Executive Summary

The purpose of this report is to outline the Fortune Theatre’s Marketing Plan for 2009
and into the immediate future.
The Fortune Theatre is operating in a unique environment. The New Zealand
economy is currently in recession and is expected to remaining a low/no growth
state through to the end of 2010 at least. While we are slightly protected in Dunedin,
we are not immune. The economic environment will impact on ticket sales,
sponsorship and government funding. The costs of creating and performing are also
constantly rising, creating a squeeze all around. Looking at our socio-cultural
environment it is clear that our population is aging and correspondingly the tradition
of regularly attending the theatre is declining. We must look seriously and
strategically at our value offer, our programming and how we spend our limited
promotional and marketing funds.
There are five brand attributes which make up the Fortune Theatre’s brand essence.
In order of importance these are; Audience Focused and Relationship Based, Social
Experience, Quality, Creative, Open and Accessible and Proudly Dunedin with
International Connections. Overall, we are committed to developing closer
relationships with our audience both existing and projected.
Four key audience segments to target during 2009 have been identified. These
segments are; Symbols of Success, Provincial Pride, Suburban Comfort and Rural
Living. Each of these segments respond to our brand attributes differently,
highlighting the need to speak to each of our audience segments in a different voice
with a different value package.
The focus for the next 12 months will be on one internal and two external marketing
objectives. The most important internal marketing objective is to implement and
communicate our brand across the whole organisation, so that every staff member is
able to deliver on our brand’s promise. The first key external marketing objective is
to increase brand awareness and profile of the Fortune Theatre within Dunedin and
develop closer relationships with our publics. The second objective is to increase
return bookings through better use of our data base and further personalising and
tailoring our communications to reach target segments. Our media objective for
2009 is to re-evaluate our use/ relationship with different media.
Currently we have 42 sponsors. These are renewed on an annual basis and receive a
benefit package aligned to their partnership level. The principle sponsorship objective
is to maximize the sponsorship potential of the Fortune Theatre.

Fortune Theatre – Marketing Plan 2009

CNZ and the Fortune
Creative New Zealand is the Fortune Theatre’s principal funder. CNZ also contributes
to business development through investing in our professional development, as well
as in tools to assist us in our bid to develop audiences. CNZ have expressed their
support for the Fortune and its plans to widen its appeal and to build audiences.

Economic Environment
The New Zealand economy is currently in recession and looks to be deteriorating
further. 1
We are experiencing a steady decrease in external and domestic demand and, as a
result business confidence and expectancy is weak2. The unemployment rate is also
increasing, hitting 4.6% in the December quarter of 20083. 2009 and beyond will be
tough for many New Zealanders who will be affected by our economic position and
subsequently concerned about their businesses and families. Theatres are ‘escapist’
which will work in our favour. However, the economic environment is likely to impact
on theatre sales particularly for our audience segments with tight discretionary
spend4. The economic situation will also have an impact on sponsorship, as a
decrease in demand, and/or tighter cash flow conditions force local businesses to
tighten their belts. We are already experiencing symptoms of this.
The costs of creating and performing are constantly rising. On the other side,
revenues and costs (e.g. audience prices, government programmes and artists fees)
are not; or, are not keeping pace. There is an economic squeeze all around. As a
result, everyone producing theatre has to make tougher choices. We must look
seriously and strategically at our value offer, our programming and how we spend
our limited promotional and marketing funds.

Political Environment
Support for National has strengthened significantly since the election. A recent TV
One News Colmar Brunton poll put National on 56 % support compared to Labour,
which is sitting on 28 %. TV3 has exhibited similar polling results5. While Key has
been enjoying a ‘golden period’ he has a delicate balancing act ahead of him. He
needs to prepare New Zealanders for tougher times and at the same time keep the
public reassured the situation will not blow up, so as not to create a self-fulfilling
prophecy. Key has promised not to let government debt get near the $65 billion level
the Treasury is now forecasting6. To achieve this, cuts to spending will need to be
made. On top of freezing his budget and cutting internal costs, Key will need to
make cuts in spending, which may affect us as a theatre.7
National’s arts policy has not been expanded on, or altered, since the run up to the
election when National reassured the public it would not cut arts funding and would
look at cutting internal costs by restructuring Creative New Zealand (the Arts
Council). While this seems favourable, if funding is not increased in real terms, this
1
22/2/2009, http://www.treasury.govt.nz/budget/2009/bps/02.htm
2
22/2/2009, http://www.treasury.govt.nz/economy/mei/jan09/01.htm
3
26/02/2009, www.3news.co.nz
4
Working Fringe totalling 16.58 % of our audience in 2007
5
22/02/2008, www.stuffnews.co.nz
6
22/02/2009, http://www.colinjames.co.nz/ODT/ODT_2009/ODT_column_09Feb10.htm
7
22/02/2009, http://www.colinjames.co.nz/ODT/ODT_2009/ODT_column_09Feb10.htm

Fortune Theatre – Marketing Plan 2009

policy constitutes a cut. Failure to increase funding will put pressure on the Fortune
in the face of rising costs, and the current financial pressure on audiences and
sponsors.

The Dunedin Environment

A prudent business culture and sound agricultural foundation means Otago's
economy is looking relatively good when compared with the rest of New Zealand.
This culture means in this part of the country economic highs tend not to be as high
and lows not so low. However, we are not immune and while the Otago primary
sector is relatively robust, Dunedin’s service sector is certainly feeling the pinch8.
Local retailers, restaurants and tourism operators are suffering as people keep a
closer eye on their wallets. As a theatre, we fall within the service/entertainment
sector so we too are likely to see a downturn in patrons; particularly those who have
limited discretionary spend. Like the rest of New Zealand, the economic situation in
Dunedin is expected to get worse before it gets better.

Socio-cultural Environment
Our population is aging and with it, the tradition of regularly attending the theatre.
Contrary to what many arts organisations assumed would happen, once the Boomers
hit 55 or 60, most have not developed a deep desire to attend high brow arts,
despite displaying considerable evidence of disposable income, leisure time, and
sophistication9. Many boomers have been found to actually have more leisure time
than previous generations, but they appear to be spending it differently; growing
vege gardens, building decks and preparing low key yet gourmet dinners for their
families and friends. Baby boomers are participating in arts and entertainment
activities, but often in a different way than previous generations; learning to play the
guitar, taking photos with their digital cameras, videoing their children/grandchildren
and at 55 still going to Rod Stewart concerts.
There is also no doubt that the social values and lifestyle expectations of younger
adults are again quite different from earlier generations, and more diverse. In the
long term, this will mean smaller audiences for different arts and cultural forms, and
other types of creation and recreation interests.
For many individuals and families, there are limited incomes to pursue arts and
culture, and other learning and recreational interests. At the same time, the numbers
of choices and options that are available to individuals and families to learn, play,
create, and recreate are increasing, including expanding arts forms and disciplines.
The result is that the potential audiences for any particular arts and cultural
performance are narrowing, if not in size, in proportion to the broader community.
The challenge facing performance art is that we are increasingly competing, both
with each other, and with other types of interests (for example: the internet and
sports), for people's attention, interest, time, and money. The same type of
competition is also present as local arts organizations seek volunteers, donors, and
sponsors.

Also, the ways in which people are communicating are changing with a particular
increase in the use of social media. Young people especially, are using a variety of
8
22/02/2009, http://www.odt.co.nz/news/dunedin/44448/local-business-outlook-good
9
5/03/09, www.australiacouncil.gov.au/research/arts_marketing/strategic_planning

Fortune Theatre – Marketing Plan 2009

digital media and social systems that connect them much more directly, immediately
and personally to the world. One of the implications of this change is that
traditionnal forms of advertising such as television, radio and newspapers are less
effective for communicating with certain segments of our audience. One of the
opportunites within this new communication environment is the possibility of
connecting to certain segments of our audience in more cost effective and
relationship-based ways. There is however, a cost in terms of time to manage such
social and potentially personal communications.

Fortune Theatre – Marketing Plan 2009

Brand Story
“A brand is not an icon, a slogan, or a mission statement. It is a promise – a promise
your company can keep”. Kristin Zhivago

List of Fortune Theatre Brand Attributes

Benefits – what does the audience Attributes – our promise

get?
 Audience-focussed
 Social experience
 Relationships
 Personal experience
 Improve lives through participation in
 Expansive, fulfilling experience the arts
 Goose-bumps!  Quality
 Expand creative boundaries

Essence – vision Values – beliefs

 Egalitarian  Fun
 Sustainable  Collaborative
 Focused on long term relationships  Forward thinking
 Proudly Dunedin New Zealand with  Interdisciplinary
an international reach
 Creative
 To consistently adapt and change
 Community focused
(so we remain relevant to our
audience)

Brand Essence

Audience-Focused and Relationship-Based

Traditionally, theatres around the world treat the audience as a passive partner.
However, art really only exists in relation to audiences and their experience,
particularly the performing arts. In theatre, audiences are actually part of the
product. The actors rely on the energy of the audience, and the audience feeds off
both the energy of the actors and the energy from each other. We believe, therefore,
that to be truly relationship-based, we must be audience focused. This does not
mean to do only what the audience wants or expects, but rather to place them at the
centre of every decision we make. We will seek to re-define this relationship between
theatre and audience in every aspect of our organisation.
In the 21st century a cultural shift has occurred. The relationships between people,
time, art, and space have changed, as has the way we create, communicate,
consume and commune. For example, the opportunities for participation in the
production, distribution and communication of arts and creative enterprise have
increased. We exist within a social and cultural context - and if that context
changes, we too must adapt and change. To be relevant to our audience as an

Fortune Theatre – Marketing Plan 2009

entertainment experience it is essential to listen and create value that matters to
them. Relevance is also about connecting with our audience on an emotional level.
To really connect is to pull on people’s heartstrings in some way. Engaging with our
audience on this level creates a depth of loyalty and facilitates long term
relationships.

Social experience, full of vitality and life!

Theatre is a shared experience and it is the shared, social experience that is the
principal motivator behind people attending the theatre. The social nature of theatre
exists on a number of levels. Firstly, we have the relationships between groups of
people within the building. The pre and post show interaction surrounding attending
the theatre is also an important part of the experience. Finally, theatre is a social
forum where we explore, share and reflect on our stories, past and present.

Quality
As a professional theatre company ‘quality’ defined as a degree or grade of
excellence, is fundamental. Quality must be consistent across all aspects of our
organisation in order to gain and retain the trust and respect of our audience and the
wider Dunedin public. Quality is a yardstick, by which all decisions can be aligned
and measured - pursuing excellence in every aspect of our organization so that we
are proud of what we do.

Creative
Creativity is at the heart of the Fortune Theatre. Creativity is achieving the
seemingly impossible on the basis of that which is available. It is a way of working
that leads to creative solutions. It is about thinking ahead, innovating and expanding
boundaries in order to create magic. Also, it is about thinking differently and
constantly looking at what we do and how we do it.

Open and Accessible

As an organisation we believe in being open and transparent both internally and
externally.
The word “theatre” is loaded and can often be alienating. As an organisation we have
an egalitarian culture and believe in breaking down barriers often associated with
theatre – or the perception of theatre. Our goal is to be accessible to as wide an
audience as possible.

Proudly Dunedin with an international connections

As Dunedin’s professional theatre, we see ourselves as firmly rooted in the Dunedin
community. Dunedin people can be proud and take ownership of the work we
produce.
On a national stage we represent Dunedin as one of the longest established of the
seven professional theatres in New Zealand.
Our international reach is also a part of our identity, and is a result of our desire to
stay at the forefront of our industry and continue to learn, and grow as an
organisation.

Fortune Theatre – Marketing Plan 2009

Brand Attributes and Audience

Audience defined – who are we targeting and why?

In the current economic climate, many New Zealanders are struggling to make ends
meet. For the period of 2009-2010 it is therefore in the best interests of the theatre
to target audience groups (groups within Dunedin identified by Purple Seven, a
successful UK audience profiling company sponsored by CNZ) who already have a
high representation at the theatre and have a relatively high discretionary income.
While New Zealand is going through a tough financial period, we are going to get the
best return on investment from focusing on increasing attendance within the
following segmen:

Target one – Symbols of Success

 This group currently makes up 8.34% of households visiting the Fortune
Theatre.
 This mosaic group consists of three categories made up of the most affluent
New Zealand households. The group generally are high spending families
and high achievers in the most desirable suburbs in New Zealand.
 This mosaic grouping has a predisposition to theatre and has the highest
discretionary spend of all New Zealanders.

I am well educated and successful. I am well travelled and pride myself on my broad
general knowledge. I lead a well rounded life - I read the right books, I drink the
right wine and when there is a buzz around an entertainment act whether it is a
sports or arts event I always go along. When I go to the theatre even though I might
think I just want a good laugh, I do want to be challenged to an extent or I don’t feel
satisfied. Essentially I want to take something away from the experience. I will often
book over the internet and like a glass of wine and a meal out before I go.

Target two – Provincial Pride

 This group currently makes up 14.87% of households visiting the Fortune
Theatre.
 This mosaic group consists of three segments that can be generalised as true
kiwis in provincial towns. Many are older couples and empty nesters.
 A large number of people within this mosaic group are now mortgage free so
their spending power is relatively high. Demographic profiling information
does not identify this group as regular theatre goers, however Vital Statistics
has identified that these people are in fact a key audience segment for the
Fortune Theatre.

I like to play it safe and I feel secure with what I know. I believe in our country and
that my vote matters in life. I see myself as a quintessential kiwi. I worked hard to
purchase my house early on. I talk to my neighbour over the fence and am
community minded. Going to the Fortune Theatre is a treat and a little bit out of the

Fortune Theatre – Marketing Plan 2009

ordinary. However I see theatre as a safe entertainment choice, specifically if it’s a
comedy or I recognise someone in it (celebrity or someone from the community). I
tend to go to the theatre with my spouse, close friends and family. I am price
conscious and I like to enter competitions.

Target three – Rural Living

 This group currently makes up 6.63% of households visiting the Fortune
Theatre every year. Whilst this is not as high as the others, this mosaic
group has the highest average ticket yield, so when they do come they
spend a lot.
 The mosaic group consists of five categories of rural landowners and workers
in New Zealand’s farming heartlands that have good spending power.

Money is not a problem for me. I can be indulgent, but I am not frivolous and I plan
my spending. While we technically live quite far away from our neighbours, we are
friends and help each other out. I don’t come to the theatre very often but when I
do, it is often a planned trip and my husband goes too. He leaves lots of
entertainment choices like this up to me and when we go to town it’s my day. If
there is a recognisable show on for the girls, the wives will go together, have a night
out in town and stay in a hotel. I hold the Fortune Theatre in high regard and every
time I go I love it. I see it as an important part of Dunedin.

Target four – Suburban Comfort

 This group currently accounts for 14.27% of households visiting the Fortune
Theatre.
 This mosaic group can be described as three categories of educated
professional families, generally from wealthy areas, living in established and
new suburbs.
 People within this mosaic group sit within a relatively high average income
bracket. A high portion of this segment is already theatre goers.

I have access to money. Though I am in a fair bit of debt I think I manage this
pretty well. I shop off the internet and like to live comfortably. My home is
important to me as is home entertainment (like sky and barbeques with all the bells
and whistles). I will go the theatre if a friend suggests it. It doesn’t really matter
what’s on I think it is a fun thing to do and a good way to catch up with friends. The
Fortune Theatre is great and I enjoy taking the kids, but I don’t seem to get along to
see adult theatre as much as I should.

Fortune Theatre – Marketing Plan 2009

Brand attributes applied across the target audience

Symbols of Success

I expect that the theatre treats me as a valued customer. I need to know that others
consider me special. If they do I will reward them with continued patronage. I go to
the theatre with my spouse, my mother, my close friend, or a close couple. I will
definitely critique the play to the people I catch up with over the next week. Quality
is paramount to me and when I go to the theatre I expect a high end performance.
Quality needs to be evident all of the way through for me to feel I have got value for
money. I can appreciate the production values even if I don’t like the show. I feel
the Fortune is accessible to me, as are all art forms. I know where to find out about
a show if I have heard about it and am interested in it. I am surprised and satisfied
when I notice international influences in a production.

Provincial Pride

I don’t need to be made to feel special as I automatically feel included. I accept what
is presented to me on face value and respect it. However I do get a real kick when I
see myself on stage. When I go to the theatre I enjoy the whole experience and I
fully engage as an audience member. I normally go to the theatre with my spouse,
family or group of friends. I know what sort of play I like. I am easily impressed by
the quality of the Fortune and hold it in high esteem as a Dunedin icon. I value the
creativity that goes into a Fortune show. I feel the Fortune Theatre is accessible to
me and feel a sense of ownership of the theatre. I am proud when the Fortune
Theatre makes it onto the national stage.

Rural Living

I have a long term relationship with the Fortune Theatre. I see attending the theatre
as an important part of a well rounded life. I identify with the Fortune as a touch
stone of Dunedin’s cultural fabric. It is something to look forward to and always a
good night out. I value and relish the whole experience. I plan my trip to the theatre
well in advance and normally go with my spouse. I trust the Fortune Theatre and I
hold it in high esteem. I understand its point of difference and value as the lower
South Island’s Professional Theatre. I very rarely will criticize the play but will notice
if the services around the theatre aren’t up to my standard. It is a given that the
creative quality of the theatre will be top shelf. It really is an intrinsic part of Otago
and Southland. I see the Fortune as for everyone, though it wouldn’t occur to me to
just turn up on the night. I am impressed by big brands whether they are national or
international.

Fortune Theatre – Marketing Plan 2009

Suburban Comfort

I like something that is tailored to me. I have lots of entertainment choices and only
the weekend to squeeze it in. Decisions to go to the theatre are often made with
friends. I always take the kids to the Fortune Theatre children’s productions as I get
pleasure out of watching them enjoy themselves so much. When I go to the theatre
I want to be entertained or I feel let down. I expect the quality to be high all around,
although I don’t want to pay premium prices. I have expectations around the theatre
experience and I like these to be met. I am fickle so if you don’t impress me I will go
somewhere else. I tend to take the Fortune for granted as always being there but if
there is good word of mouth is good I will go. I feel that the Fortune benefits from
its international connections as this ensures things are kept up to a professional
standard.

Symbols of success
 Opinion leaders
 Social networks
 Book on-line
 Listener/Advertorial/Features
 Prime target for Gala and Sponsor nights
 Cross-selling

Suburban Comfort
 Highly influenced by WOM
 Importance of Reviews
 Importance of Brands e.g. Roger Hall
 Importance of added value
 Small Group bookings

Provincial Pride
 Respond to discounts/specials
 Importance of Brands
 Local club/works social
 Entertainment night out
 Importance of local causes

Rural Living
 Make feel special
 Local medial

Fortune Theatre – Marketing Plan 2009

 Importance of packages
 Special occasion

There are several other mosaic segments that are also important to the Fortune in
terms of audience attendance and development. These I will select and target on a
show by show basis.

Singles and Starters

Five categories of students and younger workers living in high density and lower cost
suburbs.
 Digital natives especially Social media e.g. Face book
 Bars/clubs
 Image conscious
 City centre/student areas

Family Growth

Five categories of young families, mostly with school aged children, living primarily in
the cities.
 (Young) Family orientated
 Sports/weekend activities
 Competitions

Working Fringe

Five categories of mixed families with stretched budgets in outer suburbs. Settled,
mature households in New Zealand’s blue colour and multicultural centres.
 ‘Budget’ - $10.00 nights
 Populist

Community Challenge

Four categories covering low income, low spending households in smaller homes and
older people entering retirement.
 Group bookings
 Special treat

Fortune Theatre – Marketing Plan 2009

 Discount

Key marketing objectives - Internal

Objective 1
Communicate and monitor branding internally across the whole organisation.
(Every person at the Fortune needs to be able to articulate our brand’s promise,
for it to be successful).

Rationale
While staff within the theatre are very much marching to the same beat and we all
have a similar vision and values for the organisation, our brand has never been
formalised. We are therefore likely all to have a slightly different perception of who
we are as an organisation. This inconsistency weakens our brand and is felt by the
public. Certainly the brand promise drives marketing communications and brand
identity standards and systems. But it must do much more than that. Our venue, our
customer service, every point of contact our brand makes with consumers and the
total consumer experience our brand creates must reinforce our brand's promise.

Tactical Application
 Develop the Fortune Theatre brand story for internal use and present to all staff.
 Develop and implement a slogan based on brand essence (brand statement).
 Internal brand audit especially aligning internal communication vehicles with
brand.

Projected outcome/ measurement to be used

 Brand story presented to staff.
 Slogan agreed and published.
 Brand audit agreed and completed.

Fortune Theatre – Marketing Plan 2009

 Activity Date Time to Cost
complete

Present Brand Friday July 17, 2009 5 hours Time only

Story to the FT
staff

Brand audit agreed

and completed July 24, 2009 2 full days Time only

SWOT ANALYSIS
Strengths Weaknesses

 We work in a collaborative and  Not all areas of our organisation

inter-functional way. currently align with new brand.
 The staff were directly involved in  Some areas of our organisation are
selecting our brand statement and likely to require considerable
six key attributes resources to fully align with brand.
 The Fortune staff are open to
change
 The Fortune has a fantastic story.
Normally in branding an
organisation you have to create
one, but we are very lucky in this
respect.

Opportunities Threats

 The current culture, values and  Lack of buy-in amongst staff

operational processes already members. Until every member of
support the brand. Some areas are the Fortune can articulate our
stronger than others but the brand’s promise it will not be a full
foundations are there to build on. success.
 Improving internal buy-in of brand  Short attention spans. This is a
will make a big difference to the long term project.
public’s belief in our promise.
 Inability (for whatever reason) of
staff to meet the branding
promise.

Fortune Theatre – Marketing Plan 2009

Key marketing objectives - External

Objective 1
Increase brand awareness and profile of the Fortune Theatre within Dunedin and
develop closer relationships with our publics.

Rationale (fundamental reason or action for belief)

In the past the Fortune had tended to focus on promoting individual shows rather
than promoting the Fortune as a brand and an organisation. This is exemplified in
the fact that while they may have heard of individual shows, a significant portion of
Dunedin’s population has not heard of the Fortune Theatre. Amongst those who are
familiar with our theatre, a large number do not understand the difference between
the Fortune Theatre and amateur theatres such as the ‘Globe’ and the ‘Mayfair’, or
feel ownership of the Fortune as Dunedin’s own (and only) professional theatre.

Tactical execution
 Develop the Fortune Theatre brand story for external use.
 Formalise Fortune Theatre brand and position in the market place.
 Increase visibility of Fortune Theatre around the city by increasing signage and
presence at select Dunedin events.
 Incorporate elements or the whole story into key client touchstones.
 Reconnect with key groups and stakeholders and reintroduce the Fortune
Theatre brand story.
 Include brand awareness questions in DCC surveys.
 Develop a social media strategy.
 Develop closer relationships with key entertainment/ arts organisations (such as
the Otago Museum/ Southern Sinfonia) around the city and work together to
grow audiences.
 Nurture sponsor relationships and use sponsorships as an opportunity to enhance
the Fortune’s profile.

Projected outcome/measurement to be used

 Enhanced trust and pride in the Fortune brand, across all of our stakeholders;
sponsors, funders and the wider Dunedin community as reflected in feedback
and formal quality surveys.
 Increase quality (e.g. more dialogue) and points of contact via social media.
 Results from DCC surveys.

Fortune Theatre – Marketing Plan 2009

Activity Date Time to Cost
complete
Develop the FT July 31, 2009 2 full days Time only
brand story for
external use

Increase visibility
of the Fortune On-going Min of $1000
Theatre around
the city by
increasing signage
and presence at
events

Incorporate key
elements or the End August 2009 On-going from Time & print visual
whole story into June 22 costs (min $1000)
key client
touchstones.

On-going from Time & promotional

Reconnect with Mid- September
June 22 materials/post/launch
Key groups & 2009
function (min cost
stakeholders & $1000)
reintroduce FT
brand story.
Time
2-3 days
Develop a social Mid July 2009
media strategy

Time
Develop closer On-going
On-going
relationships with
key arts
organisations
around the city
Time
On-going
On-going
Nurture sponsor
relationships & use
relationships as an
opportunity to
enhance the FT
profile

Fortune Theatre – Marketing Plan 2009

SWOT Analysis

Strengths Weaknesses

 Our brand promise is realistic, and  Currently there is a significant gap

the foundations for its between how we see ourselves,
implementation are all there. and how the general public sees
us.
 Staff are positive, adaptable and
open to change, when the change  Limited resources affect
is for the better. programming choices, the look and
experience in-side the building and
advertising spend. This even
further necessitates living up to the
promise of our brand throughout
every aspect of our organisation.

Opportunities Threats

 Positioning ourselves in the market  Failure to eclipse previous

and supporting this with a clear perceptions and experiences of the
strong brand should have a public.
positive impact on box office.
 Lack of public buy-in of brand.
 A strong brand will increase the
 Lack of brand alignment in areas of
Fortune Theatre’s attractiveness to
the organisation out of marketing’s
both sponsors and funders.
control. Failing to live up to brand
promise will do considerable
damage as we will lose the public’s
trust.

Fortune Theatre – Marketing Plan 2009

Objective 2
Increase number of patrons making repeat visits throughout the year.

Rationale (fundamental reason or action for belief)

Fortune Theatre has 27,000 records and the majority of these patrons attend
infrequently. CNZ vital statistics data shows that only 1925 households have booked
in 2007 and 73% of the audience only attended once. The Fortune Theatre needs to
attract new attendees, capture their details, and work to bring them back. We also
need to increase attendance amongst both infrequent and dormant patrons on our
data-base.

Tactical execution
 Prioritise capture all details of new attendees especially email and direct mail
address for patron base.
 Rationalise communication messages e.g. frequency/style.
 More efficient use of patron base to increase and improve use of online
marketing (i.e. send out a welcome pack to first time theatre goers; or build
membership numbers).
 More resources (time and money) directed towards developing online ‘sample
and share’ strategies (web-site redevelopment). Our web-site needs to be more
interactive and user friendly. Required functions include patron reviews, actor
blogs, forwarding prospective bookings onto a friend, sign up online, clips of the
director talking about the play hosted on u-tube.
 Update membership package and re-assess value offer. Look after these people
to create a ‘pebble in a pond’ effect.

Projected outcome/ measurement to be used

 More targeted and tailored communications.
 Increase in return bookings by 10%.
 Maintain current level of membership.
 Increased use of web as communication medium.

Fortune Theatre – Marketing Plan 2009

 Activity Date Time to Cost
complete
Capture details of On-going On-going Time
new attendees

Rationalise
End July 2009 4 hours Time
communication
messages

Website re- End 2009 October/November $12,000

development 2009
Mid-July 2009 Time – Print of
Membership One to two days materials in-house
package update Paper cost $200

SWOT Analysis

Strengths Weaknesses

 Increasing the frequency of  Incomplete data on existing data

attendance of those on our patron base.
data base is cheaper and easier
 Requires the box office staff to
than attracting new patrons.
gather data, therefore susceptible
to human error.
 Can be labour intensive.
 Email and phone campaigns can be
viewed as spam or hard selling
which subsequently can annoy
patrons.

Opportunities Threats

 Able to be personalised.  Privacy issues.

 We already have an exclusive  Hesitancy of patrons to hand over
database of 27,000 people. This is details for fear of spam.
incredibly valuable.

Fortune Theatre – Marketing Plan 2009

Key marketing objectives – media

Objective 1
Review relationship with mainstream media.

Rationale
The Fortune Theatre has traditionally relied heavily on press coverage and
advertising efforts for each show in the hope that people will see the production and
book. This reliance can leave a show’s success at the mercy of reporters (their
personal taste and agendas). News papers are also facing tough times and we are
likely to see a steady decrease (or at the very least inconsistency) in the coverage
we receive. In addition, while newspaper coverage is effective for mainstream
shows, it does not work as well for those that do not come with a strong brand to
leverage.

Tactical execution
 Identify the key partners we want to foster our relationship with and then resell
in the FT brand story and develop/ strengthen and on going relationship.
 Prioritize strategies for communicating individual shows and delegate time and
resource accordingly.
 Develop a media kit for use as opportunities arise.
 Strategy around leveraging off Tennessee Williams festival and how that can
position FT brand.

Projected outcome/measurement to be used

 Completed media list including key contacts completed.
 Evaluation and analysis of media effectiveness.
 Media kit available on web site.
 Successful fundraising for Tennessee Williams festival.

Fortune Theatre – Marketing Plan 2009

 Activity Date Time to Cost
complete
Identify FT Brand August-September August- Time
story to key media September
partners

July-August
July 2009 Time + Louise
Develop Media-kit
Moulin time $500

Strategy around
August September Time
leveraging off August September
Tennessee
Williams Festival

SWOT Analysis

Strengths Weaknesses

 More strategic and therefore  Even if prioritised lower, basic

effective use of media and advertising still needs to be done,
advertising. and can swallow a significant
amount of time and $ in the lead
up to a production.
 Press and advertising is good for
pulling in those who have never
been to the theatre before.
 For various reasons the Fortune
does not have a subscription
package, which means to sell each
show we start from scratch. This
means we have little room for trial
and error and mistakes in media
strategy are costly.
Opportunities Threats

 Facilitates focus on other more  Danger that shows may drop off
direct forms of marketing the radar and be eclipsed by other
communications. events through low visibility.
 No longer at the mercy of media
outlets.
 Frees up money traditionally put
into mass media.

Fortune Theatre – Marketing Plan 2009

Sponsorship

Objective 1
Maximise sponsorship potential of the Fortune Theatre.

Tactical execution
 Review current sponsorship strategy.
 Select best possible way to move forward.
 Prepare sponsorship/ patronage strategy with clear benefits, value and
associated fees.
 Maintain relationships in a manner that reflects the professional relationship.

Projected outcome/measurement to be used

 Completion of sponsorship strategy.
 Increase in targeted sponsorship/ relationships.
 Agreed value proposition.
 Closer relationship with sponsors.

Activity Date Time to Cost

complete
Review current July End-July Time
sponsorship
strategy

August 2009 September 2009 Time

Prepare new
strategy

Maintain On-going On-going Time

relationships

Fortune Theatre – Marketing Plan 2009

Future development

What objectives do we wish to highlight for the future but resource and
environmental constraints prevent in 2009.

Objective 1
Align the Fortune experience with brand expectations.

Tactical execution
 Renovate and refurbish the bar.
 Improve front of house.

Objective 2
Develop new generation of theatre goers.

Tactical execution
 Development of an Education programme or department. Essential for long term
audience development, but takes a considerable amount of resource to be done
properly, both financial and human.

Objective 3
Build a stronger and closer relationship with wider Otago and Southland regions.

Tactical execution
 Identify the need from local regional centres.
 Develop a regular schedule of involvement.

Fortune Theatre – Marketing Plan 2009