• Share on Facebook
  • Share on Facebook
  • Share on Linkedin
  • Share by email
  • Share on Facebook
  • Share on Facebook
  • Share on Linkedin
  • Share by email

Abi Moore argues that a good theatre programme can offer added value to performances.

There has been a lot of debate recently in the national press about the value of theatre programmes, mainly from the buyer?s perspective. From the point of view of someone sitting on the opposite side of the fence, as a producer of programmes, I firmly believe that programmes can support and enhance arts events.

A programme, of course, is many things to many people and serves a multitude of needs.

? For an audience member, it is a source of information containing editorial material which, at its most effective, illuminates and expands on the themes of the play and is both entertaining and informative. It contains biographies that give information on the actors and their bodies of work and practical information on details such as the length of run, whether there is an interval, and the venue?s facilities. It also acts as a souvenir of a memorable night out.

? For the marketing department, it is a tool to build audience loyalty, to make newcomers feel welcome and regulars feel appreciated, to give information on forthcoming attractions and to entice audiences back for future shows. It is also a medium for thanking helpers and sponsors and for making staff feel involved and appreciated.
? For actors, the creative team, their agents and producers, it is a mini portfolio and showcase of their past work.

? For theatre owners and managers, programmes are an essential source of income at a time when the arts as a whole operate in a tough financial climate.

? For advertisers and sponsors, programmes provide an opportunity to reach their target audiences, to present their brand and, hopefully, to gain new business. It also allows them to show their support for their local theatre, concert hall or arts venue.

The list goes on. The challenge of producing a good programme lies in marrying these conflicting needs, in understanding and negotiating the various individual requirements that makes the process run smoothly for all parties.

The content and format of programmes is dictated by these factors and it can sometimes seem to the organisations responsible for producing programmes that the audience member is the last person at the end of a long line of ?customers?. We worry that their needs can sometimes be overtaken by the needs of all the other interested parties. And yet a programme is an extension of the whole artistic experience in so many ways. Editorial material gives the opportunity to expand on the interpretation of the play, place a performance within a central body of work or within its social or historical context, draw thought-provoking parallels and find resonance in the reader?s mind and life experiences. Occasionally, editorial content is limited where an Artistic Director or playwright feels the play speaks for itself. This is not always popular with audience members but, content, or an obvious lack of content, can equally well pinpoint the various layers of meaning.

At best, a programme is a visually beautiful and lasting representation of a show and, in many cases, is kept and referred to for years to come. This provides a unique opportunity to keep your venue at the forefront of your audience?s mind and this is why it is important that the programme as a whole represents your venue?s identity and artistic policy. Style and consistent content are useful in promoting buyer loyalty and we hear of audience members who buy programmes and frame front cover images to display in their homes. They will also visit a venue to buy a programme for a show they have missed to ensure that their collection is complete.

Programme contractors, which specialise in producing programmes, offer busy marketing departments a complete service. Generating advertising is hugely time-consuming and difficult but enables contractors to offer extremely cost-effective prices. Dedicated and skilled graphic designers, writers and picture researchers work on accounts, with individual account managers overseeing the printing, finishing and delivery. Well produced, a programme can be a valuable and lasting part of your audience?s experience.

Abi Moore is Creative Manager at John Good Holbrook. t: 024 7660 8011;
e: abi@johngood-cov.co.uk