Theatre Design & Technology - Fall 1985 - 38

25 Years of Light / from

Dage 7 ...

for funds within the system. And you don't have the constituency that the football program has.
Those of you associated with other types of non-profit
performing arts groups are very familiar with the problem.
On average, these groups earn just over fifty percent of their
income from ticket sales and the balance must be generated
through contributions. The great debate on NEA is not going
to change that.
You're all involved ... it's not just your chairman or development committee or the board. The reality is that there
are more worthwhile projects than there are funds and it will
take the combined effort of everyone-the administrator, the
development people, and you. They need your input. You
know the product.
But you can't wait for them to seek you out. You've got
to get out from behind the board and offer your assistance.
And you can't wait until you desperately need a grant for a
special project. Jean Webster, a consultant in this field, told
me of a costumer who came across a treasure trove of antique
costumes. She appealed to her development office for funding to catalog and organize the collection. After consideration, they responded that they didn't have money for "old
clothes." They didn't know what she was talking about.
Establish contacts now, get involved. Is it important to you?
If the theatre department program was marked for cancellation and your job was on the line, would you get involved?
Why wait?
It's your problem ... and mine. If you fail to raise the
funds to support your production budget, how do you buy
our products? Funding is a concern that the manufacturers
and suppliers share with the technician-it's another side of
this unique partnership.
The key? MARKETING!
oW, I've been accused of seeing life as a continuing series
36

Thealre Design & Technotogy / USITT / Fall 1985

of marketing problems, but clearly that's the challenge you
face. Why should the college increase your budget over
others? Why should the legislature vote more? The state arts
council? Why should the people in your area support your
program? Why should the business community contribute?
Because you've convinced them it's a worthwhile use of their
funds.
That's marketing.
Private (non-government) glVlllg to the arts grew from
$200 million in 1965 to over $4 billion in 1984. But you're not
interested in national averages. You're interested in your theatre and you must get involved.
First, you've got to sell your "product"-you've got to
fill the seats. Half-full or SRO, the production costs don't
change. And the tendency toward the safe musicals is not the
answer. Innovation is basic to the performing arts. You need
a "product mix" just as my company does. That's not Music
Man followed by Gypsy, and then West Side Sto/Y.
And you need outside support. The dictionary defines
"patron" as, first, "a paying guest," but also, "a person who
supports with money." Make your patrons your patronsthe mini Medici.
In designing our PACS software for computerizing box
offices, we specifically programmed in the ability to organize
the patron list for development. Start by mining the mother
lode.
The business community is another source of support. Try
to identify the decision maker-the person who must finally
authorize the contribution. Get him involved. Make him feel
part of the theatre. Contributions need not be limited to
money. IBM loaned an executive at full pay to the Hartman
Theatre in Stamford to help with promotion. Can you get
authorization to work with a company's advertising experts,
direct mail specialists, financial management? Can you get
free computer time, use of office equipment, rent-free space?
Time, talent, energy-those are real contributions.
"Product," "product mix," "marketing"-these are
matters that we manufacturers and suppliers deal with every
day. We represent a source of expertise and assistance that
you need today. A need as real as the next lamp, dimmer or
gel development. President Randy Earle has agreed to convene a meeting of the business members of the Institute within
this year. The purpose shall be to undertake the development
of a "skills bank"-harnessing the marketing, promotion,
financial and management expertise of the group for the
benefit of the Institute and its members: The next step in this
unique partnership.
I began by saying that an anniversary serves as a point in
the present between the past and the future. I think there are
changes occurring that will have great impact on our industry
in the future.
First, the market ix expanding. The population is getting
older. The 74 million "boomers" in the 19-37 age group
continue to grow up. They are moving into the 35 -44 bracket
at the rate of a million a year and that's the maximum-earn,
maximum-spend period.
The EA reports that educational attainment is the most
reliable predictor of participation in the arts and it has steadily risen over these 25 years. In 1960, 7flJo of adult Americans
were college graduates. We will go over 20flJo next year.
Louis Harris reports that 67flJo of his population sample

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