*This is one of those posts where I need to remind readers that this is my personal opinion and not the opinion of the organisation for whom I work. Cheers, Sam
I was at an event on Saturday and chatted, far too briefly, with a bonified legend* of the arts marketing world – a sagely wizard whose depth of knowledge in arts marketing is at the Mariana Trench level, (it’s very deep) and whose huge knowledge of Welsh theatrical history is at the Mount Everest level (it’s pretty huge and has a basecamp in the foothills). We were chatting about arts marketing in Wales but also, in particular, the recent Arts Council Wales Review into Support for English Language Theatre in Wales (jazzy title).
For those of you unaware – the review was commissioned by Arts Council Wales to consider the current provision of English language theatre in Wales. Welsh theatre has had a period of significant instability including the closure of National Theatre Wales, the self-proclamation of a new Welsh National Theatre**, the re-emergence of Theatr Clwyd after capital redevelopment and of course the shadow of years of chronic underfunding, short-term funding arrangements and the great plague of 2020 (aka. Covid). Because we’re in Wales of course, there’s also challenges around bilingualism, national identity and geography (particularly dispersed rural communities with limited public transport and the North/South divide***) to contend with.
One of the recommendations from this review (and in fact the first recommendation) is that venue marketing capabilities should be enhanced. So far so vague. In case you’re wondering, no I wasn’t asked about it, and nor were, it would seem, many (if any) of my arts marketing colleagues actively working in the sector.
The report doesn’t actually say a lot about arts marketing after this recommendation – it points out the lack of theatre criticism in Wales might be bad (true), the lack of data about audiences is problematic (very true albeit with an odd example attached) and that some shows don’t get marketing at all (true, although comes with caveats). Also, curiously, it mentions that one venue programmes over 7,000 activities a year which are not all marketed as an example, it seems, of marketing failing, while failing to ask the question, whether 7,000 activities a year (19.2 events daily**** if you do some amateur long division) is absolutely batshit crazy. It does however recognise that staffing and resource is a major issue.
So what’s the solution?
Well the report lands on some kind of ACW-directed arts marketing training, while also suggesting that the AMA has neglected Wales (I’d argue Welsh venues haven’t had the capacity or resource to take up what the AMA offers rather than some sort of anti-Welsh bias – this seems a little naïve). It also gives two examples where direct leafleting has really worked and that a conference, one-day event or roadshow might be good.
So that should definitely get it all sorted then.
Here’s where the problem lies. It’s easy (and fun) to fire shots at this sort of report as lacking in depth and insight (did I mention “and fun”), and to laugh at its failings for it not giving any really strong, pragmatic, actionable recommendation (in fairness that’s never the purpose of these things). But things are messy. I suspect arts marketers feel hard done by, not listened to and isolated. This is where we, by which I mean arts marketing professionals in Wales, and myself, have to step up and start to add the next layer in – how can we enhance venue marketing capabilities?
I thought I’d write down the top 5 things I’d focus on to help with this. For those reading who don’t know my background, I’m a 20 year+ theatre arts marketing professional who’s worked for very small and very large organisations, who has done free consultancy for venues and, crucially, has toured (and is touring) as a solo performer to venues in Wales (so knows it a little, and possibly a lot from both sides). Oh and I’m Director Of Audiences and Insight for Theatr Clwyd (but this is my personal opinion and not an organisational opinion).
These are not in any particular order.
#1 – Pricing
Our approach to pricing in Wales is, generally, dated. Our pricing doesn’t tend to encourage early booking, good fill patterns nor long-term engagement. I was lucky in that I had the opportunity to work with TRG Arts to broaden my thinking and go to UK Theatre and AMA events. More crucially though I’ve worked in a few places where change had to be made – as a result it has made me less afraid of making pricing changes that are driven to impact audience behaviour. A centralised programme looking at pricing models with rollout would be handy – particularly if accompanied by #4 (so it’s not just a report that lives in a drawer).
#2 – Lead Times
Shows go on sale too late. We need to move the programming process earlier (and that links in to project funding too) so that solid strategic planning can be done and so that we can appraise sales more effectively. This also goes hand in hand with data – how do we give venues the tools to monitor sales so that it is unambiguous as to where marketing resource should be allocated.
#3 – Marketing & Programming alignment
I’ve seen lots of occasions (at lots of venues, not just in Wales) where the marketing function is kept isolated from the programming function – this needs to change – marketing should be a key part of the equation when selling shows – knowing the different angles, who the audience could be (*hint* it’s not “everyone”), but also to be the voice suggesting when we take less of something or indeed more of something. Good programming is the first step in successful marketing – breaking down silos can make a massive difference.
This also leads into the conversation about how much is enough programming – it’s a conversation that is rarely had – in fact, I’d argue, there have been decades where doing more layered upon more has been an unwritten policy, irrespective of the significant impact – the evaluation is dressed up, it was a beautiful event, or those people loved it – rather than looking holistically at where the best value for the public purse can be found and being honest, or rather, pragmatic about how we achieve the greater good. The needs of the many outweigh the needs of the few (discuss!). Doing more is only valid if you know why you’re doing it and it makes a difference for the organisation and, more pressingly, the community to whom that venue belongs.
#4 – Mentoring
Early in my career when I first became a Head Of Marketing (2010) I was lucky that I was in Liverpool and I had the wonderful Sarah Ogle down the road. Every two weeks or so we’d go for coffee and cake and talk about our troubles and woes, comparing notes and chatting through what was going right and wrong. When I was in York we had regular Yorkshire Six meetings of Digital Marketing Officers (circa 2004) – sharing info, chatting and learning from each other (admittedly mostly about Bebo and MySpace at that point).
Informal mentoring and networking is vital – it’s extra hard in Wales because of how venues are dispersed – but a directory of Welsh staff and their skillsets – opening up the channels of communications – plus an annual meet up would be handy. And yes, that means a fund for travel and accommodation (and possibly also childcare).
Formal mentoring would be even better.
#5 – Pragmatic Planning
Arts marketing right now can feel overwhelming – sometimes you can feel paralysed by the list that it infinite. Arts marketeers generally know how to segment, how to think about audiences, they are smart, time-poor people. They are also creative, intelligent and frequently absorb lots of shit. We get bombarded at times and part of the challenge is pragmatism – how to prioritise and also what not to do. How do you choose which of the 7,000 events you pick first?
That comes from experience, data (and also mentoring) but also software – to help share information and create flexible, clear planning – nail the system and the work gets easier.
And then finally, the big, controversial one…
#6 – Venue Groups
The way that the arts are set up in Wales (and arguably the UK) are absolutely batshit crazy.
A myriad of small, under resourced charities, scraping by, lacking broad support, the depth of skillset, from graphic design and website skills to social media, or the time to do what a 21st century arts venue should do – analyse data, learn, develop, experiment and grow. We are eaten up by admin and drowning in data (that has to be done, I should add).
I would propose geographic groups of organisations – umbrella charities that operate multiple venues – where admin and marketing infrastructure can be centralised and strengthened (better systems with better budgets) – where recognisable and well-marketing brands can be grown and developed – where the Welsh (or English) language isn’t an after thought. Ideally they would also ALL be producing groups who make work – tour it to their networks and beyond*****.
So yep. That’s my ten pence worth.
AND FINALLY…
I’m not at the AMA Conference this year for lots of reasons – I’m a bit gutted not to be there as I really didn’t enjoy last years as I was speaking and it stressed me the f**k out. I hope you all have a lovely time – I’m gonna try to be there in 2026.
*A chunk of you will know who this is – indeed they may actually be reading this.
**I say this partly in jest – for those who know me, I now refer to myself as The National Theatre Of Yorkshire, because that’s where I’m from and apparently that’s just how these things are bestowed.
***Nope this isn’t unique to England
****I didn’t include Christmas Day – that’d be crazy.
*****I’m conscious these do exist for those shouting at their screens right now.