Sara Fitzpatrick currently serves as the Director of Interactive for SpotCo, a leading full-service entertainment advertising and branding agency, working with Broadway and film productions to oversee the development and strategy of interactive operations. Her focus includes search engine marketing and optimization, media buying, viral marketing and website user functionality.
We checked in with Sara to get the scoop on the current state of official Broadway sites on the web.
What are some of the Broadway web sites that you're currently working on.
In the Heights, Memphis, Come Fly Away, West Side Story, Million Dollar Quartet, A Behanding in Spokane, Fences and La Cage.
What makes a 'good' show website?
A good balance between design and functionality. A strong percentage of web users are visiting show websites to get in, get tickets, and move on to their next task. We try to make the purchase process as accessible as possible for those people just looking to buy tickets, but in the same beat we need to generate interest and excitement in an engaging way for those looking to find out more about a show.
How do you measure the 'success' of a show web site? By traffic, by click thrus to purchase tickets?
By traffic trends, website ticket sales, percentage of total weekly ticket sales, time spent on the site, stickiness of the tools and information on the site. It really depends on what is expected by the consumer base of a particular show and then weighting that expectation against the actual performance.
We all see Social Networking becoming a lot more heavily used by Broadway shows... Is it a 'fad' or is it selling tickets?
Social networking is definitely here to stay. Presence and promotion in social networks gives us the ability to speak to people in their own environment and comfort zone. Instead of demanding people come to us- we are going to them. It gives us the opportunity to educate without asking them to do all of the work. It also gives the show a chance to create a dialogue and interact with the fans and potential ticket buyers- as opposed to pushing the "buy tickets" message repetitively.
Do theatre web sites get a lot of traffic?
It's all relative. You can't compare websites for theater to the movies, or news outlets, or Amazon. But do they get a lot of traffic considering Broadway is regional, and we have a limited number of seats available each week? Yes, definitely.
Are the creative teams of shows ever involved in the web site or is it primarily a production/marketing tool.
It depends on the show and whether the creative team has the want or time to be involved. But if the creative members do become involved, it adds a layer of authenticity we would be unable to replicate as just the marketing voice.
Since "In the Heights" came to Broadway, Lin Manuel Miranda has been a big contributor to the strategy and content of the show's online presence. It certainly helps that the person who conceived the material for the show is able to extend that energy and excitement to the materials intended to help promote it. The size and loyalty of the "In the Heights" online fan base is definitely a reflection of that.
Are there any new trends that you're seeing in theatrical advertising other than 'more online'?
It's not really about more "online" as it's about using online in a more strategic way, and in combination with all other advertising medias, to help deliver the show's message to a consumer. We no longer see a big ad in the New York Times land followed by a big spike in tickets sales. It takes a lot of pieces, and means of delivery to get the potential ticket buyer to recognize you are there and then make your show a apart of their planned entertainment mix. At SpotCo, we try to create comprehensive and well-timed campaigns to ensure all of the messages we distribute are working together to maximize the share of voice in the marketplace.
