In efforts to promote Burn This at Performance Network Theatre and to make way around a generic 11x17 poster, we came together as a staff and created something worthwhile. Not every opportunity is as hot as this one, we but thought of some small adjustments we could make to heat up our marketing.
Look familiar? A giant stack of posters and the nagging in
your brain wondering if it was really worth it...
We took the promo posters to the extra mile in the hopes that they'll get people talking. After all, isn't that the point?
Step 1.
We left a 4-in margin at the bottom of the poster to leave room for burning, but it was actually too much room. I recommend 2 1/2 inches instead. (The ripping effect along the bottom and the side provided an appropriate stressed look, however!)
Step 2.
GO OUTSIDE and use a torch to burn along the edges. Give it extra burns all over the page to make it look authentic.
Step 3.
Dip the burnt edges in tea to increase the brown-tint left behind by the flames. (Raspberry tea left the most tint!! Mmmm.)
Step 4.
Put them out there! Every poster will be 100% original and it sends the message that you took the time to create something AWESOME for your audience to look at. And you'll have fun doing it.
Today I accepted the position as Director of Marketing and Public Relations at the Performance Network Theatre in Ann Arbor! I will finish my degree in Arts Management as I start this new journey! Thank you to Ken Stevens, Pam Cardell, The Staff ad Board of Performance Network, EMU Theatre, MASS MoCA, and all the lovely people I call family!
Let's get to work!
Hello once again. I tend to blog about art events/artists I encounter. This particular post will concern my current project at hand, Dead Man's Cell Phone (Feb 3-16). Performing in a play I am simultaneously promoting has quite possibly been my nerdiest indulgence to date. (And yes, I use the adjective "nerdy" with a positive connotation.)
Let me start off by telling you a little about myself....
My name is Marissa Kurtzhals. I am 22 years old. I live in one of the best cities in the state of Michigan and I put most of my energy into EMU Theatre. I have actively participated in the theatre program (acting, crews, classes, student organizations, etc.) since I was a freshman, but it wasn't until Fall 2011 that I joined the marketing team as the Social Media Specialist.
I am a fourth year Arts Management student with minors in Theatre Communications and Marketing. I began my studies as an Accounting major and a Theatre minor until my wise pal, Charles Jabour, suggested I take a gander at EMU's Arts Management program. I was sold pretty quickly. I swiftly changed my major. And it has (literally) been the best decision I have (ever) made. I could walk you through every single amazing experience my studies have granted me like...
....but let's just stick to one thing at a time (you can check out my resume on my LinkedIn Profile).
In my earlier days at EMU Theatre, Jabour directed a small production of The Clean House by Sarah Ruhl. I immediately fell in love with the juicy yet straightforward dialogue that Ruhl paints for actors, viewers, and readers. I was cast as Lane and was forever hooked as one of Ruhl's avid cult followers.
Shortly after, my strict yet dedicated high-school theatre director suggested I read Ruhl's Dead Man's Cell Phone. He lent me his personal copy and I was immediately intrigued by simply reading the reviews listed in the index...
I also took note to the fact that Mary-Louise Parker starred in the New York Premiere of Dead Man's Cell Phone, directed by Anne Bogart (that is Thespian Gold, people).
Within 60 minutes I completed reading the script. Chills ran through my core and I started crying as I read the final stage direction. The tears were partly caused by the story itself and partly because I simply wanted more of the script. I had never encountered a work of art that encompassed so many of my interests: mortality, communication, contemporary art, theatre, romance, tragedy, comedy, irony, dark humor, action, symbolism, subtleties, and profound themes translatable to every human being.I wanted to work on this show, someday on some level.
I returned the book to my teacher. From time-to-time I'd drop the title, Dead Man's Cell Phone, in philosophical conversations about theatre or technological communication, but for the most part - I put the show in the back of my mind. One lonely day in Massachusetts, I called a friend from EMU Theatre. He then revealed that Pirooz Aghssa had announced he would be directing Dead Man's Cell Phone at EMU Theatre.
...SAY AGAIN???
That night I hopped on Amazon.com and bought a $7 used copy of the script and cracked open my collection of Sarah Ruhl scripts.
"I'm going to be a part of this show," I thought. "I don't know how, exactly, but I need to be a part of this."
Dead Man's Cell Phone no longer lived in the back of my mind. I analyzed every female character, mentally preparing myself for anything auditions would throw my way. Around the same time is when I was offered the marketing position at EMU Theatre. (Let's pause for a second and so I can tell you that I actually get some of my kicks from marketing...it gets me all giddy.)
The first semester working for EMU Theatre was smashing success. I was sent to the NAMP Conference, EMU Theatre's social media numbers were up unlike ever before, I have been blessed with life-changing mentors, and my co-worker, Emily Clarkson, and I basically get paid to have fun and tell people to come watch our friends perform. (Check out our Inside EMU Actor's Studio project!)
ANYHOW! November rolled around the corner, Dead Man's Cell Phone auditions were straight ahead, I picked out my audition monologue, entertained the idea of skipping auditions to spare myself the grief of not being cast, decided to do it anyway, auditioned, and was cast!
(only Parks & Rec fans will find this funny, and I'm okay with that)
So you know what THAT means? That means I am working on the show in every possible way I could have ever wanted. I'm writing press releases as I memorize lines. I'm hanging posters as I exercise my voice. I ask people with smart phones to Tweet photos of the fight scene (THAT I'M IN!).
Not to mention... top-notch creators, designers, directors, and staff are elbow deep in the process of the highest form of storytelling. (Oh...And one of my best friends, Eric Hohnke and I are opposites. My roommate is in the show. And there's not a single person at rehearsals that I haven't known for 3+ years.)
On Monday (Jan. 23), we begin our last week of rehearsal before we move to tech-week. Promotional videos, blogs, and tweets are being produced and I'm currently pushing an effort to increase student attendance called "Student Night". The idea is to add an extra performance of Dead Man's Cell Phone that will take place at 10pm and student tickets are Two-For-$Ten. (I'll report the results if the idea goes through!)
Dead Man's Cell Phone is a dark romantic comedy about a woman named Jean who unknowingly answers the cell phone of a dead stranger. She continues to create elaborate "confabulations" to make up for her self-imposed insensitivity as she explores the molecular afterthoughts of a man's life and his secrets within his cell phone. It has been a joy to create this character and we can't wait to show everyone how much we love this show.
(Tweet Pic of rehearsals. #DeadMansCellPhone Act One, Scene One.)
Thank you to every single person who has had anything to do with this production (and) or my involvement with this production. This show means a lot to us. It has made me stronger and has given me a fiery purpose until closing night. Show opens Feb 3. Click here for more and more info. COME SEE THE SHOW!!! WE CAN'T WAIT TO TELL YOU THIS STORY!!!
My best friend, Natalie Gregorarz, treated me to a journey to the Detroit Institute of Arts. Located on Woodward Avenue. The DIA is surrounded by The Detroit Public Library, MoCAD, and other noteworthy Midwestern cultural centers. The DIA's collection ranks in the Top Six in the United States. Originally known for their unbeatable American Art collection, the D.I.A. now features comprehensive selections which range from Egyptian, puppetry, Islamic, American, European, African, Native American, Chinese, Japanese, Korean, Impressionism, Photography, Modern, and Contemporary (basically, they got it on lock-down).
I had been to The DIA about a year ago - previous to my internship at MASS MoCA. My appreciation for this Detroit treasure was heightened after working in a museum for a semester. I am amazed with the level of interaction and information that is provided to the visitors of the D.I.A. (i.e. The Eye Spy games throughout the collections give clues to find a specific element of a piece in the gallery. It forces you to look around and usually draws attention to something you may have overlooked!) I've visited over a dozen museums in the past year - and no one does it quite like the D.I.A.
The DIA does not take itself too seriously and does not require attendees to have any prior knowledgeof art before they enter the galleries. Each exhibition includes an ample amount of information about the era, artist, and selected pieces.
Several works by Van Gogh are featured at the D.I.A. My best friend worships this genius and we gazed in awe at his raw techniques. This particular piece struck me on this visit to the D.I.A. Van Gogh's manic brushwork emulated despair while composing a work that is undeniably beautiful. (Other Van Gogh's include Portrait of a Postman, [The Yellow Hat] Self Portrait, and The Diggers.)
Surely, there is something everyone can enjoy at the D.I.A. If you're a good ol' Michigander or just passing through - I highly suggest you stop on by as the weather is becoming increasingly and bitterly cold.
This would be my first personal blog. But I will say that I've written many-a-blogs in my day. I completed my internship at MASS MoCA in June and now I'm working for Eastern Michigan University Theatre. Both jobs require(d) me to blog blog blog blog blog. So why not start my own eh?
This semester I have finally completed EVERY single gen ed requirement and all of my courses are for my major, which is Arts Management (I also have minors in Marketing and Theatre Communications. Woo!)
As a part of my minor, I decided to take a course called Sports and Events Marketing, taught by Professor Sam Fullerton. I figured, "Why not? We're both selling the same concept - Entertainment as a service." The only difference, I have found, are the numbers. As I'm reading the book for class, I see stats that tell me that sports are the 11th largest industry in the U.S. I realize that they DO have a pretty outstanding merchandise platform and practically built-in loyalty, but how are they able to sell out events on a regular basis? Arts orgs are pretty much happy with any attendance they get!
But why? I asked my beloved Mother and she said, "Well...not everyone can paint or act. But basically anyone can grab a basketball and shoot a couple hoops." My Mom is right. And that is just wrong.
But she brings up a good point. Do people really think they CAN'T draw? or dance? or craft? I mean...I totally understand feeling a little shown up when you're standing in front of a Renoir or watch a youtube video of Martha Graham, but why does this scare people? Shouldn't it inspire them? But I suppose I understand. Fortunately, my family is fairly athletic so I have an appreciation for sports. However, if I asked my theatre friends to "shoot some hoops" or go to an EMU Football game, they'd look at me like I was insane. (Note: But pretty much anyone would go to a Red Wings or Tigers game...I mean...Let's get real.)
But why does the high school football team - who barely won a third of their season - get a new field and the drama club - who brings home state trophies - not even have a working drinking fountain in the green room? (What? I'm not bitter.)
...I don't have an exact solution for this dilemma, that's why I'm going to school. But sometimes it's good to read let these things out. We all know it. So someone needs to say it. Well here you have it: SPORTS GET MORE ATTENTION THAN THE ARTS. There.
I believe the solution to the problem (if the problem is addressed from an arts administrative stand-point) begins with education. I believe if elementary and secondary education can genuinely excite children and invite them into the arts community - they will beg their parents until - they too are passionate about the arts. Sports can be a huge part of family tradition, and that is where consumer habits form.
Now let me clarify something...Yes. My future job is in the arts. And yes, I most certainly want to earn a living off of my career. But my concerns have nothing to do with the bottom line. My choice in my education is deeply rooted in my belief that our existence could simply not function without the arts.
I will stifle this tangent for a future blog. I have many thoughts and opinions about the arts and I am always searching for the thoughts an opinions of others.
Comments are (obviously) more than welcomed. Keep reading =]
