Yes, It IS Possible to Build New Ballet Audiences in 2017
One of the toughest moments in the ballet world is watching a life-changing performance—and then looking around to see that only half the seats were filled to witness it. The discussion about how ballet can stay relevant and build new audiences has been going on for decades. However, these debates often end in speculation about the relevance of the product, rather than placing the onus on the marketing and sales crew.
But recently, a few U.S. ballet companies have done the latter, leading to full houses on weeknights and proving that revenue growth is possible: In 2016, Boston Ballet saw record-breaking ticket revenue and had the highest attendance in more than a decade. Colorado Ballet has exceeded revenue goals the last four seasons, with the 2016–17 season being the most successful to date.
Sell Like a Sports Team
Several companies have found success by adopting adjustable pricing scales similar to those used in professional sports, which prices tickets based on demand. For example, this may mean better seating at a matinee for less than you'd pay at an evening show. At Colorado Ballet, patron services and database manager Taylor Clark adjusts ticket prices daily. "If I'm really selling section C, I'll rescale the house to include more C seating," he says, in reference to the theater's price categories.
A recent Colorado Ballet program including Serenade had the highest attendance and revenue in the company's history. PC Mike Watson.
Clark has also lowered ticket prices and eliminated fees across the board. "We would rather have fuller houses at lower ticket prices," says Colorado Ballet public relations and marketing manager Sanya Andersen-Vie. Prices range from $30 to $155 in CB's primary venue, the 2,100-seat Ellie Caulkins Opera House.
To encourage patrons to buy early, Colorado Ballet has eliminated last-minute flash sales, instead offering the biggest deals early in the season. "We want subscribers to get the best discount," Andersen-Vie says. And though dropping initial prices and cutting down on discounts might seem counterintuitive, it actually raised income from ticket sales.
Strategic scheduling can also help. "We've found that once a show opens, the ticket sales really pick up, particularly for contemporary works," says Meredith Hodges, executive director at Boston Ballet. "Our hypothesis is that these shows are more reliant on social proof, like word of mouth or a review in The Boston Globe." But for shows that only run for a week or two, this brings a challenge: "Those things can't happen till after opening night, and just as you're building up this momentum, the show would be finished," she says. Boston Ballet's answer: running a contemporary and classical ballet at the same time, alternating them on a nightly basis, so that the contemporary show can stay open for three or even four weeks.
Make Your Brand Accessible
One of the most difficult parts of marketing dance is getting out of the "all dance, all the time" mindset. "Put yourself in the shoes of someone who goes to the ballet once or twice a year," says Julie Loignon, director of audience engagement at Ballet Austin, which recently ran extensive market research through a grant from the Wallace Foundation.
"The purpose of marketing used to be awareness," adds Hodges. "You had to let people know you were performing and where, and that was enough." But that approach doesn't cut it anymore—because for a lot of people, ballet is intimidating. If someone's going to invest in a ticket, they want to feel like they understand what they're seeing.
One way to do this is by replacing dance terms that mean nothing to the average person, like "mixed rep" or "triple bill," with words that are more universally understood, like "three one-act ballets."
Another is to communicate the "story" or meaning behind abstract work through content-focused marketing—that is, producing fun, educational behind-the-scenes videos, images and articles in-house. "People don't like ads that much, but they do like interesting videos and pictures," adds Hodges. Ballet Austin films a professional trailer for each ballet and projects it in the theater lobby, so that their audience can preview coming attractions.
During its 2015 Nutcracker, Ballet Austin played a trailer for a February 2016 mixed-rep show and noticed an increase in early ticket sales during that time. The company has also received audience feedback suggesting that exhibits highlighting an aspect of an upcoming show can help hesitant patrons feel ready to take the plunge into unknown repertory.
Mobile-friendly ticket-buying sites allow people to buy in the moment they feel inspired. Last year Boston Ballet revamped its site to make it easier to navigate and saw its online ticket sales for Nutcracker jump from 56 percent of total sales to 72 percent.
Create an Inviting Theater Experience
To target Millennials and create a "big event" feel, Ballet Austin designs a fun lighting treatment for the facade of the theater and hires a DJ to play popular music outside. "It creates a space that people can linger in, and it's a relatively inexpensive investment," says Loignon.
Ballet Austin also creates social media stations in the theater, designated spaces with a backdrop and themed props for people to take photos. Loignon uses what she calls a "social media aggregator," which lets her choose posts with the ballet's hashtag to project onto screens. This encourages that ever-valuable word-of-mouth advertising, because audience members love looking for their photos.
Audience feedback is essential—if nothing else, to help figure out which events aren't working. Ballet Austin used to host preview nights in the studio at no cost but, after analyzing data, realized that there was very little turnover between preview attendees and ticket buyers.
They also held rehearsal live-streams, but found that these audiences were limited to current patrons. Would-be audience members were confused about why there were no costumes, and what they should get out of seeing an unfinished product. Now, Ballet Austin uses production-quality footage in its videos whenever possible.
It takes time to see if new approaches are ultimately profitable. "Unlike a lot of businesses that have many opportunities to interact with customers, ballet companies only have maybe three or four each year," says Loignon.
A successful strategy stays confident in the product—great dance—and keeps in mind that the goal is always to highlight it. After each show, Ballet Austin sends patrons out the door with treats themed to the show, like candy canes for Nutcracker with a small promotional card for the next show attached. Loignon says, "We want to keep the afterglow going for a good 24 hours."
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.
With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.
Lots of college groups do stepping—a form of body percussion based on slapping, tapping and stomping—but Step Afrika! is the first professional dance company to do it. They are currently at New York City's New Victory Theater, presenting The Migration: Reflections on Jacob Lawrence, a show based on the painting series by Harlem Renaissance artist Jacob Lawrence about The Great Migration of the 1900s, when millions of African Americans fled the Jim Crow South and traveled by train to the North for a better life. The Great Migration transformed the demographics of the country, and Jacob Lawrence's paintings became famous for their bold color and evocative power.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.
So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.
As we approach Thanksgiving, there's much to be grateful for. Perhaps one of the most important things on your list is dance. Whether you're a full-time company member, an aspiring professional, an audience member, or you simply delight in dancing in your daydreams, this art form is a creative escape.
That's not to say that being a dancer is easy: Pursuing such a competitive career can be heartbreaking, especially when you're faced with rejection.
La Folía, a short dance film by director Adam Grannick that was recently released online, echoes these sentiments in under 12 minutes.
It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.
—Former Anorexic, Weston, CT
Whatever your feelings about Wayne McGregor's heady, hyper-physical choreography, we can all probably agree on one thing: We'd really, really love to pick his brain. And tomorrow, Dance Umbrella, a UK-based dance festival, is giving everyone the chance to do exactly that.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.