ARTS MARKETER OF THE MONTH: LAURA MATALON, OF TMG - THE MARKETING GROUP
September 8, 2006 - www.artsmarketing.org
We asked, Have you worked in the not-for-profit realm, and how is marketing for Broadway and the commercial realm different or the same? Laura answered, "The challenges are always the same, to sell as many tickets as possible. The methodology between commercial and non-profit can often differ. AMO: Tell us a little bit about TMG – The Marketing Group, and your role as arts marketing leaders.
TMG: We are experts in creating and implementing strategic marketing partnerships,promotions, awareness/branding campaigns, and sales initiatives targeting the upscale consumer both in New York and throughout the country. TMG provides two main services in the Theatrical Industry. We develop strategic alliances and promotional programs for Broadway and Off-Broadway shows in New York. We also serve as Press Agents for the national tours of Broadway and Off-Broadway shows, including the development of the marketing, advertising and publicity strategies for national and international markets. With offices in New York, Chicago and Los Angeles, TMG currently represents the Broadway productions and national tours of Wicked, Avenue Q, Hairspray, Mamma Mia!, Rent, Dirty Rotten Scoundrels, The Drowsy Chaperone, Martin Short: Fame Becomes Me and Stomp to name a few.
AMO: How do you prioritize work for each production?
TMG: We work with the producer to evaluate their objectives and establish the marketing goals for the production. Once we determine exactly what services we can provide to help them meet those goals, we present ideas/direction for the strategic alliances and customized promotions that we will pursue.
AMO: Have you worked in the not-for-profit realm, and how is marketing for Broadway and the commercial realm different or the same?
TMG: The challenges are always the same, to sell as many tickets as possible. The methodology between commercial and non-profit can often differ. The not-for-profits have subscription opportunities, corporate partners, a donor base and ownership of the theater which can be mined. Commercial productions on Broadway don’t have those types of assets to take advantage of. That said, engaging promotional partners for commercial productions is generally easier as those productions often have some name /marquee value, have more mass appeal and generate higher attendance figures.
AMO: How might the commercial and non-profit arts sectors help each other market their work?
TMG: By looking at each other as partners, not competitors, there are opportunities for cross collateralizing audiences. Wouldn’t it be ideal if a local not-for-profit theater allowed one of their shows to appear on the local Best of Broadway season while at the same time putting one of the Best of Broadway productions on the local not-for profit season? While it might not make sense every year, there are often productions which tour (such as Doubt or Copenhagen) which might otherwise be licensed locally. By doing this it gets the different audiences in to sample a different theater experience and perhaps generate new audiences for both!
AMO: What do you see as the hottest trends in marketing right now?
TMG: Anything online related. Everything is moving towards making websites more interactive and giving people a reason to come back to your website. Use of rich media in all any online advertising Mobile media seems the thing to keep an eye on. For years we’ve been hearing about cyberspace moving from our desks and kitchen tables to our mobile phones, creating a truly online world. Not quite there yet but mobile content such as news, games, music and video clips are the future.
AMO: What do you see as key issues that leaders in the arts marketing field will face in the next year?
TMG: Accessing and utilizing new technologies that are working to deliver online ads that are relevant to content and to the users.
AMO: What would you say has been the biggest success in your career and what steps did you take that were crucial to facilitating this success?
TMG: The creation and growth of TMG over the past six years is the biggest success of my career. Starting a business with my partner Tanya Grubich which started as a few individuals working together has grown into a well known and respected organization with offices in three cities and more than 20 employees.
AMO: What projects are we spearheading right now?
TMG: The new Broadway hit The Drowsy Chaperone, the upcoming Broadway productions of Twyla Tharp/Bob Dylan piece, The Times’ They are a Changin’; Kander and Ebb’s new musical Curtains, The Pirate Queen and Grey Gardens. We also are launching the national tours of the Roundabout Theatre Company’s Twelve Angry Men, Manhattan Theatre Company’s Doubt, Dirty Rotten Scoundrels among others. In addition, we have just launched The Broadway Channel on Sprint TV whereby Sprint users can experience Broadway on demand on their wireless phones.
