Wednesday, April 1, 2020

Marketing Campaigns

General Target Audience
The target audience for the play would be families with children up to the age of 8. Dr. Seuss books are popular with children learning to read due to the simplicity, so I would be targeting that audience. As the main character is Boy, I would be preferring to target boys over girls.

Marketing Strategies

London
To get the best value for money, I would target the advertising towards the children, who would convince the parents. The biggest factor would include a highly produced and colourful video advert, preferably showing a song and show footage, to be advertised online. As children are on little social media, this would primarily be targeted at the YouTube for Kids app, to people based in London and the the surrounding area; as well as the main YouTube app, targeting new parents as well as children that might be watching on their parent's account.

This online strategy would also include social media accounts on all the major platforms; Facebook, Twitter and Instagram, although posts would likely be duplicated across all 3. They would include rehresal and set photos/videos, along with behind the scenes content.

After that the best way to market would to conduct a large print advertisment scheme in London, which would remind children to ask their parents to go, as well as reminding parents. As well as billboards, this includes buses and taxis.

Finally I would schedule free performances of a few songs and workshops in bookshops during Half Term. Parents are often looking for things to do with their children, and free entertainment in respected establishments such as Waterstones and Foyles is popular. There is also the potential to hand out discount vouchers at these events. I would also schedule a performances at West End Live, a free event that takes place in June each year.

I would avoid TV advertising as so many people are watching online that any slots worth buying would be ridiculously expensive. Radio is an option, although I wouldn't use it as it is unlikely children would be paying attention.

We would also put together a press pack with photos of the show, and a synopsis. This would encourage critics to review the show.

Ringwood
As parents are far more involved in the production than in London, and family and friends are more than enough to fill capacity for the entire run, the marketing campaign in Ringwood would be primarily social media based, and aimed at parents. This would include weekly photos and potentially video from rehersals, drawings and photos on the progress of the set, and a video advert for the show nearer the run. We could also pay to have this appear to members of the community on social medias such as Instagram, Facebook and Twitter. 

Posters are also a good tool in Ringwood due to the aging population that may not be on social media. These are popular in the local area, but the designs are usually rather plain and boring. With an eye-catching design we could stand out and attract more of the town who aren't nessecearily connected with the school.

TV and Radio aren't really options. TV is due to the fact that we don't have local TV stations in the UK, and a national advert would be unesseceary and expensive. We do have local radio stations, but ones that would be worth our money (Local to the area between Christchurch, Poole and Salisbury) have poor listenership figures.

An alternative method of advertising is putting adverts in local papers, or contacting reporters to get featured in the newspaper for free. A good idea for this is to put together a print advert, and a press pack with photos and information about the show.

Evaluation

My 2 campaigns differ significantly. London aims at the children, as the larger budget would allow us to target a specific audience across a large population. Not every child has to like Dr. Seuss, as the large reach of the campaign would reach enough Dr. Seuss fans. In the Ringwood campaign the show is very much attached to the school, and would target the parents rather than the children. This is much more likely to work with a tighter community and smaller population.

Children would be targeted by the bright colours and happy songs, and adults would like the high production values seen in the trailer. The London plan aims at children convincing parents, and the Ringwood plan aims at parents bringing along children to entertain them.

The London budget would be significantly larger, due to the probable larger theatre and longer run. The campaign can go through stages, having peaks when booking opens, after opening night when the reviews come out, and before/during school holidays. The rest of the time the campaign can be scaled back. In Ringwood the campaign can be short but impactful, as the tickets normally sell out quick we only need to target the start of the booking period. Due to this and the locality of the campaign it should be far smaller and cheaper.





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Seussical Background Research

Synopsis

Act 1
In the story, the Cat in the Hat is an image of the imagination of Boy. As the play opens the Cat appears before Boy and says he is going to tell him a story of a person as imaginative as Boy.

The story is loosly based on the book Horton hears a Who, where an Elephant called Horton hears a noise coming from a spec of dust and decides to look after it. The spec of dust turns out to contain a civilisation called Who-Ville, which is populated by Whos. The Cat pushes Boy into the story as the supposedly troubled son of the Mayor of Who-Ville. The son Jojo is in trouble for having unusual Thinks.

Jojo is sent to Military School and meets Horton. At the same time Horton's bird neighbour Gertrude is falling in love with Horton. Through a series of macguffins Horton loses the clover he was keeping Who-Vile on, ends with a bird egg about to hatch, and is captured by hunters.

Act 2
Horton is auctioned off to the travelling Circus McGurkus. Horton misses Jojo and Who-Ville, and the Mayor and his Wife begin to miss Horton and Jojo. Both groups sing a song about a magic place called Solla Sollew.

In the Millitary Camp Jojo is lost in a minefield and assumed dead by the camp leader, General Schmitz, and his parents. However he is just lost, and Cat encourages him to use this Thinks to get home.

Gertrude finds the clover, manages to free Horton and confesses her love to him, but both are promptly recaptured and put on trial for the crimes of "talking to a speck, disturbing the peace, and loitering... on an egg". Gertrude and Horton makes his case, but he is found guilty and is remanded to the "Nool Asylum for the Criminally Insane", and the clover is to be destroyed. Horton gets the Whos to make enough noise to convince everyone they are real, but they can only do this when they make up a new word, "Yopp".

The animals are convinced and Who-Ville is saved; the egg hatches into an Elephant-Bird, which Gertrude and Horton agree to raise together, and Jojo is accepted by his parents. Everyone vanishes, Jojo turns back into Boy, and they boy picks up the hat again and says "Seuss!"

Main Characters
The Cat in the Hat
Cat acts as a narrator for the story, first of all creating it and then moving it along. The Cat also appears as a variety of various minor characters during the story.

Boy/Jojo
Boy is the protagonist of the show, however the character of Boy himself never seems to have any real conflict. The main conflict is with Jojo, who convinces his parents to accept him for his unusual Thinks.

Horton
The second protagonist, an elephant determined to protect the world of Who-Vile.

Gertrude
A shy bird who falls in love with Horton and helps him in various sitations.

USP
The USP of the show is the source material. The books of Dr. Seuss are the one of the most unusual children's books, and heavily embraces a weird world with wacky characters and story lines. The play is an amalgamation of several of these books, and given the popularity of them has a large pre-existing target audience.
 

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Friday, March 13, 2020

Video Team Production / Evaluation

Evaluation
Below is the initial planing document for the promo document. The only element here that we didn't manage to complete was the behind the scenes video, due to us running out of time; although I feel that it wouldn't have helped gain any more traction.

Below is the initial plan for the promo. Our plans later had to be scaled down, mostly due to the fact that we could not use any rehearsal times for filming, as we hoped in the proposal, instead only having a 50 minute lesson.

When we actually got to filming, a few actors forgot about the filming/ or had to be retrieved out of lessons. This led to us reducing our plans for the promo. Instead of the long tracking shot which would require a lot of rehearsal, we decided to film the actors emerging from the curtain, and then have a short tracking shot of Gavroche following them from the other side. We were tight for time even just getting this done and the editor had to work with less than ideal footage.

Even though we had all of these problems, in my opinion the advert turned out well. The editor worked around all of the issues and put together an advert which worked to advertise the cast of the show, and the fact that the show is happening.
In terms of lighting, above is an image of the rig in use while filming. I was up in the lighting desk operating the grand master fader to fade the lights up at the beginning of the video. Below is an image of me de-rigging lamps to make space, and a photo of the small setup of 2 rows of 3 fresnels I rigged for the initial plan. Unfortunately these had to be taken down because of the Christmas Concert, and was part of the reason we had to change our plans.

For the actual filming of the advert I adjusted the the existing rig to better fit filming, and programmed a cuestack with a long fade from 0 to 256 intensity. This worked well, it was simple and reliable.
 


Survey

Forms response chart. Question title: How old are you?. Number of responses: 11 responses.
Because of how I distributed the survey, on social media and group chats, it means that the demographic is highly biased towards the youth.

Forms response chart. Question title: Have you seen Les Miserables in a stage format before?. Number of responses: 11 responses.Forms response chart. Question title: Would the trailer convince you to see the show?. Number of responses: 11 responses.
Looking at the results, 54% of people who answered the survey were convinced to see the show. In marketing terms that is an incredibly high positive response. For context, the click through rate on YouTube (people who are convinced to click on ads) is 0.33%, a tiny number. (Although a point to note is that people are more likely to say yes given this is a survey compared to an ad)

Digging down into individual responses, people who have seen a staging of Les Mis before are far more likely to be convinced to see the show. This may be because the advert is structured in a way that rewards prior knowledge of the characters.

Forms response chart. Question title: Rate the trailer. Number of responses: 11 responses.
Above is the general rating of the advert. In general, it seems that respondents liked it. Again, the high ratings seem to correspond to people having seen past versions of Les Mis.

Below are the written responses of what respondents thought was good or could be improved. People seemed to like the editing, lighting, cinematography and actors. 
The main things that people didn't like included most of the issues that was created by the tight schedule, including not using all of the stage, the length being cut down, and the sound.

If we had more time all of these issues would have been easily fixable. This complements how well our planning went, but also how we can improve for next time; scheduling more time for filming.

To conclude, I think our campaign was effective. The show was sold out every night, and the responses from the survey were positive.






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