Psychology and the Theater Marketing Office
By Chelsea Atlas
As a Human Development major and a psychology junkie from a young age, I naturally look at most tasks I have in front of me through a psychological lens. I was questioned several times by friends and family about why I chose to intern with a theatre company as opposed to somewhere related to my major. Besides the fact that I don't believe people should do something just "for the resume", I knew that as a marketing intern, I would be able to satisfy all of my interests, both academic and extracurricular.
As an intern at Abingdon Theatre Company, I find that I am able to integrate my two passions: theatre and psychology. This is especially easy considering one of the plays on deck for the 2011-2012 season is Lifeline, an intriguing story written by Frank Tangredi. A psychological play with many twists and turns. For obvious reasons, this show is my personal favorite of the three this season, and marketing for this show in particular was a task I truly enjoyed.
I find that the marketing side of theatre involves some psychology-related insight, and I am always eager to use mine. Tasks that to so may seem simple and uninteresting, such as making phone calls to businesses to ask whether they would like to advertise in our magazine publication, can be turned into an endeavor warranting a background in psychology. I often pause before making a phone call and try to figure out the best approach when contacting stressed out restaurant owners and disgruntled bookkeppers. Similarly, when faced with the daunting task of talking to sweaty, agitated New Yorkers on the TKTS line in the middle of a heat wave to ask questions about poster images, I saw it as an opportunity to better my face-to-face marketing skills and I was able to anticipate some of the reactions we recieved from those willing to speak with me. I was also able to investigate the psychology of influence through this task, specifically with regards to poster design. I was able to decide on certain characteristics of posters that are imperative with regards to connecting with the audience, catching their attention, and ultimately making them want to buy tickets.
By taking approaches such as tapping into the minds of theatergoers on the TKTS line, Abingdon's marketing department is genuinely interested in understanding it's potential audience and understands the connection between psychology and marketing. I have seen firsthand that you certainly can't try to market for a show without understanding your audience and which methods of marketing are most effective to that audience. The goal of any marketing department for a theatre company is to sell tickets. In order to do so, there must be ample awareness of the target group and what appeals to them in order to know what medium through which they would be most inclined to consider the information you are presenting them.
What I have learned from interning at Abingdon Theatre Company is that it is important to take a fresh and unique approach to any job and any task; otherwise, it can't be worthwhile or interesting. While my friends spend their days cooped up in stuffy law firms or stuck in a medical lab gaining "real life experience" for their career, I get to work for a company I really care about and spend my summer conducting important market research and reading fascinating plays like Lifeline in a relaxed (not to mention, newly air-conditioned) office.
The (Mis)Adventures of a Theater Intern
By Dawn Marie Perry
Realistically, interns ready to commit to an organization find that the company is not interested in their contribution—regarding them as free labor. Rather than Marketing Intern, or Development Intern, they instead may become the coffee carrying-managerial-filing-running Intern. From an organizational perceptive, internships are a good way to determine whether an individual delivers to their long-term mission. Internships are also a wonderful way in bridging the gap between the false perspective and reality of an industry.
Theatre internships in New York City (and trust me, I’ve had four) can be unpredictable, bizarre, satisfyingly unique, and personal. Broadway, Off-Broadway, and Off-Off Broadway houses are distinct by location, space, and mission; no matter which theatre hires you; stereotypes are inevitable on both sides. An intern may look like a naïve, and eager college graduate in his or her early 20s. A theatre intern (or, for that matter anyone connected with theatre) may be an all-black wearing, soliloquy-spoken, coffee drinker, who smokes like neurotic Aunt Amy, and drops theatre references every 20 seconds—two common misconceptions dotted with truth. Anyone can be an intern, and anyone can intern in theatre as long as you have passion for it.
I arrive at ATC thirty minutes earlier than anyone else to a quiet, dimly lit 6th floor. Boxes filled with ON Stage Magazine, subscription brochures, recycled paper, and ink cartridges barricade all five desks in. The dingy pink walls, and seemingly Styrofoam ceiling obscures what little light slips in from our only window (and with four desk and floor lamps, never mind over-heating: it’s the sixth circle of hell at this point). But there is considerably more to ATC than the office space they occupy: the people, and nothing else.
Working closely with the Director of Marketing I’ve had hands-on experience in market research and metrics analysis; social media marketing, and the opportunity to write for the connection section page of our website (the page you’re reading now). Each department relies on the innovative, independent, flexible, and team-oriented characteristics interns’ posses.
Julia De Palma, one of two literary interns believes that because of ATC’s smaller administrative staff, internships are more about mentoring, as it is a job. “It’s important to have a balance in working on projects you’d like to build a career in. If you have an interest in the arts, you have more opportunities in theatre to see plays, participate in readings, and collaborate with people to make an organization work. It feels like it matters here.”
Though internships are mentoring programs depending on the organization, few companies may or may not over-work and under-appreciate interns, therefore overlooking fresh ideas on improving business. Abingdon Theatre Company values their interns and their ideas, tuning into individuals strengths while helping to develop new ones. Hence why I continue arriving here thirty minutes before 10am everyday.
To learn more about how to intern at Abingdon Theatre CLICK HERE, or call 212.868.2055, M-F, 10-6.