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This interview originally appeared in the new BroadwayWorld Monthly Marketing Update, a monthly email designed for theatrical marketing professionals. In each update, we share data and trends from our viewers, broader trends in the marketing industry, useful tools and resources you can use to promote your shows and seasons, and introduce you to the best marketers working in the industry. art today.
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Josh Katzker (he/him) is the Marketing Director for REV Theater Company. He has served REV since 2005 in various capacities. He served as acting and load manager for REV on Tour for several seasons before joining the operations staff in 2015. As an Artistic Associate, Josh developed and managed The REV’s Junior Star and All Access programs while also serving as director. He is responsible for writing and providing administrative support for The REV on Tour, as well as coordinating The REV’s new musical series, The PiTCH. He has also appeared in several of his REV productions at Merry-Go-Round Playhouse. In January 2022, Josh became the company’s Director of Marketing. He is committed to making theater accessible to all and ensuring The REV continues to touch the hearts of inner-city New Yorkers young and old for years to come. He holds a bachelor’s degree in musical theater from the University of Central Florida and a master’s degree in theatrical performance from Arizona State University.
What is your biggest challenge in marketing your productions today? How are you meeting it?
One of the biggest challenges right now is understanding and more specifically predicting changes in audience behavior regarding attendance, ticket purchases, and media consumption. We strive to travel with them and meet them where they are. For example, we observed a sudden increase in demand for seats for daytime performances and a decrease in demand for Friday and Saturday night performances, so we adjusted our performance schedule to include more daytime performances and fewer evening performances. As our patrons adapt to an increasingly digital world, we are reducing our reliance on physical marketing materials and focusing on building our digital footprint. We’re working, as I’m sure other companies are doing, to strike the right balance between legacy and digital media. To aid in that process, we are turning to TV and radio attribution models to supplement the rich data provided by our digital advertising partners.
Based on what The REV is doing to date, what advice would you give to other marketers?
It sounds so simple, but the biggest thing I would say to other marketers in theaters is to really listen to your specific patrons. As marketers, we often work with huge data sets. It shows what our patrons are doing in their states, regions, countries and around the world. It’s very easy for that information to become overwhelming. I think we’ve learned here that by focusing on the words, actions, and finances of our patrons, we can make decisions based on our community’s unique needs.
How do you go about designing the various assets for a campaign? Is it driven by the marketing department, the show’s creative team, or a hybrid? Is not it?
Our creative typically comes from a collaboration between myself, Marketing Associate Jess Norkus, and Producing Artistic Director Brett Smock. All three of us have very specific artistic sensibilities, and although we may seem to clash, we communicate well and have a way of developing each other’s ideas. As the season approaches, we also welcome a team of interns who bring fresh perspectives to our work. I think what we’re proud of in our office is that collaboration. Our department is truly a team.
Why use BroadwayWorld as part of your marketing mix?
Due to its relatively central location between Syracuse and Rochester, its audience is spread out over a fairly wide geographical area. It was easy to take advantage of the tools BroadwayWorld provides because BroadwayWorld provides one central location that theater lovers and audiences visit regularly. That’s why our ads on BWW have the highest engagement rates of any of our digital campaigns.
What is your favorite show that gave you the pleasure of creating a campaign?
There are a few shows that I would like to introduce to you because they were so amazing. Hunchback of Notre Dame, Evita, Beautiful: The Carole King Musical. But the answer I choose is our recent work. chorus line. For this production, we created a social media campaign where various members of the community, from the county sheriff to barbers to local business owners, engaged in high-stakes action just like the characters on the show. I shared a story about when I faced this situation. I think this campaign did a great job of capturing the ubiquity of “putting yourself at risk” and encouraged audiences to view the work through a slightly different lens than they might otherwise.
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