Telemarketing Should You Outsource Or Build In-House

Total Page:16

File Type:pdf, Size:1020Kb

Telemarketing Should You Outsource Or Build In-House Telemarketing Should You Outsource or Build In-House Telemarketing Should You Outsource or Build It In-House Gordon Armstrong Sr. Director, Business Development Turnstyles Ticketing Mary Jane Avans Vice President, Business Development SD & A Teleservices, Inc. Shawn Robertson Ticket Sales Director Center Theatre Group Outsourcing Customer Service/Sales Turnstyles Ticketing Gordon Armstrong Sr. Director of Sales and Business Development 634 Frelinghuysen Ave Newark, NJ 07114 [email protected] www.turnstylesusa.com (855) 849-4879 x 3353 Outsourcing Customer Service/Sales Tickets Tickets are the life blood of your event For the ticket holder, they mean more than just entry to the show – they are the promise of an experience, building anticipation, and are keepsakes holding those memories for a lifetime Ticket holders are your guests, customers, friends, ambassadors, and live/digital ad agencies They share the entire lifespan of their experience with you and your event – with the whole world Outsourcing Customer Service/Sales It is Always Important to Enhance your patron’s buying experience, as there are many alternatives for them to spend their disposable income. As an industry we are seeing most people are buying through the web but what happens when they pick up the phone? The trend seems to be that 1 out of every 10 calls makes a purchase, what about the other 9 calls? • Are they speaking with a live operator • Are they able to get their questions answered • Are the being provided with a high level of customer service Outsourcing Customer Service/Sales Outsourcing a call center can be a critical component of your patron’s overall experience. • It can offer flexibility by extending your hours of operations • Provide overflow assistance during on-sales and special events • Increase your ratio of calls answered and those that are dropped • Free up your box office staff so they are able to complete their daily tasks • Mostly importantly providing your patrons with a high level of customer service Outsourcing Customer Service/Sales Benefits of Outsourcing Can be a cost effective resource without the added expenses of: . Additional phones lines and computers . Workspace . Staffing needs . Management and training Additional Benefits include . No cost dedicated Toll Free phone connection(s) . Up selling capability by highly trained sales agents . Real time sales capabilities . Customer service for calls regarding specific event information . All calls answered as the facility Outsourcing Customer Service/Sales Seamless Operation Calls are routed to the call center seamlessly, thus giving the impression and feel of speaking directly with one of your box office representatives. Operators receive calls, are prompted as to the origination of the call, and answer it as a representative of that venue, team, facility or organization. Training of offsite operators Client provides the call center with complete event, venue and local area information. This information is summarized by a project Management Team and formatted for distribution to the operator via an Online Event Operator Guide. PEAK MUSEUM CLIENT CUSTOMER CALL CENTER Monthly In-house Costs Monthly Outsource Costs Operating Costs 8am – 8pm 45,000 minutes = $24,000 10 agents per month 2 Supervisors 1 Manager Total savings to venue Total costs = $40,000 per month $16,000 per month Plus infrastructure and phones costs OUTSOURCING OUTBOUND CALLS Mary Jane Avans Vice President, Business Development [email protected] www.sdats.com 678.904.1583 OUTSOURCING OUTBOUND CALLS Outsourcing Outbound Calls Onsite Campaign Management • Your Organization Provides: • Phone Room Set Up • Internet Connection • Phone Lines – Phones • Dedicated Line For Manager Voice Mail • Manager Area (Office) • Leads to Call • Access To Necessities Outsourcing Outbound Calls Onsite Campaign Management • Vendor Provides: • Campaign Manager • Oversight For Manager • Team Of Local Callers • Human Resources Support • Payroll, Taxes, Insurance • Computerized Lead Management System • Reports – Daily, Weekly, Cumulative • Campaign Support Materials Outsourcing Outbound Calls Call Center Campaign Management Vendor Provides: Organization Provides: • Physical Space • Leads • Overhead Costs • Training Materials • Trained Crew • Method To Receive • Computerization Orders • Additional Services • Updated Seating & Relevant Info Outsourcing Outbound Calls Keys to Success • Experienced & Talented Team • Campaign Design & Planning • Communication Of Product • Training • Clean Data • Capacity To Address Challenges • Customized Solutions • Accurate Reporting & Analysis • Partnership Outsourcing Outbound Calls Costs CAMPAIGN BY THE NUMBERS 30,000 leads (households) 35 weeks 150 calling hours per week 35 weeks X 150 calling hours 5,270 calling hours* 3 contacts per hour 15,750 contacts* 10% participation 1,575 orders *Definition of a contact: a yes or no. In a week, we might contact 450 people, based on the types of leads called. Calling hours are per caller – 4 callers calling 4 hours = 16 calling hours. Outsourcing Outbound Calls Costs • Set-Up or Administrative Fee - $2,500 - $6,000 • Other Misc. Fees • Straight Hourly Fee - $30 - $40 Per Hour • Hourly + Commission • Commission Only 5,270 Hours $15 Per Hour $79,050 1,575 Orders 20% Commission $94,500 $300 Avg. Order $472,500 $173,550 36.7% Cost Opened in 1967 Founding Artistic Director, Gordon Davidson Michael Ritchie, Artistic Director Music Center of Los Angeles County Ahmanson Theatre – 2103 seats Mark Taper Forum – 736 seats Culver City Kirk Douglas Theatre – 317 seats (opened in 2005) TICKET SALES DEPARTMENTS Audience Services Phone Room (22) Account Sales/Group Sales (2) Box Office (9) Priority Services/Telemarketing (26) Subscription Services (6) ANNUAL SALES/PERFORMANCE INFO $35 – 40 million in annual sales 450+ performances 50,000 subscribers total Over 750,000 tickets sold Looking at Your Organization and Beyond 1. Do you have buy-in from the organization? Do all departments understand the value? Who are the decision makers who will support the decision and operation? 2. What are your resources to support the department? Startup costs; staff size, infrastructure, time, location, technology, energy, etc 3. What does success look like? Establish benchmark sales goals; expense to revenue that you need to operate and justify 4. Do you have a strong Manager already in the organization? Can you recruit on your own? (In my opinion, it all starts and could end here.) What Makes a Strong Sales Manager? •You aren’t selling widgets; selling an experience that takes place at your venue •Must be passionate about your product and organization •Be able to motivate and be an advocate for staff •Provide proper compensation to keep manager motivated •Maturity; Experience; not letting it get to you is an art •Great sense of humor always helps Kerry Korf, CTG’s Director of Priority Services •1987 - present How do we measure success? It’s 20/20! •At least 20% of all subscriptions sold are through Priority Services (minimum 10,000 of 50,000 subs sold) **All Time High in 2011-12: 11,874** New Subscriptions Renewal Subscriptions Ahmanson – 2500 Ahmanson – 3000 Mark Taper – 1500 Mark Taper – 2500 Kirk Douglas – 500 Kirk Douglas - 500 •Cost to revenue is under 20% (5 times more revenue than expense for department) Last 3 year Average: 18% Sales $5,030,000.00 Expenses $943,000.00 How does sales team know if they are achieving success? Minimum required sales per calendar month is 25 full subscriptions. (Callers have averaged selling 40 full subscriptions per calendar month.) Failure to do this will result in "probation" and the following month will be paid Hourly or Commission, whichever is higher. As soon as 25 subs sales is reached in the next month caller reverts back to the Hourly plus Commission pay. If caller fails to sell 25 subscriptions in the next month it will be cause for termination. (In 27 years only 4 callers have ever been terminated for quota) New employees are given a one-month grace period before the minimum sales requirement kicks into place. MTF NEW SALES AHMANSON NEW SALES KDT $0.00 - $300 7% $0.00 - $500 5% All New Sales 15% $301 - $600 8% $501 - $1,000 6% Renewals 10% $601 - $900 9% $1,001- $1,500 7% $901 - $1,200 10% $1,501- $2,000 8% $1,201 + 11% $2,000 + 9% Renewals 4% (2nd year+) Renewals 3% (2nd year +) Renewals 6% (1st yr) Renewals 5% (1st yr) Resources/Buy-In 1.Location – Don’t share a space if you can; can location grow with the department (think success); 2.Computers – let your IT team do some heavy lifting; consult with them to identify needs vs. wish list (how many you need, software); establish cost limits 3.Telephones – Does your existing system meet the requirements; maybe this is an opportunity to look at new systems for the organization; integration with computers; 3 RFPs from reliable vendors (Cysco, Avaya, etc) who provide ongoing support 4.Furniture/work station design – IKEA is lovely, but maybe something more durable; where do you have existing vendor relationships; inquire about quantity/corporate/non-profit discounts 5.Include Others (So They Know What you are Doing): it is a team effort Make a Decision •Do your homework and you can make the right decision for your organization •There is no right or wrong answer…sometimes the answer is both Center Theatre Group 1. in house Priority Services team 2. in house Audience Services team… with outsourced overflow Call Center Shawn Robertson Ticket Sales Director [email protected] www.CenterTheatreGroup.org 213.972.8040 Questions? .
Recommended publications
  • More- for Immediate Release CENTER THEATRE GROUP
    For immediate release CENTER THEATRE GROUP ANNOUNCES 2018 — 2019 SEASON AT THE MARK TAPER FORUM AND KIRK DOUGLAS THEATRE THE 2018 — 2019 SEASONS FEATURE TWO WORLD PREMIERES, A PULITZER PRIZE-WINNING PLAY, A NEW WORK BY A PULITZER WINNER, A POWERFUL WORK BY A LOS ANGELES FAVORITE, AN EXCITING SOLO WORK, A RECENT NEW YORK HIT, AN ACCLAIMED PRODUCTION OF A CLASSIC PIECE AND THE THIRD ANNUAL BLOCK PARTY: CELEBRATING LOS ANGELES THEATRE The 2018-2019 Season at the Mark Taper Forum Includes “Sweat,” “Valley of the Heart,” “Linda Vista,” “Lackawanna Blues” and “Happy Days” Begins August 29, 2018, and Runs Through June 30, 2019 The 2018-2019 Season at the Kirk Douglas Theatre Includes “School Girls; Or, the African Mean Girls Play,” “Quack,” Block Party: Celebrating Los Angeles Theatre and “From the Words and Writings of Dana H.” Begins September 2, 2018, and Runs Through June 23, 2019 Two Subscriber Bonus Options Offered as Part of Off Center Center Theatre Group Collaborations with Arts Partners Around Town [For complete listing of plays and performance dates, please see final pages of release.] Center Theatre Group Artistic Director Michael Ritchie has set the 2018 — 2019 seasons at both the Mark Taper Forum and Kirk Douglas Theatre. Together, the seasons feature new plays, classic works and the continuation of Block Party, which celebrates the rich array of theatre produced every year in Los Angeles. “The eight shows scheduled in the 51st season at the Taper and the 15th season at the Douglas run the gamut from world premiere comedies to enduring classics,” said Ritchie.
    [Show full text]
  • The Following Blue Star Theatres Are Listed in Alphabetical Order
    The following Blue Star Theatres are listed in alphabetical order. 2nd Story, Warren, RI Manhattan Theatre Center, New York, NY 7 Stages, Atlanta, GA McCarter Theatre, Princeton, NJ Actors Theatre of Louisville, Louisville, KY Northlight Theatre, Skokie, IL Adventure Stage, Chicago, IL Olney Theatre Center for the Arts, Olney, MD Alabama Shakespeare Festival, Montgomery, AL Penobscot Theatre Company, Bangor, ME Alley Theatre, Houston, TX People’s Light & Theatre, Malvern, PA Alliance Theatre, Atlanta, GA Performance Network Theatre, Ann Arbor, MI American Blues Theater, Chicago, IL Pittsburgh Public Theater, Pittsburgh, PA American Conservatory Theater, PlayMakers Repertory Company, Chapel Hill, NC San Francisco, CA Portland Center Stage, Portland, OR American Repertory Theater, Cambridge, MA Round House Theatre, Bethesda, MD Arena Stage, Washington, D.C. Roundabout Theatre Company, New York, NY Arkansas Repertory Theatre, Little Rock, AR Seattle Children’s Theatre, Seattle, WA Artists Repertory Theatre, Cambridge, MA Seattle Repertory Theatre, Seattle, WA Arvada Center Theatre, Arvada, CO Second Stage Theatre, New York, NY Asolo Repertory, Sarasota, FL Signature Theatre, Arlington, VA Berkeley Repertory Theatre, Berkeley, CA South Coast Repertory, Costa Mesa, CA Bloomsburg Ensemble Theatre, Bloomsburg, PA Stages Theatre Company, Hopkins, MN Boise Contemporary Theater, Boise, ID Stageworks Theatre, Tampa, FL Burning Coal Theatre Company, Raleigh, NC Steppenwolf Theatre Company, Chicago, IL California Shakespeare Theatre, Orinda, CA Studio Theatre, Washington, D.C. Center Theatre Group, Los Angeles, CA Syracuse Stage, Syracuse, NY CENTERSTAGE, Baltimore, MD The Contemporary American Theater Festival, Chesapeake Shakespeare Company, Ellicott City, MD Shepherdstown, WV Childsplay, Tempe, AZ The Old Globe, San Diego, CA Cincinnati Playhouse, Cincinnati, OH The Repertory Theatre of St.
    [Show full text]
  • Ripe Frenzy Program (Download PDF)
    WELCOME Greenway Arts Alliance has been honored to serve thousands of students, artists and community members for the last twenty years. Did you know that you are on the campus of Fairfax High School in a building designed and constructed by Fairfax students as a “Social Hall” in the 1940’s? Based on articles in the school newspaper, the students were committed to building a home in which to “socialize.” Greenway continues this commit- ment through our mission to unite communities through our productions at the Greenway Court Theatre, which give our patrons the opportunity to share in the communal experience of live theatre. Jennifer Barclay's Ripe Frenzy, produced through the National New Play Network's Rolling World Premiere program, is the culminating production of Greenway's 20th Anniversary season. In it we showcase our recommitment to producing important new works that explore the pressing social issues of our time. As we write this letter in preparation for Opening Night, we do so with the knowledge that students, teachers and parents in Santa Fe, Texas, are mourning their friends and children lost in yet another school shooting. Since Columbine, we have watched in horror as 85 similar shootings have occurred, killing 223 people. As a theatre in residence on a high school campus, we say ENOUGH, and hope that this produc- tion will inspire our audiences to interrogate society's role in the proliferation of these events, and look for ways to work toward ending them. We regard Greenway Court Theatre as our home and are grateful that you are here.
    [Show full text]
  • The Shubert Foundation 2020 Grants
    The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company
    [Show full text]
  • 9 Short Plays from the Longest Year of Our Lives
    LONG STORY SHORT 9 SHORT PLAYS FROM THE LONGEST YEAR OF OUR LIVES Sponsored by Linda Archer The Law Office of Steven Edward Buckingham Bob & Bev Howard Meghan Riordan & Chris Prince Debra & Tom Strange A Friend of The Warehouse Theatre THE WAREHOUSE THEATRE RECEIVES GENEROUS SUPPORT FROM THE JEAN T. AND HEYWARD G. PELHAM FOUNDATION AND THE HARRIET WYCHE ENDOWMENT BREAK Featuring MACHETE ORDER A LEG! by Marco Ramirez the 1 Sending our well wishes to by Cammi Stilwell Warehouse Theatre for a THIS IS DEREK by Paul Grellong spectacular show run. GERMS by Dorothy Fortenberry THE DESERT by Janine Salinas Schoenberg WAS HERE by Donald Jolly THE RELIEF OF TRUTH by Avery Sharpe SHOOTS fuelforbrands.com by Kristoffer Diaz HOPE by Bekah Brunstetter THE WAREHOUSE THEATRE PRESENTS LONG STORY SHORT BREAK Featuring MACHETE ORDER A LEG! by Marco Ramirez the 1 Sending our well wishes to by Cammi Stilwell Warehouse Theatre for a THIS IS DEREK by Paul Grellong spectacular show run. GERMS by Dorothy Fortenberry THE DESERT by Janine Salinas Schoenberg WAS HERE by Donald Jolly THE RELIEF OF TRUTH by Avery Sharpe SHOOTS fuelforbrands.com by Kristoffer Diaz HOPE by Bekah Brunstetter THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRO- DUCTION OR DISTRIBUTING RECORDINGS OF ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIB- ITED, A VIOLATION OF THE AUTHOR’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FROM THE ARTISTIC DIRECTOR There have been many adjustments we’ve had to make at The Warehouse over the past 15 months.
    [Show full text]
  • By Samuel D. Hunter Martin Benson
    50th Season • 479th Production SEGERSTROM STAGE / MARCH 28 - APRIL 27, 2014 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents the world premiere of REST by Samuel D. Hunter John Iacovelli Angela Balogh Calin Donna Ruzika Michael Roth SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC/SOUNDSCAPE John M. Baker Jackie S. Hill Sue Karutz* DRAMATURG PRODUCTION MANAGER STAGE MANAGER Directed by Martin Benson Mary Beth Adderley Olivia & A. Andrew Johnson Honorary Producers REST was commissioned by South Coast Repertory. Rest • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Etta .......................................................................................... Lynn Milgrim* Ken ......................................................................................... Wyatt Fenner* Gerald .................................................................................... Richard Doyle* Jeremy .......................................................................................... Rob Nagle* Ginny ............................................................................................ Libby West* Faye ........................................................................................... Sue Cremin* Tom ...................................................................................... Hal Landon Jr.* SETTING A retirement home of the outskirts of a town in northern Idaho. The present. LENGTH Approximately one hour
    [Show full text]
  • Annual Report Fiscal Year 2021
    Annual Report Fiscal Year 2021 Sara Porkalob in Dragon Mama. Produced by American Repertory Theater in 2019, virtually released in 2020. Photo by Gretjen Helene. Founded over forty years ago, Theatre Forward fosters collaboration between America’s prominent regional theatres, connects them to funding and resources on a national level, and advocates for the arts in America. The Theatre Forward cohort comprises a network of 19 leading theatres in as many separate cities, providing an efficient conduit for funders to support important cultural institutions and their communities on a national level. 505 Eighth Avenue, Suite 2504 | New York, NY 10018 | T. 212 750 6895 | www.theatreforward.org TO THEATRE FORWARD FUNDERS At this writing it has been fifteen months since the COVID-19 pandemic forced theatres across the country to close. We imagined it would be a period of weeks, or perhaps a few months, before normal operations would resume. As time passed and the severity of the pandemic became more apparent, theatre executives courageously faced the unavoidable and made difficult but necessary decisions to downsize and, in many cases, to cut salaries for remaining staff, and take programs and fundraising events online. During this dark period, Theatre Forward and its valued partner-donors remained committed to providing funds for general operating support, workforce stabilization, education programs, and the advancement of equity, diversity and inclusion (EDI) within the theatres and their communities. In May of 2020, Theatre Forward was proud to administer a $1 million COVID-19 relief grant program on behalf of the Hearst Foundations. And in the fiscal year ending June 30, 2021, grants and donations from individuals, corporations and foundations made it possible for Theatre Forward to distribute $870,000 to its member theatres.
    [Show full text]
  • Putting It Together
    46th Season • 437th Production SEGERSTROM STAGE / September 11 - October 11, 2009 David Emmes Martin Benson Producing ArtiStic director ArtiStic director presents PUTTING IT TOGETHER words and music by Stephen Sondheim devised by Stephen Sondheim and Julia McKenzie Thomas Buderwitz Soojin Lee Steven Young Drew Dalzell Scenic deSign coStume deSign Lighting deSign Sound deSign Joshua Marchesi Jamie A. Tucker* Production mAnAger StAge mAnAger musical direction by Dennis Castellano directed by Nick DeGruccio Dr. S.L. and Mrs. Betty Eu Huang Huang Family Foundation honorAry ProducerS corPorAte Producer Putting It Together is presented through special arrangement with music theatre international (mti). All authorized performance materials are also supplied by mti. 421 West 54th Street, new york, ny 10019; Phone: 212-541-4684 Fax: 212-397-4684; www.mtiShows.com Putting It Together• SOUTH COA S T REPE R TO R Y P1 THE CAST (in order of appearance) Matt McGrath* Harry Groener* Niki Scalera* Dan Callaway* Mary Gordon Murray* MUSICIANS Dennis Castellano (conductor/keyboards), John Glaudini (synthesizer), John Reilly (woodwinds), Louis Allee (percussion) SETTING A New York penthouse apartment. Now. LENGTH Approximately two hours including one 15-minute intermission. PRODUCTION STAFF Casting ................................................................................ Joanne DeNaut, CSA Dramaturg .......................................................................... Linda Sullivan Baity Assistant Stage Manager .............................................................
    [Show full text]
  • Contact: Kirstin M. Franko/Julia Suszynski [email protected]; 202-600-4055
    Contact: Kirstin M. Franko/Julia Suszynski [email protected]; 202-600-4055 ARENA STAGE AT THE MEAD CENTER FOR AMERICAN THEATER ANNOUNCES THE 2010/11 INAUGURAL SEASON FOR NEW THREE-THEATER CAMPUS With more than 45 projects in homecoming season, Arena Stage returns to campus as a national center for the production, presentation, development and study of American theater (Washington, D.C.) Arena Stage Artistic Director Molly Smith announces the D.C.-based pioneering theater company’s 60th season filled with award-winning artists and projects to celebrate the grand opening of Arena Stage at the Mead Center for American Theater. The 2010/11 inaugural season includes eight full productions, seven presentations from the National Endowment for the Arts New Play Development Program and public readings from all 30 of Edward Albee’s works, totaling at least 45 projects produced and presented by Arena Stage in the inaugural year at the Mead Center. With the opening next fall, Arena Stage will fully become a national center for production, presentation, development and study of American theater. “The moment we have been waiting for has arrived—we are heading home,” shares Artistic Director Molly Smith. “After 11 years of planning and two and a half years of construction, the beautiful new Mead Center for American Theater will be ready to welcome audiences and artists this fall.” The new campus includes the renovation of the two existing performance spaces, the Fichandler Stage and the Kreeger Theater, and the creation of the 200-seat Arlene and Robert Kogod Cradle—a venue dedicated to cradling risk surrounding new or radically re-envisioned productions of American theater.
    [Show full text]
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
    IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021.
    [Show full text]
  • The 2017 Remodel of LA Theater
    The 2017 remodel of LA theater laobserved.com/intell/2017/12/the_2017_remodel_of_la_theater.php By Don Shirley | December 23, 2017 9:09 AM If you see only one satire of musicals this month, "Something Rotten!" is the better choice. Photo by Jeremy Daniel. 2017 was a pivotal year for Los Angeles theater, but not because the quality was better or worse than usual. It's because of institutional changes. After two years of heated debate, new Actors' Equity rules finally took full effect in smaller theaters. Receiving far less attention were changes in the leadership of four of LA's larger nonprofit theater companies. Meanwhile, "Hamilton" - at the Pantages -- dominated the second half of the year, not only in terms of attendance, attention and profits but also in terms of innovation. In most of my previous year-end summaries, I briefly comment on my favorite shows, arranged in alphabetical order. I'm still mentioning most of my personal theatrical faves this year, but I'm weaving my references to them into the context of discussions about these larger changes. Because I've already written about most of my favorites in earlier columns (which are available here), I'm going to restrict longer mentions only to those few shows that were highlights but which didn't fit into earlier columns. 1/7 Also, for those readers who simply want some recommendations about what to see during the holidays, feel free to skip to the last section of the column. Let's start with our biggest nonprofit company, Center Theatre Group - the proprietor of the Ahmanson, Mark Taper Forum and Kirk Douglas Theatre.
    [Show full text]