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American Theatre

Why did you decide to start using social media?
We started for a couple of reasons. We knew we needed to start trying new ways of reaching audiences. Print advertising has been losing its effectiveness for years. And it seemed like everyone was getting MySpace pages and blogging. It just seemed like to band wagon to jump on. We started using social media at the same time we really stepped up our grassroots marketing efforts. We’re really focused on creating good word of mouth buzz, and social media is a great way to do that.
Anthology of Instrumental Music from the End of the Sixteenth to the End of the Seventeenth Century (Da Capo Press Music Reprint Series)
How did you start?
We started about 3 years ago with a MySpace page, followed by a Facebook page and Youtube a few months later. We started blogging about 2 years ago and have been on Twitter since February 2009. We just jumped in. Not much of a plan at all! Three years ago when we started, there wasn’t as much buzz about social media as there is now. There weren’t conferences and webinars and people telling you how to integrate you social media plan with the rest of your marketing or how to calculate ROI. Or maybe there were, but I didn’t see them! For us, it was a way to reach younger audiences (although that really hasn’t been the case. The majority of our Facebook users are in the 35-55 age group!) and to expand marketing efforts as print advertising becomes less effective and print editorial space declines. So we jumped in, figured out how all the different outlets worked, and then went back and thought about planning. Which worked for us, I think if you wait until you have the perfect plan, you’ll never dive in and figure out how to tweet or upload a video or whatever.

What tools/sites are your currently using?
Facebook, Twitter, Youtube and a blog. We also have a Myspace, but just keep it updated with show dates, not much interaction there anymore for us.

What results have you seen?
I think Twitter has been amazing at raising our visibility among local people and businesses. MET has definitely been given opportunities though the twitter community- partnerships and whatnot, that we would not even know about otherwise. It’s really hard to judge the impact on ticket sales, but I look at our social media efforts as public relations, not advertising. Our blog posts, videos and Facebook posts have really started to generate conversations about our work, which is super exciting. Just this week we got ‘like’s and comments on facebook from people I don’t even know! So I see our online community starting to grow beyond the inner circle of employees, board members, volunteers, season ticket holders, etc. I think that’s the most exciting part – to put up a video of a rehearsal, or interview with a director and a week later over 100 people have watched it, and some have posted comments and we get to have a conversation. A conversation that we would never have without social media. People would just come to see a show, sit in the seat and maybe read the director’s notes in the playbill, then go home. But with our social media efforts, the experience begins even before they get here – with the reading of a blog post, or commenting about rehearsal photos on Facebook, or watching a video. And then after they see the show, there’s a place for them to talk about what they thought, it’s a whole different way to connect with patrons.

What has been your biggest challenge in using social media tools?
Time! Social media is time consuming. Maintaining a consistent presence on Facebook and Twitter, shooting, editing and uploading video to YouTube and trying to blog at least 3 times a week takes a lot of time. So juggling that with all the other things on my plate is hard, especially since social media is so much more fun than the other things on my plate! I’d say a second big challenge is measuring results in a way that I can present to my boss and to our board of directors. I know MET’s visibility has been raised through our social media efforts, but I don’t have any numbers or charts to back that up. And it’s almost impossible to track how social media affects our ticket sales. But in the end, our social media strategy is to engage our audience members and our community and I think we’re doing that.

Since it would have been impossible to use cranes from within the O2 dome structure, the roof of the arena was actually constructed on the ground of the venue and lifted upon completion, allowing the rest of the arena to be built around the already completed roof. The O2 arena, despite having only been open since 2007, has already played host to several music and sporting events.

The arena is comprised of three seating areas, the upper and lower tiers, built in the same manner as an amphitheatre, and the floor. Arena management claims there is a clear view to be had from any seat in the arena. The arena is also located in a low emission zone in London and, as such, was designed to be environmentally friendly. Within the venue, steps are taken to reduce carbon emissions. Some of these steps include recycling used cooking oil from the food vendors and composting waste food.

The first performance in the O2 arena, which took place June 23, 2007, was an event strictly for the O2 staff. The “O2 Premiere” private event consisted of performances by Peter Kay, Tom Jones, Kaiser Chiefs and Basement Jaxx. The venue opened to the public June 24, 2007, with a concert performed by Bon Jovi.
KEANE O2 Arena 21st July 2007 – Custom Framed Original Concert Ad – Framed Music Poster/Print
On Dec. 10, 2007, Led Zepplin played their first show in 25 years at the arena. Five days later, on Dec. 25, the Spice Girls played their first British concert in almost 10 years in their original five-piece group form at the arena.

In April of the next year, the Olympic torch passed the site during its relay in London and the arena hosted WWE tapings for ECW, SmackDown, and Raw; and in August, Tiësto became the first DJ to entirely sell out the venue in advance of the actual show.

The arena has hosted, aside from sporting events including ice skating, wrestling and boxing, several musical acts, including The Eagles, Prince, Smashing Pumpkins, and Justin Timberlake.

Since its opening, the entire O2 structure has been shown at several times in several different movie and television presentations. In the 2005 film “Green Street,” the O2 can be seen during the final fight scene. In 2006’s “The Da Vinci Code,” the O2 is featured prominently in the background during one sequence. In the James Bond film “The World is Not Enough,” the O2 was the structure that aided James Bond in reaching his hot air balloon destination. In season seven of “The Amazing Race,” the O2 was the location of a roadblock for the contestants, during which they had to properly drive a double-decker bus.

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If you fancy some tickets for The O2 arena or any other London Theatre Tickets visit the website.

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The first few years of the theatre saw the performance of the first modern English opera, “The Mountain Sylph” the same year of its opening. This performance was followed by “Fair Rosamun,” performed in 1837, “Farinelli” in 1839 and “Blanche of Jersey,” shown in 1840.

Michael Balfe managed the theatre from 1841 to 1843, producing National Opera, but this proved to be unsuccessful. The works of Charles Dickens became associated with the theatre at this time, and an adaptation of “Martin Chuzzlewit” ran for more than 100 performances between 1844 and 1845.

Madame Lucia Elizabeth Vestris managed the theatre from 1847 to 1855 and produced shows by James Planché and the adaptation of “A Tale of Two Cities” by Tom Taylor. It was then managed by Charles Fechter from 1863 to 1867.
Canvas Print, Sherlock Holmes: The Lyceum Theatre, London – 12 x 18
In 1871, under manager Hezekiah Linthicum Bateman, the theatre produced shows starring Sir Henry Irving. In 1874, “Hamlet” ran for 200 nights with Irving in the starring role. Upon Bateman’s death in 1878, Irving took over the theatre. During his tenure as manager, several popular shows were played, including “The Merchant of Venice,” “King Lear,” and “Much Ado About Nothing.”
1904 saw the rebuilding of the theatre’s interior and the theatre began presenting music and variety shows, trying to compete with the London Coliseum and the Palace Theatre. This, however, was not successful, and the theatre began, once again, showcasing strictly drama. In 1919, more alterations were made and dramas continued playing for 10 months out of every year.

In 1937, the theatre was converted into a cinema, but only one film, “The Gang Show,” was ever shown, in April of 1937. The following month, the space was converted back into a live theatre venue.

The London City Council bought the building in 1939, planning to demolish it. After the war, the demolition plans were abandoned, and the building was reopened as a ballroom. During the 1960s and 1970s, the space was used as a concert venue and for television broadcasts.

The theatre shut down in 1986. Owner Brent Walker leased the space but eventually gave up the lease, allowing the theatre to be restored and in 1996, the space was reconverted into a theatre with the capabilities to present large-scale musicals or opera. “The Lion King” musical has been playing since 1999.

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If you fancy some tickets for the Lyceum Theatre or any other London Theatre Tickets visit the website.

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The theatre was, for many years, home to the D’Oyly Carte Opera Company and the Carte family ran it for more than a century. D’Oyly Carte’s son, Rupert, modernized and rebuilt the theatre in 1929 and in 1993, following a fire, it was rebuilt again. The original design for the theatre was came from C.J. Phipps.

It closed in 1903 and reopened in February 1904 with John Leigh and Edward Laurillard acting as managers. They remained in the managerial positions until December 1906, when the D’Oyly Carte Opera Company returned to the site for repertory seasons between 1906 and 1909. At this point, C.H. Workman took over the manager position until 1911.

The theatre was managed by George Augustus Richardson from November 1911 to Feburary 1915, at which point D’Oyly Carte’s son, Rupert D’Oyly Carte, took over. Rupert decided to bring the D’Oyly Carte Opera Company back to the theatre at this time and he also hired Malcolm Sargent and Geoffrey Toye as guest conductors and Isidore Godfrey and Harry Norris as musical directors.
Savoy Theatre was closed June 3, 1929, and the interior of the building was rebuilt completely. The original capacity of the theatre was 1,292, but was reduced to 986 by 1912. The new theatre designed allowed for 1,200 people. The theatre was reopened Oct. 21, 1929, and presented a production of “The Gondoliers.”
Historic Print (M): [Savoy Theatre and Hotel Dunlop, Boardwalk and Ocean Ave., Atlantic City, New Jersey] /
Gilbert and Sullivan seasons ran at the Savoy Theatre on and off from 1929 to 2003. The theatre also featured “Blithe Spirit” in 1941, which ran for 1,997 consecutive performances.
Management of the theatre went to Sir Hugh Wotner in 1948. The D’Oyly Carte Opera Company ceased operations in 1982 and the last heir of the D’Oyly Carte family died in 1985, effectively ending the family line.

During renovations in 1990, a fire destroyed the building, sans the stage and backstage area. It reopened July 19, 1993, and the newly rebuilt theatre currently seats 1,158. During the renovations, a swimming pool was added above the stage and another story was added about the theatre.

Since 1993, some shows at the theatre have included “Relative Values,” “Travesties,” the musical “She Loves Me,” “Dead Funny,” and “Coward’s Hay Fever.” In 2000, the D’Oyly Carte Opera Company was shortly reconstituted and produced “H.M.S. Pinafore” and “Pirates of Penzance.” The company followed these with “The Barber Seville” in 2004.

Currently, the theatre (located at The Strand, Westminster, London, WC2R 0ET), is showing Rodgers and Hammerstein’s “Carousel,” a show which debuted Nov. 29, 2008.

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If you fancy some tickets for The Savoy Theatre or any other London Theatre Tickets visit the website.

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Actor Lee Mead is currently playing the title role. Mead will continue playing Joseph until January 10, 2009, after which time his understudy Ricky Rojas will take over until the new Joseph, Gareth Gates, steps into the role on February 9. Gates is a former Pop Idol finalist who recently performed with ITV’s Dancing on Ice. Joseph is showing at the Adelphi Theatre weekly through July 18.

London’s Adelphi Theatre has been providing entertainment for audiences since 1806. It was established by a businessman named John Scott and his daughter, Jane. Jane was a playwright who also performed in the theatre. She wrote over 50 dramatic pieces in a variety of genres.

Originally called the Sans Pareil, which means “without compare,” the theatre has been known by many names. It was renamed after the nearby Adelphi Buildings in 1819, and has also been called the Theatre Royal Adelphi, The New Adelphi and, for a few years after the turn of the twentieth century, The Century Theatre.

It has hosted many musicals and comedies, as well as several ghostly melodramas written by Charles Dickens and other writers. The Haunted Man and the Ghost’s Bargain was the most famous of Dickens’ haunted tales that was performed at the Adelphi Theatre. Adaptations of many of Dickens’s novels, including A Christmas Carol and The Pickwick Papers, were also performed at the Adelphi.

The Adelphi’s history of haunting melodramas is fitting, since it is rumored that the Adelphi itself is haunted. Actor William Terriss, who was stabbed to death outside the theatre in 1897, has been said to haunt some of the theatre’s backstage areas. Terriss was killed by his protégé, Richard Archer Prince. A plaque commemorating Terriss hangs on the back wall of the theatre.
Adelphi Theatre, c.1837 Giclee Poster Print, 32×24
The Adelphi was originally a small, cramped theatre. As the venue where many of Dickens’s novel adaptations were performed, the theatre grew in popularity and eventually needed more space. The too-small Adelphi was torn down and a larger, 1500-seat structure was built in its place, opening in 1858. Since then, the theatre has been rebuilt twice more, in 1901 and 1930. The current structure seats 1550 people.

The Adelphi Theatre is located near Charing Cross Station, Covent Garden and Trafalgar Square. The stage door is on Maiden Lane, at the rear of the building. The theatre is air conditioned and offers three levels of seating.

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If you fancy visiting the Adelphi Theatre or buying London Theatre Tickets visit the website.

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