Theatre Marketing

What to Prepare

For a Theatre Marketing entry, the Thespian must prepare a marketing campaign for a production of a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the design. No collaborations are permitted. Designs for either theoretical or realized productions are acceptable, though it is strongly recommended that the Thespian was responsible for the actual publicity in a realized production. The Thespian must prepare the following:

1. A portfolio of materials (bound or digital) that methodically works through the marketing process and that must include the following:
   • One-page design statement that includes:
     • Unifying production design concept;
     • Theme of the show/recurring motifs;
     • Target markets outside of the school audience, noting any publicity restrictions from the licensing agency.
   • Research, including:
     • Summary of given circumstances from the script;
     • Functionality requirements of the marketing elements;
     • Genre, locale, and setting of the play (or other explanation of the world of the play);
     • Artistic and practical needs that impact the design;
     • Sources of inspiration for design and color palette (if used).
   • A brief summary of their role and responsibilities during the production (including self and/or team’s responsibilities).
   • Production dates, number of performances, and cost of admission (if realized).
   • A copy of the marketing budget for the publicity campaign and justification of expenses. (Note: work will be adjudicated on creativity and quality of the materials; not necessarily on how much money was in the budget.)
   • Details of the design concept’s development, including examples of collaboration with the production team.
   • Final creative assets (such as posters, tickets, promotional handouts, social media templates, etc.) demonstrating branding, promotional efforts, various modifications based on specs/usage, and student’s ability to adapt to the constraints of the licensing agent (i.e., billing requirements, licensed logo usage – if applicable, etc.). If non-original material is used, sources must be cited, and receipts of purchased materials (when applicable) must be included in the presentation of the assets.
   • Distribution schedule and locations.
   • A press release.
   • Outcomes for realized productions, including budget/cost analysis (income vs. money spent) noting any free services rendered such as copies, printing, vendor donations, etc. and assigning a cost value to those donated elements. (Note: Income may not directly affect the marketing budget, but analysis work that presents the marketing costs in relation to the full production budget and revenue should be done.)
2. A five to eight (5-8)-minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the portfolio.
   • The Thespian should address general questions such as:
     • What are some of your responsibilites in your field?
     • How did the director's concept influence your work?
     • How did the style of the play affect your work?
     • If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
   • The Thespian should address category-specific topics such as:
     • How effective do you feel your marketing was in bringing an audience to the show?
     • How did you engage with the media (television, newspaper, social media, etc.)?
3. Optional written essay response to share additional information about the theatre marketing process with the adjudicators.

Slating: All Categories

Thespians must begin their presentation with an introduction known as a slate. The slate is not part of the performance, but is simply an informative introduction to the piece. This is an opportunity for students to be themselves and address the adjudicators in a comfortable, polite, and brief manner. The slate should include the following information:

• The Thespian’s name (or names, for group categories);
• Troupe number;
• Title of selection being performed or work being showcased (e.g., Beauty and the Beast);
• Name of the playwright(s) and/or composer(s).

A slate might sound like this: "Hello. My name is John Smith from Troupe 561, and I’ll be showing you my marketing campaign for Macbeth by William Shakespeare." 

After the slate, time begins with the first word of the presentation. If a Thespian exceeds the time limits stated above, the adjudicator or room monitor will note the time and a final eligibility ruling will be determined. Exceeding the time limit may result in disqualification. 

Dress Code: All Categories

For all categories (performance and technical), Thespians will present themselves at adjudication or in their submission video as a blank slate, refraining from wearing clothing and/or accessories that distract from the performance or presentation. The goal is to level the playing field and allow the focus to remain on the work, not the aesthetics of the presenting Thespian(s). Thespians should follow these guidelines:

• Dress in simple, modest attire suitable for a professional interview or audition, in black or dark colors. Clothing should be appropriate for the situation so as not to limit or restrict movement or affect the performance. For technical categories, Thespians may choose to follow the guideline above or wear the black/dark-colored clothing traditionally worn by technicians.
• Acceptable footwear is neutral, not distracting, and may include character shoes and dance shoes (if category appropriate), dress shoes, sneakers, or boots.
• Theatrical makeup, costumes, and props are not permitted.
• Avoid wearing distracting items such a large, dangling jewelry, light-up footwear, or fashionably distressed clothing.

Skills Measured: Theatre Marketing

• Ability to demonstrate an understanding of the marketing director’s role and specific responsibilities;
• Ability to demonstrate an understanding of the resources and personnel needed to communicate a marketing concept to a target audience;
• Ability to perform research and apply it to the design process and marketing campaign;
• Ability to align a marketing campaign’s components in a distribution strategy that supports a realized of theoretical production;
• Ability to document, present, and clearly explain and justify marketing materials that are informative, engaging, and effective.

PRESENTATION

Presentation and explanation of the executed design, unifying concept, creative decisions, and process

RESEARCH

Evidence of research of the given circumstances of the script as well as artistic and practical needs which impact the design.

INTERPRETATION

Creative assets and marketing choices reflect the mood, style, period, locale, and genre of the script.

DESIGN JUSTIFICATION

Explanations which connect the creative assets and marketing campaign to the production concept and the budgetary income and expenditures.

EXECUTION

Products presented demonstrate a coordinated, realizable marketing strategy.

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