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Strategic Marketing Communications Plan

AL NAAMANI Maisa  |  OGUNYINKA Alison  |  PATEL C. Hitiksha  |  SANKHE Sadhvi  |  ZEHRA Beenish 

Startegic Marketing

AL NAAMANI Maisa  |  OGUNYINKA Alison  |  PATEL C. Hitiksha  |  SANKHE Sadhvi  |  ZEHRA Beenish 

COMMUNICATIONS

PLAN

AL NAAMANI Maisa  |  OGUNYINKA Alison  |  PATEL C. Hitiksha  |  SANKHE Sadhvi  |  ZEHRA Beenish 

A. SMART Objectives

  • Increase awareness about the Rose by 5% in 1 year. â€‹

    • Target Audience: New Theatregoers

    • How will this goal be achieved -

      • By increasing digital presence, offline presence through posters and Banners, Guerrilla publicity stunts, and sponsoring local events - at the Christmas markets, Bentalls, local university, local markets

      • As all plays are produced by Rose Theatre, this makes it a unique selling point to attract the new target audience who are new theatregoers.

      • Sending tickets to niche influencers (theatre TikTok accounts based in London…)

      • Sending tickets + giving more incentives (such as participation in plays, meet and greet with the actors, directors and writers, etc.) to more popular and broader influencers

 

  • Retain one-third of the intended target audience by expanding the genres offered by the Rose, within a financial year.

    • Target Audience: Existing theatregoers

    • How will this be achieved-

      • Introduce new genres for plays and increase the types of activities conducted in the theatre premises.

      • Drama plays predominantly attracts white middle-aged people. Other genres such as Comedy, children and family shows will attract different audiences.

    • Retain one-third: for instance, if we target 100 people of the intended target audience, we must be able to convert at least 33 people into regular attendees at Rose

    • Financial year: March ‘23-March ‘24

    • This SMART objective is for existing theatregoers

PPT
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B. Strategy

B.1 Identify Target Audience

B.1.1 Segmentation Type: Profile

  • Demographic

    • Age distribution: 35 - 50 (45 has the highest amount of theatregoers)

    • Structure of households: happy/healthy relationships, partners and children, couple households

    • Lifecycle stage → Disposable income: travellers, food and dining (Global Consumer Survey - Statista, 2022) 

    • Disposable income = Social Grade C2 to A 

  •  Geographic

    •  Kingston-upon-Thames and surrounding areas (Richmond, Wimbledon)

 

  • We assume age, social class, life cycle stage - disposable income and location are static across both segments

  • Segments outlined are based on the type of households

  • Strategy is differentiated | Segmented based on Geodempgraohics | We assume the demographic (age, structure of households, lifecycle stage) is constant across the areas surrounding Kingston 

  • Differentiated based on Profile

 

B.1.2 Segments

→ Differentiated strategy

  • SEGMENT 0 - existing audience | 50-60 year-olds | Mono ethnic 

  • SEGMENT 1 - 2 member households | Couples | Marketing strategies focus more on drama and comedy genres

  • SEGMENT 2 - Family households | Parents + Kids (young) |  Marketing strategies focus more on family shows

​

B.1.3 Target Audience

​​

Image 1.png

Image 1: Target Audience
Source: Author's work

A 35 to 50-year-old audience from ethnically diverse backgrounds with social grades from C2 to A, located in the surrounding areas of Kingston-upon-Thames.

  • The social grade from C2 to A has disposable income. The distribution of salary by social grade is mentioned below.

  • Surrounding areas are Kingston-upon-Thames, Wimbledon, and Richmond.

Strategy → Customer Profiles

Persona 1: 

Name: Cleo

​

Key Demographics:

Age: 38 (Statista, 2022) (Average of all 4 groups)

Gender: M

Social class: Social Grade C2 to A (has a disposable income) Assumption is based on UK social grade classification which is based on occupation (PAMCo, 2019)Background: Multiracial parentage

Life stage: Long-term relationship  

 

Key psychographics

Behavioural Identifiers: Enjoys activities with their partner supports art communities and frequently attends art endeavours. Appreciates music.

Interests:

  • Reading

  • Travelling

  • Good food and dining

  • Cooking

Preferred Channels:

  • Researches where to eat out on Google

  • Frequently checks mail for activities

 

Preferred Content types:

  • Image-rich articles

  • Newsletters on upcoming activities

Image 2.1: Persona 1 - Cleo

Source: Author's work

Image 2.2: Persona 2 - Jude

Source: Author's work

Persona 2:

Name: Jude

Key Demographics:

Age: 44

Gender: F

Social class: Social Grade C2 to A (has a disposable income) | Assumption is based on UK social grade classification which is based on occupation (PAMCo, 2019)

Background: Multiracial parentage

Life stage: Married with two children between 5 and 10 years old (average of children) (From The Box Office Blog, 2016)

Key psychographics / Behavioural Identifiers: 

  • Enjoys spending time with her family and dog

  • Playdates with other families

  • Uses shared calendars to plan her days

  • She starts her day early

  • Utilises her commute time to consume entertainment content.

Interests: 

  • Baking

  • Reading

  • Gardening

Preferred Channels:

  • TV 

  • Radio

  • Podcasts

  • Trusts word-of-mouth of other mothers 

Preferred Content types:

  • Informative entertainment content 

  • Personal recommendation from other mothers

B.2 Positioning (Perceptual Map)

Image 3: Perceptual Map

Source: Author's work

B.3 Creative Strategy - SMART 1

B.3.1 Increase Awareness

  • Raise awareness and increase brand recognition about the Rose by concentrating more on offline events. 

  • Purpose: Increase visibility and acquaint the general population with the Rose

  • TOOLS: Public Relations (Guerrilla publicity stunts, Sponsor local events - at the Christmas markets, monthly farmer’s markets)

  • MEDIA: Traditional

  • CONTENT: Schedule of plays/activities at the Rose with emphasis on produced plays at the Rose

​​

SEGMENT 0 (Existing) | MARKETING MIX 0

  • Communicate it better → propose a marketing communications mix

    • For ALL Activities in Rose

    • Shoot and upload teaser for upcoming plays - focus on the produced plays

​​

SEGMENT 1  (Targeted) | MARKETING MIX 1 & SEGMENT 2 (Targeted) | MARKETING MIX 2

  • Diversifying the genre attracts a more diverse audience. Promote their own production plays but also inclined to be a receiving theatre 

  • Promote schemes on Rose’s social media about its partners | Eg: 20% off Cotê if you have a ticket of Rose 

  • Introduce Special Scheme: Promotional schemes on ethnic holidays (Eg: New years (Asian - Chinese / Korean / Indian; New Year’s Eve); Others (Easter, Good Friday, etc.)

​​

B.4.2 Resolve Late Booking Issue

Include the schedule of all the plays/activities by Rose in the promotional flyers sent via direct mail. This will encourage the audience to pre-plan and book their tickets in advance. The flyers also include promo codes for early bird bookings.

​

C: Tactics

C.1 Reach Your Target Audience

Image 4 : Marketing Tactics 

Source: Author's Work

CONTENT

 → same across 3 segments

  • Image of play/activities

  • Information on play/activities

  • Schedule of plays

  • Schemes/promo code

  • CTA (Link / QR code)

 

C.2 Media Plan

C.2.1. New Media

  • Email

    • Collect emails of people who sign up while purchasing tickets online.

    • One email/week with promo codes based on previous choices. 

  • SEO

    • WHY: High response from web searches by our target audience (Statistia, 2022)

    • HOW: 

      • Add more relevant keywords to Rose’s website. Revise the content for better page rank on search engines.

      • Routine revision of the keywords to stay up to date with the search engine trends.

      • Keywords - theatre-tickets-kingston ; drama-theatre-kingston; famous-plays-kingston ; upcoming-plays ; best-plays

  • Social Media

    • Facebook, Instagram, Twitter, TikTok: Posts, Reels, Live tweets, Video content about the plays/activities 

    • YouTube: Livestream ONLY parts of the play to tease. There’s value in teasing - Teasing will entice the audience to watch the rest of the play in person at the theatre. Also,  make a recap video and upload it on social media.

    • Paid ads aimed at the targeted audience about the plays/activities at Rose. Run ads for at least two weeks before they start. (WHY 2 weeks: we have observed the PR trends and it seems like 15 days is the average time for pre-promotion)

    • DON’T:

      • Don’t Livestream on the Rose website → take advantage of the social media algorithms to raise more awareness

      • Don’t save the Livestreams → too tedious in terms of resources (IT and capital) (Khoros, 2022)

​​

C.2.2. Traditional Media

  1. Bus posters

  2. Train posters

  3. Flyers

 

  • Major bus stops and train stops will have at least 2 posters of current plays/activities at Kingston. They must include a CTA (call-to-action) - QR code, to allow people to check more information or even book tickets on the spot.

  • Distribute flyers in the mail which include monthly schedules of plays/activities at Rose and promo codes. Flyers must also have a CTA.

​​

C.3 Budget

Image 5: Budget for a period of 12 months

Source: Author's work

C.4 Evaluation Metrics

Image 6: Evaluation Metrics

Source: Author's Work

  • Social media analytics - Analyse the ad response and evaluate the optimal day and time for running ads on social media.

    • Metrics

      • Reach, audience growth rate, engagement rate, video completion rate, customer satisfaction score (CSAT), click-through rate (CTR), conversion rate, and cost-per-click (CPC) (Hootsuite, 2022)

  • Feedback forms via email to capture audience reaction after the play.

    • Metrics

      • Scale of 1-5 

        • 1 being Unsatisfactory and 5 being Excellent

References
​

Billboard Advertising (2022) Billboard Advertising Costs in Kingston Upon Thames. Available at: https://www.billboardadvertising.org.uk/costs/london/kingston-upon-thames/.

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From The Box Office Blog (2016) How to choose the Perfect Show for Kids (by Age). Available at: https://blog.fromtheboxoffice.com/2016/11/08/guide-to-choose-shows-for-kids-by-age/ 

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Fill, C, & Turnbull, S (2019) Marketing Communications : Touchpoints, Sharing and Disruption, Pearson Education, Limited, Harlow. Available from: ProQuest Ebook Central.

 

Glassdoor (n.d.) C2 Salaries in the United Kingdom. 

Available at: https://www.glassdoor.co.uk/Salaries/c2-salary-SRCH_KO0,2.htm

 

Hootsuite (2022), 16 Key Social Media Metrics to Track in 2022 [BENCHMARKS]. Available at: https://blog.hootsuite.com/social-media-metrics/ 

 

Khoros (2022). The 2022 Social Media Demographics Guide. Available at: https://khoros.com/resources/social-media-demographics-guidehttps://tmhmedia.co.uk/bus-advertising-why-should-you-advertise-on-buses/ 

 

PAMCo (2019) Social Grade.

Available at: https://pamco.co.uk/how-it-all-works/interview-and-questionnaire/social-grade/.

 

Šimić, M. and Vorkapić, A. (2019) ‘Theatre Marketing – Analysis of customers’ satisfaction’,   Marketing and Menedzsment, 52, pp. 39-51

 

‌Statista (2022) Average annual disposable income in the United Kingdom in 2020/21, by age group of household reference person. 

Available at: https://www.statista.com/statistics/824464/mean-disposable-income-per-household-by-age-uk/.

 

Statista. (2022). Target group: Theater, ballet & opera goers in the United Kingdom. Available at: https://www.statista.com/study/123342/theater-ballet-and-opera-goers-in-the-united-kingdom/.

 

‌Statista (2016) Theatre and concert-goers by age in England. Available at: https://www.statista.com/statistics/557591/theatre-or-concert-goers-by-age-uk-england/.

 

Walmsley, B., 2011. Why people go to the theatre: a qualitative study of audience motivation. Journal of Customer Behaviour, 10(4), pp.335-351.

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