2015 Strategic Communications Plan

Table of Contents

Organizational History 1

Situation Analysis 2

Research 3

Planning 5

Implementation 11

Evaluation 12

Appendix 13

Organizational History Founded in 1993, Firehouse Theatre Project presents important American

contemporary theatre with an emphasis on plays not previously produced in the

metropolitan Richmond area, including developing, producing and performing at least one

new play each year. Firehouse Theatre Project is housed in a 107-year old Station #10, a

former fire station for Richmond City. The building was given to Firehouse by Barbara and

Roy Sutton who bought it from the city.

“The Firehouse Theatre Project has built its reputation by mixing edgy plays with great

American classics to create memorable seasons” (John Porter, WCVE Public Radio).

Firehouse Theatre presents thought-provoking dramas and comedies that explore

diff icult subjects like alcoholism and child abuse (the world premiere of “This World We

Know”, presented in the 2014-15 season; suicide (the drama “night, Mother”, presented

during the 2013-14 season); race relations in the antebellum South (a musical, “Dessa Rose”,

2011-12); violence in America (a dark comedy, “Why Torture is Wrong and the People Who

Love Them”, 2011-12); and the breakdown of a marriage (the classic “Who’s Afraid of Virginia

Woolf?”, 2010-11).

In addition to the actual productions, Firehouse facilitates audiences’ understanding

of oft en diff icult themes by scheduling “talk-backs,” post-performance discussions led by

community leaders, directors, actors and playwrights.

Mission Statement:

The Firehouse Theatre Project will inspire, entertain, and challenge audiences by producing

contemporary, diverse and original works of American theatre.

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Situation Analysis

Problem Statement

Due to a recent controversial change in artistic leadership, Firehouse Theatre’s reputation has been

damaged in the Richmond community, especially within the arts sector. Firehouse Theatre now has

a new and promising leader at the helm. During this time of transition, the theatre is reexamining

its role in the community and its responsibility to artists, as well as seeking ways to improve

revenue streams.

Research

Background and grant documents

To get the project started, we received source documents from Jo Kennedy, Board Chair of

Firehouse Theatre. The organizational documents forwarded included Firehouse’s Organizational

Summary, Board List, and Standing Committee Structure. Grant documents forwarded included

grants applications to the Virginia Commission for the Arts, the Roller-Bottimore Foundation, the

National Endowment for the Arts, and the Memorial Foundation for Children. These documents

helped us understand Firehouse’s organizational structure, history, facility needs, and financial

needs. In addition, we read background articles produced by Style Weekly to understand how

Firehouse was portrayed in the media during the change in leadership.

Interview and field visit with Jo Kennedy

On March 20, we met with Firehouse Board Chair Jo Kennedy. Before settling into an interview, Jo

gave us a tour of the Firehouse facility – from the seating to the backstage and administrative areas.

During this informative interview, we were able to gather information about Firehouse’s history – in

particular, the fallout with their former artistic director. Jo shared information about Firehouse’s

brand, programming niche, and plans for the future. As a result of the interview, we were able to

identify what Firehouse needs to succeed. Here, we craft ed our tentative goal – giving Firehouse a

new, vital image that stresses pioneering programming in hopes of rebuilding their reputation.

Interview with Phil Crosby, Managing Director of Richmond Triangle Players

Speaking with Phil Crosby gave the class further context about the theater scene in Richmond.

Noting the abundance of theaters in Richmond, he helped us to understand what the top-

tier theatres are and where Firehouse stands in the midst of them. Perhaps the best piece of

information given by Phil was acknowledging that a rift still exists within the Richmond theatre

community stating that he and other Richmond actors felt that “no one took responsibility for

the mess.” As a result, Firehouse’s acting staff is limited because of negative feelings within the

Richmond acting community.

Interview with Domenick Casuccio, Director of Public Relations and Marketing of The

Valentine

With many years of experience in marketing and public relations, Domenick was able to give us

background on how The Valentine rebranded to better align with its target audiences. In addition,

we were able to learn how The Valentine plans aff ordable campaigns to positively promote the

organization. With these tips, we were able to come up with strategies and tactics that include low-

cost promotional opportunities and incentives for Firehouse patrons.

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Fact-finding with Joel

Fact-finding was an additional part of our research process, which included emails and phone calls

to key informants about Firehouse. Joel Bassin, producing artistic director, was most notably able

to give us information on Firehouse’s attendance.

Patron survey

The class brainstormed a list of questions (see appendix A), which was further refined into a list of

10. The questions were intended to be asked to a group of patrons by phone.

WolfBrown research plan

In 2009, WolfBrown, a management consulting firm that specializes in helping funders, nonprofit

institutions, and public agencies understand their potential, spearheaded the Greater Richmond

Cultural Census. The Census set out to better understand patterns of cultural participation in

the Richmond area. Together with other research, results from the Cultural Census provide a

foundation of information upon which to build a regional Cultural Action Plan – an assessment

of the state of arts and culture in the Greater Richmond region and a roadmap to better support,

promote, and encourage arts and culture activities in the future. By using some of the research

completed by WolfBrown, Firehouse can work on appealing eff ectively to its target public and plan

programming around the desires of Richmond arts supporters (see appendix B).

PlanningSWOT Analysis

Strengths:

Location is central to the city

New artisitc leadership: Joel Bassin

The theater is a firehouse; great for branding

Weaknesses:

Limited budget and funding

Building is aged (requires substantiall renovations)

Rift in theatre community caused loss of top actors due to past controversy

No longer has a unique mission, which leaves them with no unique brand

No fundraising expertise on the board

Opportunities:

Rebuild reputation /public image

Increase revenue (Fringe, ticket sales, fundraising, memberships)

Reshape mission

Ramp up marketing/branding

Capitalize on new director (along with new mission, goals, programming)

Threats:

Revisiting the crisis

Local competition

“Ghost of Carol”- following previous acting methods (Loyalty of actors to Carol)5

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Goal Statement:

The goal is to help Firehouse Theatre stabilize finances, increase

public awareness, and become a premier choice among patrons of

contemporary theatre in Richmond.

Target Audiences

Current patrons

Objectives: Increase number of season subscribers by 5% by the start of the 2015-2016 season

Increase individual ticket sales by 10% by end of fiscal year 2016

Strategy 1: Provide a positive customer experience

Tactics:

Social Media

• Promote upcoming events and actor profiles using Facebook, Twitter, and Instagram

• On Facebook, take advantage of photo posts by posting less less links and more photos

• Tag actors/patrons in photos

• Promote selfie campaign before and aft er productions with Instagram/Facebook photo

booth frame

• Actively build followership on Instagram with hashtags and online community building

(following key Instagram accounts)

Incentives (see appendix C)

• T-shirt

• Deadline/discount for early subscribers

• Frequent Membership Card

• 1 free drink from the bar for early subscribers month

• Coupon sent via email. Must present coupon at time of purchase

• Free matches

Renovations (interior and exterior)

• Repaint front of building bright fire-engine red

• Replace front window motifs with images of firemen or fire equipment

• Install lighting in front of building (see appendix D)

• Night of show portable light

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Website

• Create a user-friendly WordPress website that includes more professional and sophisticated

staff photos (see appendix E)

Brochure

• Produce an improved brochure for the 2015-2016 season

• Approach as a communications audit to make it better

• Would be more appealing to people with a more vibrant look

• Adjust the language in the brochure

• Include a comedy that’s thought provoking but doesn’t have an unhappy ending

Strategy 2 : Recognition/celebration of past support

Tactics:• Sponsor donor/patron reception at someone’s urban, sophisticated home

• Facilitate thank you phone calls (“High Touch”) from Joel or board member

• Distribute thank you email or newsletter

Strategy 3: Repackage how productions are promoted (more positive, untraditional, avant garde,

fewer depressing/more uplift ing story lines)

Tactics:• Rephrase brief history/description to focus on “thought-provoking societal issues,” instead

of naming specific issues in society (alcoholism, suicide, race issues, etc.)

• Solicit feedback from patrons through email/social media questionnaires and surveys and

exit interviews

Media

(RVA Magazine, Style Weekly, GRID, Richmond.com, RVAnews.com, CBS, NBC, FOX, ABC, 92.5 NPR, 103.7, 97.3) (see appendix F)

Objective: Garner three positive media stories by the beginning of the season

Strategy: Position Firehouse Theatre as a revitalized, preferred theatre destination with new

leadership

Tactic: • Arrange media appearances for Joel (e.g., morning talk shows; radio interview)

Potential new patrons

Objective: Increase new ticket sales by 10% by the beginning of the season

Strategy 1: Position Firehouse Theatre as a premier, multifaceted entertainment venue

Tactics:• Press releases with media concerning new plays for the season and the addition of new

events and space rental

• Promote the new events/activities via social media

• Post real-time photos of events

• Post behind the scenes pictures of stage creation/rehearsals

• Media appearances with Joel

• To discuss themed plays

Strategy 2: Expand free and low cost communications channels

Tactics:Social Media

• Key method of reaching Richmond audiences of all demographics

• Facebook, Twitter, and Instagram are free to join

• Paid advertisement can be bought for a nominal fee to make the Firehouse brand more

visible

Radio Advertisement (see appendix G)

• WCVE/NPR - $550 per 2-day event

package (off ers discounted rates for

non-profits that have worked with

Firehouse Theatre before)

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Strategy 3: Engage new audience

Tactics: • Leave performance brochures at local universities (Specifically in areas attributed to the

arts and theater)

• Participate in local open mic nights (see appendix F)

Lapsed subscribers, past subscribers

Objective: Persuade 15% to re-subscribe by end of fiscal year 2016

Strategy: Implement personal Communications

Tactics:• Phone call from board member

• Letting the lapsed subscribers know Firehouse Theatre misses them and appreciates their

support

• Talking points on how to carry the conversation (see appendix H)

• Personal introduction letter from Joel (picture and signature, with new and improved

message) (see appendix H)

• Disseminate information regarding new off erings at Firehouse

• Brochure

• Discount on renewals for previous subscribers (consider same for loyal patrons)

Implementation Implementation is where the “rubber meets the road”. At this point, this is where all of the

strategies and tactics will come to life. Taking the proper actions and steps to implement this

strategic communications plan will be of tremendous help to Firehouse Theatre. In order to reach

the desired outcomes, Firehouse team members must complete their assigned tasks according to

the timeline (from opening to mid-season).

Ongoing:

• Interior and exterior renovations

• Create/update WordPress website

• Update media lists

• Update press kits

• Social media platform maintenance

• Create/distribute improved performance brochure

• Repackage production and promotional tools(adjusting the language)

• Build followership on Instagram

• Conduct patron surveys to keep with customer feedback and concerns (every production)

• Promote selfie campaigns before and aft er productions

Phase One: Providing positive customer experience and showcase refreshed image

May-August (prior to and season beginning)

• Arrange media appearances for Joel to garner positive media stories

• Draft and distribute press releases to media concerning new plays for the season

• Create T-shirts and Firehouse collateral

• Send information to lapsed, current and prospective subscribers

• Disseminate subscriber packages that include incentives

Phase Two: Recognition/celebration of strong supporters

September-October (during season)

• Thank you calls from board members

• Thank you letter from Joel

• Sponsor donor/patron reception

Phase Three: Mid-season Review

November-December

• At this point in the season, this is a great time to adjust the plan according to any obstacles

faced

• Analyze ticket sales and revenue

• Evaluate positive media stories

• Measure the growth of former lapsed subscribers

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Evaluation Evaluating the plan determines if goals and objectives were met. It determines if results or

outcomes have been accomplished. During the evaluation, you will determine if it is necessary to

adjust the plan, materials, etc. before going forward. This will ultimately help Firehouse Theatre

identify ways to improve and provide recommendations for the future. Here are some ways that

Firehouse can evaluate this strategic plan:

• Compare number of individual tickets sold in 2015-16 to past years

• Compare number of subscriptions sold in 2015-16 to past years

• Conduct a post-performance survey of audience assessing customer experience

• Determine number of positive media stories garnered since beginning of 2015-16 season

• Determine number of lapsed subscribers who re-subscribed in 2015-16 season

Appendix

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Appendix A

Patron Survey1. Have you ever been to a Firehouse Theatre performance or event? If so, how many times?

• 3.

• About 30 times.

• Just moved in March 2014 from DC and I’ve been to every single performance event. I am a season ticket

holder.

• 10.

2. How did you hear about this event?

• “Through advertising and word of mouth. Last show I saw was Rocky Horror.”

• Used to serve on the board.

• “My neighbor is a board member, Susan Lynn, so she would always let me know. Plus, I have a huge interest

in theater.”

• Mostly Facebook or mailer.

3. Did you have any diff iculty finding parking at Firehouse Theatre?

• No.

• Nope.

• No, not at all. I parked at Lowes across the street. It was very easy.

• No, parked in Lowes.

4. What concerns, if any, do you have about Firehouse Theatre’s location?

• No. I like the location. Live in the city.

• No. I know the urban environment, am aware of surroundings, and take precautions.

• None at all. I just think that the renovations that they will do will be very useful to them in improving their

outside view of the building.

• Sketchy people walk there at night and during the day. Always watchful. There is some nightlife at the Camel

Fridays and Saturdays, which is helpful. But feel anxious crossing the road from Lowes. Same with going to

November theatre because parking is terrible. Doesn’t stop me from going.

5. Which of the following types of events would you like to see more of at Firehouse (a) Stage Performances (b) Boards

and Beers Nights (c) Poetry Slams/Open Mic Nights (d) Impromptu Theatre (e) Comedy Routines (f) Other: __________

• (a) Stage performances

• (f) Very seldom would come out to a non-production event. Would have be to be very enticing to drive in

from Short Pump area.

• (e) (f) The more options they have the better. It is good to have other things happening than theatre. It

would be better if they had dance performances, creative and innovative dance.

• (a) (c) (e) Stage performances, Poetry slams, Comedy routines

6. Have you attended any other Richmond theaters? If yes, which ones?

• Triangle Players, November Theatre, Henley Street/Richmond Shakespeare, Swift Creek.

• Triangle Players, Virginia Repertory Theatre, HATTheatre, Henley Street/Richmond Shakespeare,

TheatreLAB.

• Carpenter.

• All of them, but not Gayton Kirk.

7. How does Firehouse compare to other Richmond theaters?

• Have always been pleased when I went. Rocky Horror was great. Like setup of the theatre.

• Not as nice. Triangle has a nicer bar.

• I have only been to the carpenter center but I prefer the Firehouse Theater better. They have avant garde

and experimental and less traditional plays which I love and appreciate.

• It’s a good space. I like there is height. Not a bad seat in the house, acoustics are good, facility needs help

with the backstage, upstairs is rough too and not good for rehearsals, gritty. Productions: before Carol, they

had quality actors and directors, but I wouldn’t have worked for a couple of those directors because they

were abusive. Aft er Carol left , the three shows I saw were solid until this past year. The show in the Acts

of Faith festival was not good. “This World We Know.” Characters were one-dimensional. “The Elaborate

Entrance of Chad Deity” was good. So it’s a little bit of both. Another show was dark to be dark. Firehouse’s

niche has been edgy, 20th century American plays. Hair was pretty good. Reefer Madness was not as good.

They might want to look at more comedies. There are certain actors they want that they will have to say

goodbye to, because of Carol. They will never come back because of loyalties. Create partnerships with VCU

and UR. Many other theatres have moved on and are interested in creating partnerships with Firehouse, ie

Triangle Players. Theatres collaborate with each other. Not to partner with: Virginia Rep, Fift h Wall, Henley,

and HAT, and CAT theatres, Chamberlayne, Theatre Lab: DJ Grey and Annie Colpitts could help (build

relationships with them).

8. Would you attend another Firehouse Theatre event?

• Yes.

• Yes, I have season tickets.

• Yes of course. I am a member and have season tickets. I am actually attending an event on the 17th.

• Yes, in a heartbeat.

9. Given your past experience with Firehouse, do you think the artistic quality of our programming is: __ getting better

__ getting worse __ consistent with the past __ I don’t know

• I don’t know because it’s been a long time since I went.

• Artistic quality before the drama was 8/10 good to very good. Always, one production with an issue. Jase

presented some more exciting things. Bleak one. Done well with actors we’ve gotten. Technical aspects

have improved dramatically. Depends who you get as an actor. So much in the politics of it that makes it a

diff erence in the quality. Gotten better in a lot of ways. Program selections maybe not the best.

• I would say mixed. There are some plays that are excellent and some that are very poor. It is uneven.

• On the verge of being worse because of show I recently saw. Been in too much transition to be better.

10. How could your experience have been improved?

• It was fun. Left happy and pleased and open to returning. Last went to the theater during Rocky Horror.

• Facility level – needs some work, building is a major issue, drain on finances, and operation of it, concrete

walls and floor, everything is black, used to be nice and cheery, taken a beating. Personnel level – not a good

bond, personality issues until it truly gets back to a truly strategic plan. Stop financial issues. What are they

really going to produce? Artistic – bleak plays, Carol’s husband was directing, would do some comedies,

enjoyed the musicals put on, add a bleak play on top of the facilities Night Mother, whether or not a woman

commits suicide, transcended the issue, leave there on a downer, produce thought-provoking conversation

but without making people feel bad. There has to be a warm, cheerful, comforting place to go to. Bar needs

to be improved. Triangle’s bar is excellent.

• Well the Civil War piece was very bad and diff icult so to speak. That piece had to be done perfectly but it was

not rehearsed well and the actors really struggled.

• They’re very hospitable, glad to see you there, always feel welcome. The pal that still hangs of the theatre

needs to be improved. Joell has a steep hill to push that rock up because some people will never see a show

there again. Needs an exorcism. Best way to do that is new partnerships who will bring in new life. There’s

still sense of fear of walking in the door and someone will be picketing. Those ghosts are still there. Joel has

brought in Adam Ferguson who I like and Tennessee. But I got the feeling that people who work there are

instantly blacklisted in the community. Don’t know how he can make peace with Carol and her team. I don’t

see that happening in the next year. If he could find strong people in the theatre company who straddle

team Carol who can serve on the board and serve in leadership positions could help. Still a pall over the

place.

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Appendix B WolfBrown Research PlanThe following pieces of information apply directly to theatre in the Richmond area and may have implications for

Firehouse. By using some of the research completed by WolfBrown, Firehouse can work on appealing eff ectively to its

target public and plan programming around the desires of Richmond arts supporters.

“Attending live stage plays or musical theatre productions was cited as “a vital activity” by less than 10%

of all respondents and another 44% said that they “enjoy it occasionally.” While large percentages of

respondents attend theatre, fewer seem to regard it as “a vital activity,” as compared to other cities we have

studied. This may reflect recent developments in the theatre, such as the closure of Theatre Virginia and the

discontinuation of the Broadway series. A high level of unfulfilled interest was reported for “attend readings of

new plays, workshops, etc.,” especially among younger adults. Overall, however, results point to relatively low

levels theatrical attendance in Richmond.” p. 3-4, Richmond Technical Research Report

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Appendix C Incentives

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Appendix D Light Renovations

Appendix E Website Format Samples Barter Theatre

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Tennessee Theatre

DragOne

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Media and Outreach Contact List

RVANews.com

Send a press release and relevant information to editor@

rvanews.com. This will go to the editing and publishing

manager.

STYLE Weekly

Lori Waran, Publisher

Phone: (804) 358-0825 x326

Email: lori.waran@styleweekly.com

Fax: (804) 358-1079

GRID

Paul Spicer or Leslie Strickler

Phone: (804) 503-9231

Email: richmondgrid@gmail.com

Facebook: Facebook.com/RichmondGrid

Twitter: Twitter.com/RichmondGrid

Fax: (804) 285-8225

RVA MAGAZINE

Hello@rvamag.com

tony@vamag.com

(804) 349-5890

CBS 6

Torri Strickland

Tstrickland@wtvr.com

NBC 12

Candice Smith

candicesmith@nbc12.com

FOX

newsroom@nbc12.com

(804) 230-1212

Fax Number:

(804) 230-2789

ABC

News Room: (804) 330-8814

news@wric.com

Appendix F

103.7

Megan.deibler@summitmediacorp.com

Julie.monafo@summitmediacorp.com

97.3

Wrir.org

Community Calendar:

Malito: wrircommunitycalendar@gmail.com

Underwriting Contact information

underwriting@wrir.org

WCVE/NPR

Lannie Fields

(804) 560-8226

Angel Limb: Arts and Cultural Calendar

Ideastations.org/artsline (view their submission application)

Addis Restaurant

Tuesday “Verses” Open Mic Event Showcase

Lorna Pickney

info@everythingverses.com

Appendix G Radio Research and StatisticsThe best stations to advertise on are those that target women (who tend to plan entertainment for the family) and

those that target educated individuals involved in arts and entertainment.

Research shows that an eff ective radio ad campaign costs around $1,500 to $2,000, including production costs and 30

second radio spots throughout the week.

• Q94 - $1,500

• Lite 98 - $2,000

• WCVE/NPR - $550 per 2-day event package (off ers discounted rates for non-profits and has worked with

Firehouse Theatre before)

Compared to other radio stations, NPR listeners are…

• 152% more likely to have attended art galleries or shows in the past year.

• 85% more likely to have taken direct action as a result of NPR sponsorship.

• 74% more likely to have gone to live theatre in the past year.

• 68% more likely to visit a sponsor’s website.

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Appendix H Letter from Joel (Format)

Talking Points to include in a Personal Letter to Lapsed Subscribers – Joel Bassin

• As I am still relatively new to Firehouse Theatre and Richmond, I wanted to take the time to introduce myself. I’m

Joel Bassin, and I was recently hired as Firehouse’s Artistic Director.

• I’m writing to you today because you used to be a subscriber of Firehouse.

• I am not sure of your reason for not renewing your subscription with us, but I hope you will consider joining us

again for the upcoming season.

• It will be my first season as Artistic Director, and I am excited about the new direction we will be taking with our

performances.

• I’d also like to tell you about some of the new programs we will be off ering at Firehouse.

• We will also be undergoing a major facelift , which should yield some pretty stunning results.

• You can stay up-to-date on Firehouse’s activities through our website and social media.

• If you’re interested in renewing your subscription for our 2015-16 season, I’d like to off er you a discount for your

history with our theatre.

• Hope to see you soon at the Firehouse!

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