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."
Thirty years ago, U.S. Joint Resolution 131, introduced by congressman John Conyers (D-MI) and Senator Alphonse D'Amato (R-NY), and signed into law by President G. W. Bush declared:
"Whereas the multifaceted art form of tap dancing is a manifestation of the cultural heritage of our Nation...
Whereas tap dancing is a joyful and powerful aesthetic force providing a source of enjoyment and an outlet for creativity and self-expression...
Whereas it is in the best interest of the people of our Nation to preserve, promote, and celebrate this uniquely American art form...
Whereas May 25, as the anniversary of the birth of Bill "Bojangles" Robinson is an appropriate day on which to refocus the attention of the Nation on American tap dancing: Now therefore, be it resolved by the Senate and House of Representatives of the United States of America in Congress that May 25, 1989, be designated "National Tap Dance Day."
Happy National Tap Dance Day!
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.