Oregon Contemporary Theatre
Marketing Plan
Chelsea Kari
March 18, 2014
AAD 610
I. Introduction
About
Oregon Contemporary Theatre (OCT) has been around since 1992, when it was initially
founded as the Lord/Leebrick Theatre Company. This past year the company moved to a
new venue, changed its name, and underwent a total rebranding. OCT produces
contemporary plays and creative adaptations of old classics. Each five-show season runs
from September through June at OCT’s newly renovated theatre in Downtown Eugene.
Mission
Oregon Contemporary Theatre creates bold entertainment, challenges expectation,
inspires curiosity, encourages dialogue and supports positive change. We believe that
theatre can transform audiences, students, artists, our community and the world around
us.
Marketing Goals and Objectives
Bring in younger audiences through Social Media Marketing.
 Increase number of likes on Facebook to 1,000
 Create Twitter account and generate 200 followers
 Create YouTube channel and generate 100 subscribers
Convert single-ticket purchasers into season subscribers through Loyalty Marketing.
 20% increase in number of new subscribers
 80% renewal rate
 Get 10 lapsed subscribers to re-subscribe
Fill new, larger venue through Word-of-mouth Marketing.
 Increase attendance from 75% to 90% of house capacity
II. Situational Analysis
Economic Scan
The financial health of Oregon Contemporary Theatre is good, however they are always
seeking new sources of revenue. Eugene has a very active community of arts participants,
however, it is not an incredibly wealthy city. Therefore, there is a relatively limited pool
of donors to solicit for resources. Because of this, Oregon Contemporary Theatre has to
get a lot of its revenue from grants and ticket sales. OCT is in the midst of a Capital
Campaign to raise funds for their new facility, and has so far raised $2.3 million
including a $200,000 grant last year. The past several years, OCT’s subscriber rate has
been consistently rising, which has contributed to the financial wellbeing of the
organization.
Demographic Scan
Because of its proximity to the University of Oregon, Oregon Contemporary Theatre has
many current UO students and UO alums working in their staff, on their board, and on
productions. According to a recent survey, the largest demographic among OCT audience
members is women between the ages of 45 and 60. More audience members are single
ticket purchasers than subscribers, however many single ticket purchasers return. Oregon
Contemporary Theatre does not have a method for tracking what percentage of singleticket purchasers have attended previous productions. Performance attendance varies
depending on season offerings. For example, musicals such as Avenue Q bring in a larger,
and generally younger audience.
In terms of diversity, OCT is focused on increasing ethnic diversity, socioeconomic
diversity, and diversity of ability in their audiences and in their programming. Arts
participants in Eugene are overwhelmingly white and OCT struggles with getting a more
diverse audience to attend productions. The talent pool in Eugene is also predominantly
white. Marketing Director Tara Wibrew uses personal connections to reach out to diverse
communities within Eugene. In OCT’s recent production of August Osage County OCT
cast a local Native American girl who had interned with the organization in the role of
Johnna. Their last show of the season, Clybourne Park, addresses issues of race and is
based off of Lorraine Hansberry’s A Raisin in the Sun. OCT hopes this show will attract a
wider demographic than some of their other season offerings. OCT tries to make their
shows more affordable by offering Flex Pass tickets and student discounts. The
company’s community partners include Sponsors Inc., an organization dedicated to the
reintegration of criminals into society, and Oregon Supported Living Program, a
nonprofit supporting people with developmental disabilities. One of OCT’s current
season offerings is Tribe by Nina Raine, which explores the challenges of growing up
deaf in a hearing family. By including programming addressing issues of diversity and
creating affordable ticketing options, OCT hopes to diversify their audience base.
Cultural Scan
Oregon Contemporary Theatre recently underwent a staff realignment, where duties and
responsibilities were redistributed among employees and a new marketing director
position was created. Following the staff realignment, OCT now employs three full time
staff members and four part time staff members. The three full time staff members are an
Artistic Director, a Marketing Director, and a Box Office Manager. Due to the absence of
a Director of Development, Artistic Director Craig Willis is largely responsible for grant
proposals and fundraising endeavors. In addition to the seven part time and full time
employees, OCT pays all of the contracted technicians and artists who work on their
productions. According to Tara, OCT’s Board of Directors is very active in the
organization, and is a committed, communicative, and supportive group. While board
directors are not required to make a donation, they are asked to make a “significant
contribution” to the organization, whether of time or money. OCT expects that board
members will include OCT in their top three gifts of each year.
One thing that makes Oregon Contemporary Theatre unique is that it offers significant
opportunities for stakeholders to offer input, whether in rebranding the organization or in
artistic programming. Tara described season planning as a collaborative process, as
opposed to being dictated from the top down. Next year OCT plans to implement a play-
reading program where audience members can give feedback on plays being considered
for the next year’s season. This type of programming creates a higher level of
involvement and investment for OCT audience members.
The type of work Oregon Contemporary Theatre presents creates challenges and
opportunities for the organization. OCT presents new plays and reimagining’s of old
classics. Because the plays they present are new, many audience members have never
heard of them and therefore might be less likely to take a risk on going to see them. The
challenge for OCT is to create a personal connection for audience members to the works
they present through focusing on recognition of the playwright, actors, director, or an
award that the play has won.
For the most part OCT has done a good job of using technology to connect to their
patrons, although there is definitely room for improvement. The website was completely
redesigned when the company underwent its rebranding. It is very clear and user friendly,
with lots of information about upcoming shows. Patrons can purchase tickets online,
which increases accessibility for a wide range of participants. While the website
advertises that you can register for classes online, it seems that no classes are actually
being offered right now. OCT has a Facebook presence, although a recent survey
indicated that a majority of patrons do not receive information about upcoming shows
through Facebook communication. The company therefore largely uses Facebook to
communicate with company members and staff. OCT does have an e-newsletter that
patrons can subscribe to which offers updates about upcoming productions usually on a
weekly basis. OCT does not currently have a presence on Twitter.
Rebrand
The recent renaming and rebranding of the organization has provided many positive
benefits and several challenges for the organization. The rebranding started with the
company’s decision to move to their new location. As plans for the new space developed,
the organization wound up deciding to change their name. The name Oregon
Contemporary Theatre gives more weight to the organization and makes it sound more
reputable and established. During the rebranding process, former Executive Director of
the Oregon Shakespeare Festival Paul Nicholson brought up the strange associations
people make with the previous company name Lord/Leebrick, such as an Elizabethan fop
prancing around a stage. Now the organization’s name sums up in a nutshell what their
mission is and what kind of programming they offer. One of the challenges of changing
the name of a twenty-year-old organization is getting the community to associate the old
with the new. People not closely associated with the company don’t necessarily realize
that Oregon Contemporary Theatre is Lord/Leebrick Theatre Company. One way the
organization addressed this was by naming their new stage the Lord/Leebrick Theatre.
SWOC Analysis
Areas
Cultural Products
Strengths
Weaknesses
Opportunities
Challenges
New plays are constantly
being written, so OCT will
always have new, fresh
material to perform.
Because OCT presents plays
that are new, many audience
members have never heard
of them before and might be
hesitant to go and see them.
There aren't any other
theatre companies in the
immediate area which have
the same focus on
contemporary work as OCT.
Eugene has a large number
of arts organizations with
only a limited number of arts
patrons.
Pricing
The majority of seating
begins at $20, although they
have a dozen or so seats for
each performance priced at
$16. Patrons can also
purchase inexpensive
standby tickets right before
each show.
Tickets could be perceived as
prohibitively expensive for
some individuals. The price
of tickets depends on when
you buy them, so patrons
can't be sure how much they
will have to spend.
OCT provides a cheaper live
entertainment option than
the Hult Center.
Other theatre companies in
Eugene like the Very Little
Theatre and Actors Cabaret
are cheaper to attend than
OCT.
Place (Access)
OCT's new venue is very nice
and seats on average 40
more audience members
than their last theatre. The
new building therefore
increases OCT's capacity to
sell tickets.
There is no parking lot for
OCT, so patrons either have
to park on the street or pay
to park in a nearby garage.
OCT is located downtown
close to lots of restaurants
and bars. While there are
multiple arts venues in the
downtown area, none
provide the same type of
programming as OCT.
Eugene is not a big city and
people do not travel from
out of town to see shows, so
the number of potential
audience members is limited.
Promotional Efforts
OCT has a variety of Flex Pass
options ranging from $60$270. The Flex Passes allow
individuals to purchase a
bundle of tickets at a
discounted rate.
The Flex Passes might not
appeal to college students
who aren't likely to want to
commit the money upfront.
OCT could create package
deals by partnering with
restaurants downtown
where patrons can purchase
parking, dinner, and a show.
There are many different
events, arts and otherwise
which compete for potential
audience members' time and
attention, particularly on the
weekends.
Audience Analysis
Oregon Contemporary Theatre already has a significant following in the Eugene area, but
needs to find ways of reaching out to new potential audiences. First, OCT has not done
enough to attract University of Oregon students to their shows. Many University of
Oregon students and faculty participate in OCT productions and some even serve on the
organization’s board, but students are not proportionately represented in OCT’s
audiences. OCT should make better use of social media to reach out to this particular
group. Eugene’s ethnic minorities are also not significantly represented in OCT’s
audiences. A recent survey distributed by OCT showed that the largest demographic
represented in their audiences is women between the ages of 45 and 60. Oregon
Contemporary Theatre needs to maintain the loyalty of this demographic, while reaching
out to growing segments of the population. According to the United States Census
bureau, between the 2000 Census and the 2010 Census, the percentage of the population
that identify as Hispanic or Latino in Eugene grew from 5% to 7.8%. It is important for
OCT to find ways to appeal to this population through relevant programming and
targeted marketing campaigns.
Although Oregon Contemporary Theatre is planning an initiative to provide more
affordable seating options, as with many arts organizations, some segments of the
population are excluded due to the cost prohibitive nature of attending. The majority of
seating at OCT begins at $20 a ticket, with approximately twelve B-seats starting at $16 a
ticket available per show. These prices seem pretty reasonable, especially because
theatres rely heavily on ticket sales for revenue. OCT will frequently run discounts during
the first week of a production, and they also offer student and senior discounts. A
possible method for reaching out to low-income members of the population would be
having a “pay what you can night” like some other arts organizations. However, small
arts organizations like OCT have to balance what is economically feasible with their
desire to include the largest possible segment of the population.
Oregon Contemporary Theatre’s new home has greatly increased their seating capacity
and is allowing the company to earn greater revenue from ticket sales. Lord/Leebrick
Theatre’s old facility only seated 94, but the new facility can seat up to 170 patrons.
Productions in the old space usually ran between 95 and 100% capacity implying that
there was a greater demand for seats than was being met. OCT just opened its fifth show
in the new space, and has been averaging between 75 and 80% capacity over the course
of the previous four shows. OCT’s most recent production, August Osage County ran at
92% capacity, and was a huge success for the company. It is always harder for an
organization to draw a crowd when the show being produced doesn’t have name
recognition in the community. OCT can address a desire for larger audiences through
season planning, diversifying their marketing campaign, and providing more discounted
tickets for less popular productions.
Finally, OCT can boost its audiences by converting more single-ticket purchasers into
Flex Pass subscribers. The recent marketing survey conducted by OCT showed that a
majority of people who attend their shows are single-ticket purchasers and not
subscribers. OCT should offer more perks and incentives for becoming a season ticket
holder, such as opportunities to interact with the performers or VIP receptions before or
after the shows. Oregon Contemporary Theatre needs to focus not just on how to get new
viewers in the door, but how to keep them coming back year after year. Oregon
Contemporary Theatre has consistently been growing its audiences, but still has room for
audience expansion and diversification.
III. Scheme
Goal One: To bring in younger audiences.
Strategy: Social Media Marketing.
Measurable Objectives
 Increase number of likes on Facebook to 1,000
 Create Twitter account and generate 200 followers
 Create YouTube channel and generate 100 subscribers
How will this strategy meet marketing goals and objectives?
As previously mentioned, the largest demographic currently attending OCT productions
is women between the ages of 45 and 60. Eugene is the home to University of Oregon,
Northwest Christian University, and Lane Community College and over 25,000 college
students. Thus, young people represent a significant portion of the roughly 150,000
residents of Eugene. OCT needs to tap into this large younger demographic.
By expanding their social media presence, Oregon Contemporary Theatre will reach a
larger number of college students and young people living in the Eugene area. In addition
to attracting attention from college students, social media marketing will target anyone in
the Eugene area who is engaged in social media. Not only will a social media presence
make more people aware of upcoming events, it will help people who are already
involved with OCT engage more deeply with OCT’s programming.
Target Message
Attending Oregon Contemporary Theatre productions is a fun, inexpensive way to spend
your nights and weekends.
Tactics
OCT should improve its social media presence by improving its communications through
Facebook, Twitter, and YouTube.
Facebook
The Oregon Contemporary Theatre Facebook page is actually quite robust and
features frequent updates and posts. The most obvious issue with their Facebook
page is that not enough people like it (586) or are talking about it (50).
Positive Features:
 Frequent updates
 Photos of current and upcoming shows
 Links to reviews
 Event pages for shows
 Links to class information
 Link to buy tickets
Suggestions for Future Use:
 Post videos in addition to pictures
 Post questions or surveys about shows and classes
 Use Page Like Stories to generate more likes for the page
 Offer last minute discounts that are only available through Facebook
 Thank sponsors
 Issue fundraising appeals
Twitter
The link to Twitter on the Oregon Contemporary Theatre website currently leads
to an error page. During the rebrand, they either deactivated or deleted their old
Lord Leebrick Twitter account and did not replace it with a new account.
Suggestions for Future Use:
 Advertise upcoming shows and events
 Offer last minute discounts only available on Twitter
 Post links to reviews
 Host a Live Tweet preview night, where supporters sit in on a preview
performance and tweet about it to generate buzz
 Share articles relevant to audience
 Pose questions about shows
 Post volunteer opportunities
 Create twitter accounts for characters in plays
YouTube
Oregon Contemporary Theatre does not currently have a presence on YouTube. I
recommend that they create their own YouTube channel that features the
following:
 Trailers for upcoming shows
 Artist profiles
 Interviews with show directors
 How-to videos, featuring tips for set, sound, light, and costume designers
Goal Two: To convert single ticket purchasers into season ticket
holders.
Strategy: Loyalty Marketing.
Measurable Objectives
 20% increase in number of new subscribers
 80% renewal rate
 Get 10 lapsed subscribers to re-subscribe
How will this strategy meet marketing goals and objectives?
In Arts Marketing Insights, Joanne Scheff Bernstein (2007) argues that, “Marketing is not
the art of finding clever ways to fill your seats. Marketing is the art of creating genuine
customer value” (p. viii). Through adding value to the customer’s experience, Oregon
Contemporary Theatre can create a loyal base of followers who return to see shows year
after year, thus providing a steady and reliable source of revenue.
Target Message
We want you to be a part of the Oregon Contemporary Theatre family. As a Flex Pass
subscriber you will have access to exclusive benefits ranging from priority seating to
invitations to receptions with the performers.
Tactics
 Increase Flex Pass Subscriber Benefits
o Priority seating
o Ticket exchange privileges
o Backstage tours
o Preseason previews
o Souvenirs
o Meet-the-artist events
 Heighten Visibility of Flex Pass Subscription
o Advertise Flex Pass through social media, email, traditional mail, and
programs
o Include information about Flex Pass subscription in all OCT printed
materials
o Advertise benefits of Flex Pass subscription wherever the Flex Pass is
mentioned
o Once a year, offer Flex Pass subscription at a 25% reduced rate
Goal Three: To fill new larger venue.
Strategy: Word-of-mouth Marketing
Measurable Objectives
 Increase attendance from 75% to 90% of house capacity
How will this strategy meet marketing goals and objectives?
Joanne Scheff Bernstein (2007) writes that “word-of-mouth is the most influential factor
in most people’s ticket purchasing decisions, often more influential than all other
marketing efforts combined” (pp. 111-112). In other words, people are more likely to go
see a show if it is recommended to them by someone they trust. By getting loyal
customers to go out and tell their friends about shows, OCT can increase performance
attendance.
Target Message
Tell all your friends about the great shows at OCT and get a free ticket!
Tactics
 Maintain Active Social Media Presence
o Keep Social Media sites current and update frequently
o Offer prize to Facebook follower who gets the most friends to “like” OCT
 Get People in for Free
o Invite OCT board members, UO and LCC performing arts student groups,
and loyal subscribers to sneak preview one week before show opening
o Provide free tickets for performance early in run to board members and
ask them to invite their friends
 Offer Referral Discount
o Customers whose name is mentioned at the box office by three people
during the run of a show get two free tickets to the next OCT show
IV. Implementation
Social Media (Estimated Cost $0)
 Personnel- Setting up and maintaining the social media sites will be the
responsibility of the full-time marketing director. Daily responsibilities will
include posting on Facebook and Twitter and responding to any comments.
Occasional responsibilities will include advertising upcoming productions,
posting links to reviews or relevant news articles, posting production and event
photos, sending out event invitations and reminders, and thanking event sponsors.
The YouTube channel should feature two new videos each month, in addition to
trailers for upcoming shows. If possible, OCT should recruit a volunteer or
marketing intern to assist with the development of social media materials.
 Materials and Supplies- None.
 Technological Resources- Photo and video-editing software.
 Media- Need access to digital camera for photos and videos.
 Printing, Production, Distribution- None.

Sponsors and Service Trades- In developing their social media presence,
Oregon Contemporary Theatre should partner with the University of Oregon
Cultural Forum, Theatre Department, School of Music and Dance, Arts
Administration Program, and other UO arts and culture programs. OCT should
ask these organizations to post shout-outs for upcoming events and offer to
reciprocate.
Loyalty Marketing (Estimated Cost $5500/season)
 Personnel- The marketing director will be in charge of ensuring all OCT
published material includes information about the Flex Pass subscription. The
fulfillment of subscriber benefits will be the joint responsibility of the marketing
director and the box office director. ($500/reception)
 Materials and Supplies- OCT will need to purchase food and beverages for
meet-the-artist receptions which will take place on opening night
 Technological Resources- None.
 Media- None.
 Printing, Production, Distribution- This strategy will require one additional
traditional mailing to take place once per year. This will incur printing and
postage costs. ($500)
 Sponsors and Service Trades- None initially, although in the future OCT should
consider negotiating with restaurants downtown to include discounted meals in
Flex Pass subscriber benefits.
Word-of-mouth Marketing (Estimated cost $0)
 Personnel- The marketing director should delegate responsibilities for word of
mouth marketing to volunteer board members and interns with ties to local
college campuses.
 Materials and Supplies- None.
 Technological Resources- None.
 Printing, Production, and Distribution- None.
 Sponsors and Service Trades- None.
Calendar of Important Dates
2 Months Out (from opening night of first show of season)
 Send out mailing offering 25% off Flex Pass subscription to single-ticket
purchasers
 Send out mailing to Flex Pass subscribers asking them to renew
 Send out mailing to lapsed subscribers asking them to renew
1½ Months Out
 Send out postcard reminding people they have two weeks left to subscribe/renew
subscription for upcoming season
1 Month Out
 Deadline to subscribe for upcoming season
 Distribute invitations to sneak preview, post-show receptions, and backstage tours
2 Weeks Out
 Post trailer of upcoming show and interview with show’s director on YouTube
channel
 Ask other Eugene arts organizations and UO and LCC student groups for shoutout on Social Media sites
 Post rehearsal photos on Social Media sites
1 Week Out
 Sneak preview for subscribers, board members and guests, and select UO and
LCC students
 Offer free Flex Pass to Facebook follower who gets the most friends to “like”
OCT
First Show of Season
 Post-show reception with actors and crew
Day after Opening
 Post pictures of post-show reception on Social Media sites
One Week into Run
 Sunday afternoon backstage tour for subscribers
 Run half-off discount available only through Social Media
 Post links to reviews on Social Media
Two Weeks into Run
 Sunday afternoon backstage tour for subscribers
Three Weeks into Run
 Sunday afternoon backstage tour for subscribers
 Run another half-off discount available only through Social Media
Closing Night of Four Week Run
 Post-show reception with actors and crew
Week after Closing
 Give a shout-out to individuals who spread the word about the show on Social
Media
 Send personalized thank-you notes from performers to word-of-mouth marketers
 Post pictures of post-show reception on Social Media sites
V. Evaluation Plan
To evaluate the effectiveness of the three marketing strategies, the marketing director will
ascertain at the end of the season to what extent the following objectives have been
achieved.







Increase number of likes on Facebook to 1,000
Create Twitter account and generate 200 followers
Create YouTube channel and generate 100 subscribers
20% increase in number of new subscribers
80% renewal rate
Get 10 lapsed subscribers to re-subscribe
Increase attendance from 75% to 90% of house capacity
It will be easy to collect this information because of the quantitative nature of the
objectives. Once data has been collected, the marketing director should create a report to
distribute to the artistic director and the board. If objectives have been reached, the
relevant marketing strategy should be repeated for the following year. If significant
progress was made, but the objectives were not reached, the relevant marketing strategy
should still be repeated. If, however, little to no progress was made towards the
objectives, the strategy should be abandoned in favor of a new approach.
References
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Inc.
Connolly, T. (2012, April 4). Local arts organizations use Twitter to reach new audiences
[Web log post]. Retrieved from
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Eugene, Oregon, Demographic Statistics. Retrieved from http://www.infoplease.com/
us/census/data/oregon/eugene/demographic.html
Rhinesmith, C. (2010, June 1). Social media 101: Facebook, Twitter, YouTube [Web log
post]. Retrieved from http://www.slideshare.net/crhinesmith/social-media-101facebook-twitter-youtube
Rogers, L. (2013, January 27). Commonsense social media for small arts organizations
[Web log post]. Retrieved from http://www.slideshare.net/lindar/commonsensemedia-for-small-arts-organizations
Thomson, K., Purcell, K., & Rainie, L. (2013). Arts organizations and digital
technologies. Washington, D.C.: Pew Research Center’s Internet & American
Life Project. Retrieved from http://pewinternet.org/Reports/2013/Arts-andtechnology.aspx
United States Census Bureau. (2014, January 7). Eugene, Oregon State and County
QuickFacts. Retrieved from
http://quickfacts.census.gov/qfd/states/41/4123850.html