moreinteractive and user friendly. Required functions include patron reviews, actorblogs, forwarding prospective bookings onto a friend, sign up online, clips of thedirector talking about the play hosted on u-tube.

Update membership package and re-assess value offer. Look after these peopleto create a pebble in a pond effect.

Projected outcome/ measurement to be used

More targeted and tailored communications.

Increase in return bookings by 10%.

Maintain current level of membership.

Increased use of web as communication medium.



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Cost

Capture details of

new attendees

Rationalise

communication

messages

Website re-

development

Membership

package update

On-going

End July 2009

End 2009

Mid-July 2009

On-going

4 hours

October/November

2009

One to two days

Time

Time

$12,000

Time Print of

materials in-house

Paper cost $200

SWOT Analysis


Increasing the frequency ofattendance of those on our patrondata base is cheaper and easierthan attracting new patrons.

Incomplete data on existing database.

Requires the box office staff togather data, therefore susceptibleto human error.

Can be labour intensive.

Email and phone campaigns can beviewed as spam or hard sellingwhich subsequently can annoypatrons.


Able to be personalised.

We already have an exclusivedatabase of 27,000 people. This isincredibly valuable.

Privacy issues.

Hesitancy of patrons to hand overdetails for fear of spam.



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Key marketing objectives media

Objective 1

Review relationship with mainstream media.

Rationale

The Fortune Theatre has traditionally relied heavily on press coverage andadvertising efforts for each show in the hope that people will see the production andbook. This reliance can leave a shows success at the mercy of reporters (theirpersonal taste and agendas). News papers are also facing tough times and we arelikely to see a steady decrease (or at the very least inconsistency) in the coveragewe receive. In addition, while newspaper coverage is effective for mainstreamshows, it does not work as well for those that do not come with a strong brand to

leverage.

Tactical execution

Identify the key partners we want to foster our relationship with and then resellin the FT brand story and develop/ strengthen and on going relationship.

Prioritize strategies for communicating individual shows and delegate time andresource accordingly.

Develop a media kit for use as opportunities arise.

Strategy around leveraging off Tennessee Williams festival and how that canposition FT brand.


Completed media list including key contacts completed.

Evaluation and analysis of media effectiveness.

Media kit available on web site.

Successful fundraising for Tennessee Williams festival.



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Cost

Identify FT Brand

story to key media

partners

Develop Media-kit

Strategy around

leveraging off

Tennessee

Williams Festival

August-September

July 2009

August September

August-

September

July-August

August September

Time

Time + Louise

Moulin time $500

Time

SWOT Analysis


More strategic and thereforeeffective use of media andadvertising.

Even if prioritised lower, basicadvertising still needs to be done,and can swallow a significantamount of time and $ in the leadup to a production.

Press and advertising is good forpulling in those who have neverbeen to the theatre before.

For various reasons the Fortunedoes not have a subscriptionpackage, which means to sell eachshow we start from scratch. Thismeans we have little room for trialand error and mistakes in mediastrategy are costly.


Facilitates focus on other moredirect forms of marketingcommunications.

No longer at the mercy of mediaoutlets.

Frees up money traditionally putinto mass media.

Danger that shows may drop offthe radar and be eclipsed by otherevents through low visibility.



21/22

Sponsorship

Objective 1

Maximise sponsorship potential of the Fortune Theatre.

Tactical execution

Review current sponsorship strategy.

Select best possible way to move forward.

Prepare sponsorship/ patronage strategy with clear benefits, value andassociated fees.

Maintain relationships in a manner that reflects the professional relationship.


Completion of sponsorship strategy.

Increase in targeted sponsorship/ relationships.

Agreed value proposition.

Closer relationship with sponsors.


Cost

Review current

sponsorship

strategy

Prepare new

strategy

Maintain

relationships

July

August 2009

On-going

End-July

September 2009

On-going

Time

Time

Time



22/22

Future development

What objectives do we wish to highlight for the future but resource andenvironmental constraints prevent in 2009.

Objective 1

Align the Fortune experience with brand expectations.

Tactical execution

Renovate and refurbish the bar.

Improve front of house.

Objective 2

Develop new generation of theatre goers.

Tactical execution

Development of an Education programme or department. Essential for long termaudience development, but takes a considerable amount of resource to be done

properly, both financial and human.

Objective 3

Build a stronger and closer relationship with wider Otago and Southland regions.

Tactical execution

Identify the need from local regional centres.

Develop a regular schedule of involvement.

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Fortune Marketing 24 June Final

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