- Wishing broken legs & happy previews to @PeteratPSP, @MichaelTorontow, @KrystinPellerin, @grahamcoff, @jaytothedavis & the whole Floyd team!, 16 hours ago
- RT @provinceblogs: I’m Singin’ in a Cave: Floyd Collins is an unusual musical http://t.co/G84orFGNV8 http://t.co/a6lqkvly72, 18 hours ago
- Press Release: @SmallStage Hits the Town with New, Civic-Minded Project: http://t.co/0p5qx4p0WY, 20 hours ago
- RT @nestruck: Vancouver's @pitheatre is performing Between the Sheets in a school classroom, which is a great idea: http://t.co/DOGeJsErpr, 20 hours ago
- RT @BlograDotCA: #MadMen fans, let's over analyze season 7's promo art & teasers! http://t.co/PiXfwgHuCP #DonDraper #endofanera http://t.co/ndpHUB38zr, Mar 11
- Fantastic read on risk & presenting dance by one of the finest minds in the business- Cathy Levy of @CanadasNAC: http://t.co/HpgVFgyy59, Mar 10
Category Archives: Laura Murray Public Relations
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Coordinator, Marketing + Online Sarah Cruickshank is LMPR’s newest member of the team. With a background in dance and PR, Sarah looks forward to combining her passions and working with LMPR’s broad range of clients. 1) Tell us about yourself! I’m a B.C. native who grew up spending weekday nights and weekends in dance studios! Upon graduating from high school I wasn’t ready to stop dancing, and moved to Ontario for further training and education. It was out there where I first caught the contemporary dance bug! Other hobbies and interests include anything outdoorsy–hiking, sailing, camping, surfing (occasionally!), and snowboarding. 2) How did you get into arts marketing? I got to a point where I was feeling restless as a dancer, yet still felt a strong draw to the performing arts. I took a deep look inwards and realized I preferred to be behind the scenes supporting artistic friends in their own creative accomplishments, rather than on stage. Still living in Toronto at the time, I reached out to several marketing professionals at arts organizations to learn about their experiences. From there I decided that this was the job for me and moved back to Vancouver to pursue formal PR and marketing education. 3) Which arts organizations inspire you? As a dance student in Toronto I was always very moved by the dancers and dance pieces of Toronto Dance Theatre. Christopher House has an incredible vision that’s truly inspiring. I once had the opportunity to train under him for a semester and it was an experience I’ll never forget! Additionally, I’ve always been inspired by Crystal Pite’s electric movement. I was 17 when I first saw her perform and have been following her career ever since. 4) What excites you about the arts in Vancouver? The incredible pool of talent we have here. There are so many creative people living and working in Vancouver – musicians, dance artists, visual artists – the talent of these individuals has a truly positive impact on the texture of our cultural landscape. 5) What are you most looking forward to in your new role at LMPR? I’m looking forward to getting more involved with and connected to the arts community in Vancouver. I’m also overjoyed to be learning more about marketing the arts from the incredibly talented team here at LMPR!
The Arts Appeal shines a spotlight on the craft of fundraising for the arts. Today, we tackle an old fundraising go-to that may be riskier than you think: The Special Event. Ah nostalgia! Remember the days of childhood bake sales and exhilarating cakewalks, raising funds for softball teams and fieldtrips? While those feel-good pursuits were great for team building, the financial success of those efforts really had more to do with parental charity (and donation of ingredients) than the meager purse of coins secured from hungry customers. A quick comparison of costs (including time and resources) against revenue would likely reveal a reality that’s not so different from today’s gala affair: Special events are financially risky. Any seasoned fundraiser will tell you that special events can and do lose money, especially when there are unanticipated upfront costs (a common characteristic for first-time events). In addition to upfront costs, events can be gluttonous resource-users, requiring significant staff and volunteer hours. If event budgets included the actual cost of staff time, the outlook for funds raised changes drastically. If you are starting to feel cautious about special events, you’re now in the best frame of mind to decide if it’s right for you. While they may be financially risky, special events offer unique opportunities to engage with your stakeholders and deepen relationships with current donors. Here are a few questions you can ask yourself before deciding if a special event is the best option for your organization: How much money do you want to raise, net of expenses? What other goals do you have? For example, do you wish to expand your list of friends and donors? Are you creating an event to raise your organization’s profile in the community? Will this be the first year of an annual event? Who is your target market and what type of event will they be attracted to? Remember that this event must be something that feels right to those closest to your organization, as you will be relying on them to attend and invite others to do so. What is a realistic price point for this market? How can you best reach that target market? Are they already in your database? Do you need volunteers to sell tickets? When will you hold your event? Is it seasonal? Do you have sufficient lead-time to plan it well? Are there any potentially conflicting events in your community at that time? What kinds of resources are currently available for the event? Is there a start-up budget? How much staff time can be budgeted? How many volunteers are currently available and how much time are they willing to put into the event? Do you have any connections to potential corporate sponsors for both financial and “in kind” support? Fundraising aside, by taking a measured approach – with realistic expectations and budgets – your special event can be a fun and effective way to market your organization and strengthen ties with your community. how can i get back with my ex If you have a special event fundraiser that you’re proud of or are about to launch, we’d love to hear about it. Why not let us know in the comments or drop us a line on Facebook or Twitter? zp8497586rq
There is an excitement and electricity totally unique to Fringe Festivals. The volume and variety of shows and lottery-based selection system mean that every performance attended is a roll of the dice. Some will be riotously entertaining, some profoundly moving, and some inevitably cringe inducing. A Fringe is a smorgasbord of possibility and discovery. With the Vancouver Fringe Festival nearly upon us (Sept. 5-15 on Granville Island), LMPR’s Brian Paterson has taken the opportunity to share his top five picks from among its 90 productions. Going only on the handful of words and small image in the program guide, these shows particularly piqued his interest and will see him take the plunge: Radio :30 the night kitchen A dark comedy where an actor comes unglued while trying to record a 30-second radio advertisements. Having written and recorded many such ads, the peculiarities of the process are very familiar; it will be fascinating to see where they go with the intriguing set-up. Adding to the excitement are the acclaim it has earned at other festivals and the fact that its creator and performer, Chris Earle, is an enormously accomplished artist who, among many other things, has directed five Second City mainstage productions. Richard Tyrone Jone’s Big Heart ‘Utter!’ spoken word Seeing a truly gifted spoken word poet is an intoxicating experience quite unlike any other form of theatre. Through percussive, rhythmic performance the spoken word is transformed into something weightier and more powerful, imbuing a single performer on a bare stage with the emotional impact of a Mahler symphony. In this show, the ‘Ringmaster of the Spoken Word’ (- Three Weeks Edinburgh) shares the story of his unexpected heart failure on stage at the Edinburgh Fringe at the age of 30. You Killed Hamlet, or Guilty Creatures Sitting at a Play Naked Empire Bouffon Company You haven’t had a proper Fringe experience until you’ve been offended- and this duo seem like probable candidates. An especially provocative and dark breed of clown, these bouffons put the audience on the defence- accusing us of killing Hamlet (the play, not the prince). Where it goes from here is a mystery, but I expect equal parts commentary and crassness, insight and insult. Wolf Trek: Alone in the Woods Duqamuq Productions A one-man show follows the true story of a three week backwoods trek with a broken arm. Stories about wilderness survival are a literary fascination of mine- whether it is Jack London or Bill Bryson, Hatchet or Wild - so the subject matter is enough to intrigue. Seeing that it is dramaturged by TJ Dawe however, one of the finest Canadian creators of true-life one-man shows, earns it a spot on my must-see list. Butt Kapinski Kapinski Enterprises A confession: I love Raymond Chandler, but dislike most ‘film noir’ productions- finding it to be an overdone trope. That being said, the team behind international Fringe sensation Red Bastard applying their demented take on the genre is an experience I would not soon miss. Even more intriguing, the work promises to be fully-interactive, with audiences playing an important role in the story’s telling. Between the company track record, audience participation, and an 18+ rating for content and nudity, it is guaranteed to push personal and performance boundaries – and what more could one ask for at a Fringe? The Vancouver Fringe Festival 2013 Proram Guide is now available so that audiences can plan their own theatrical expeditions. We’d love to hear about your own discoveries and adventures- feel free to share your picks and reviews in the comments or tweet using the #VanFringe hashtag so that we can follow along!