Culture Change in Arts Marketing

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2 Culture Change in Arts Marketing Becoming data-driven and structuring for success Lucy Sinclair Director of Audiences and Media Royal Opera House, London

3 2 years ago: brief SWOT analysis STRENGTHS World class productions Culture: the show must go on Highly loyal, fierce, core fan base New leadership with clear vision (international, open up, digital media) World renowned brand OPPORTUNITIES Data driven audience insight International co-creations Modernise marketing and communications plans Measure ROI, be agile Brand development Integrated, flatter team structure WEAKNESSES Unclear data strategy Over-catering to the converted Siloed teams Inward-facing content strategy Very tactical/promotional Brand struggles for permission to be contemporary Missing financial targets THREATS Economics / Funding models Political mood Failure to improve change-resistant organisation culture

4 ROH were over-serving each end of the spectrum and rarely looking at our data Reactive, single issues, complaints Super fans "I don t like the change you made" My favourite seat wasn t available I don t like the cast sheet" I love ROH exactly as it is and want nothing to change

5 And we had a really complicated data segmentation that no one understood Reactive, single issues, complaints "I don t like the change you made" My favourite seat wasn t available I don t like the cast sheet" Really Complicated Segmentation Super fans I love ROH exactly as it is and want nothing to change

6 In order to get data-driven, we first needed to simplify everything and understand what was actually going on

7 Current and potential audience Enthusiasts (50k) Come lots, know lots Fresh Fans (500k) Been once, know a bit Culture Vultures (2.2m) Not been. Don t know much, but open to persuasion. Key Target for Open Up, Cinema, Big Screens, Live streams and social media reach Experience Seekers (1.1m) Not been. Know nothing. Potential target for some new products or experiences Source: A&M Audiences & Analytics team. Tessitura and TGI modelling Learning & Participation groups (30k) (teachers, schools, kids, disadvantaged, special interest etc)

8 What we want them to do Book a ticket Visit us

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10 We changed our skillset and structure old Director of Marketing Director of Audiences and Media Director of Communications Head of ROH Media new Director of Audiences and Media Head of Analytics and Audience Data Head of Marketing Head of Communications Head of Digital Products Head of Creative Studios Head of Audience Labs Head of Distribution and Broadcast

11 We aligned our thinking to audience touchpoints rather than to our own products REWARD LOYALTY CREATE OPPORTUNITY Television & Radio Big Screens Streaming & VOD & Sales Cinemas R&D New Platforms R&D New Formats CREATE DEMAND Social media Omni-channel campaigns Publicity & press Influencer outreach Always on dialogue ON-BOARD & DELIGHT Consistent brand voice Engaging content Purchase path Ticketing process Web & App exp Programmes & materials Feedback Dynamic pricing GROW VALUE Up-sales Personalized CRM Cross-sales Packages Friend Recruitment Friend On-boarding Reengage campaigns Friend dialogue Friend Benefits offers REACTIVATE 11

12 We allocated budgets and resources very differently Before From now on Admin Promoting Productions and Individual shows Marketing technology Brand

13 We focus ruthlessly on two things GROW INCOME whilst REDUCING COST GROW REACH In order to balance our budget In order to fulfil our purpose

14 us them Audiences & Media 2022 Vision If we are successful as a department in helping the ROH achieve its goals, this is what will have happened: 1. We hit box office and cinema revenue targets, all venues see target for each production and grew the box office potential overall 2. We maintained or grew mainstage (96%), Linbury (78%), BP Screens, UK cinema and special event occupancy or digital engagement / streaming targets 3. We hit secondary net revenue targets where applicable (retail, catering, Opus Arte Products and digital distribution) 4. Reputation: Our fans still love us, but more people also love us 5. The team really enjoy at least 70% of the work they are doing 6. The team feel as though there is space for us all to be brilliant, succeed and progress our careers 7. We saw improvements in our staff survey responses about local leadership, team culture, clarity of objectives and collaborative ethos and respect from other teams.

15 DATA-LED CONTENT STRATEGY CRM Strategy What we are doing Fuel Social Media Advertising Collateral Product Collateral Website Optimization Strategic Campaigns Objective: Grow social reach across all platforms Objective: Provide assets for the paid advertising machine Objective: Support the Cinema broadcasts Objective: Improve website journeys and landing pages Objective: To support a defined strategic campaign Strategy: Harness the power of timely and culturally tied in video content on Facebook through traditional hosting and Facebook Lives Strategy: Generate strong visual imagery for every production in a variety of formats including, where ever possible, video Strategy: Leverage behind the scenes footage and star support to enrich the cinema experience and improve overall product proposition Strategy: Ongoing A/B testing using different copy lines/image assets/layouts to iteratively improve the performance of the website Strategy: As part of the new strategic campaigns process there may be a need for content to support paid, owned or earned media strategies How success is measured: Reach and engagement achieved for the individual posts on social platforms How success is measured: Individual assets will be assessed on their performance in driving click through rates How success is measured: Broadly, cinema sales. More specifically, NPS scores for the cinema experience How success is measured: A/B tests will be assessed individually as this is a continuous process How success is measured: The campaign owner will be responsible for ensuring the asset is leveraged What we re not doing Content to Educate Editorial strategy SEO/Keyword targeting Why? The exception is our Learning Platform. But for all other content We have no plan for the distribution of this content Given our limited resources, we need to focus on content that supports sales and campaigns It s very difficult to meaningfully measure effectiveness when the goal is to deepen engagement outside of a campaign or sales goal Why? We re not prioritising views on the website as a KPI for reach because we are not a publisher and eyeballs for ads isn t our business model We therefore don t have any editorial objectives beyond those contained within a campaign or communications goal Why? The website is already a major authority in the eyes of search engines, and the new site is being built to continue that Search volumes for long tail keyword terms offer only a minor opportunity at this stage We re too niche and not enough of an authority to compete for the most generic search terms e.g. what to do in London.

16 DATA-LED MYTH-BUSTING They aren't old, and they're not ageing We don t have a problem attracting new audiences Average age of our audience is 48 That age and age-band spread has been stable for at least 10 years (the data we have) 45% of our Fresh Fans (people who ve been once) are aged under 40 Our biggest age-band is 26-30s (13.45%) 40% of tickets are sold to new-comers every year (18% international)

17 BRAND & REPUTATION Reputation-building, multi-channel, thematic Campaigns eg Open Up: Feel Something New Digital Marketing, data-driven, always on Publicity, always on Paid search Organic search Paid social media Digital advertisin g Press & offline media Social media DAY TO DAY SALES REVENUE Users who browse but don t make a purchase are re-targeted via triggered s ROH website Tickets Info Visits Users who browse but don t make a purchase are re-targeted via digital advertising Production publicity Season Guide Leaflets ROH Magazine Welcome News Engagement Excitement Reactions and dialogue NEWS LOYALTY REACH Purchases & sign ups CRM Strategy CRM Strategy, data-driven, always on Ticketing Catering Retail Membership Fundraising Welcome On-sale Production campaigns Reviews & reactions Production page abandonment Cart abandonment Offers & promotions Welcome Pre-visit reminder Eat & drink page abandonment Individual restaurant abandonment Offers & promotions Welcome Post-visit up sell Product browse abandonment Cart abandonment Similar product suggestion Seasonal promotions Welcome On-sale Friends e-news Production campaigns Renewal reminders & lapsed win-back campaign Recruitment campaigns Welcome Donation thank you Appeals & campaigns Grand & golden draws

18 Focus marketing on outcomes not inputs

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20 New, user-centric, mobile-first website

21 A few of the results Doubled original projected footfall to our daytime venue 100% ticket sales for virtually all new daytime events Record-breaking evening ticket sales: 2017/18 was the ROH s highest ticket sales and revenue ever First quarter 2018/19 achieved its revenue targets 6 weeks early 25 million impressions and nearly 1 million active engagements (likes, comments and shares) via social media 3.5% year-in-year increase in website traffic since the new pages were launched Average 2.3% conversion rate for the website, above past performance Return on marketing investment averaging Halved the marketing costs spent on selling tickets

22 thank you

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