The Anywhere

Theatre Festival
Marketing Report
EVNT2004

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Table of Contents
Executive Summary ........................................................................................ 2
Introduction .................................................................................................. 4
Event Overview ............................................................................................. 5
Background .................................................................................................................................................................................... 5
Vision ................................................................................................................................................................................................. 5
Mission............................................................................................................................................................................................... 5
Goals ................................................................................................................................................................................................. 5
Timeline............................................................................................................................................................................................ 6

Situational Analysis........................................................................................ 8
Macro-Analysis............................................................................................................................................................................... 8
Porters Five Forces Analysis .................................................................................................................................................... 10
Micro-Analysis ................................................................................................................................................................................ 11
SWOT ............................................................................................................................................................................................... 13

Marketing Objectives .................................................................................... 15

Marketing Mix .............................................................................................. 16
Product, Programming, and Packaging ............................................................................................................................. 16
Partnership and Sponsorship ................................................................................................................................................... 18
Pricing and Ticketing.................................................................................................................................................................. 19
Physical Setting and Venue(s) ............................................................................................................................................... 20
Promotion .................................................................................................................................................................................... 20

Evaluation .................................................................................................. 22
Conclusion ................................................................................................... 23
References................................................................................................... 24
Appendices ................................................................................................. 25

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EXECUTIVE SUMMARY
This report is going to analyse The Anywhere Theatre Festival (Anywhere) as a brand in terms of what programs it
provides, where the locations of these performances are and how well it is currently performing in comparison to its
competitors. Currently, Anywhere is a festival that is exclusively organised in Australia. With that in mind, this
report analyses Australias economic and political climate, and customer research analysis to illustrate the current
marketing strategy.
This report also looks at Anywheres performance compared to its competitors; it looks at the festivals target
markets and how it communicates to the target markets in terms of its integrated marketing communications
disciplines.

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INTRODUCTION
I.

Purpose of report

This report is designed and aimed to comprehensively document the marketing strategy of Anywhere. It will research
into the current market, and the brand positioning of Anywhere. By using primary and secondary research to identify
the key strengths and weaknesses of the brand in comparison to other competitors and to identify the target market
to support the final proposal. Analysing the Macro and Micro environment market to identify a clear overview of the
brand which will help to determine a strategic opportunity for the brand position in the market.

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EVENT OVERVIEW
I.

Background

The Anywhere Theatre Festival is an

annual twelve-day festival based in
Brisbane, which was first created by
creative director Paul Osuch and his
partner, Alex McTavish and Anywhere
Theatre Festival Limited is a Brisbane
based not-for-profit company. The
concept of the festival was created for all
Queenslanders with a globally unique
model that engages communities,
business, and performers to create and to
have performances anywhere but the
traditional theatre spaces. It is a new and
innovative approach to the arts industry,
audiences, performers, and partner
organisations, and it is also the first of its
kind in Brisbane and the world.
(Anywheres 2014 Business Plan)

II.

IV. Goals

To provide the framework and

infrastructure for other theatre
practitioners to present their works
To provide more diverse content
aimed at niche audiences
To
provide
innovative
and
entertaining experiences that engage
locals and visitors alike
To provide world high class quality,
creative development, producer
support
To provide demonstrable economic
benefit for partner organisations and
their wider communities
To give more on where the audiences
live, such as suburbs, instead of
concentrating on the centralised city
based venues

Vision

Our aim is to propel a world-wide trend

for exciting, engaging, passionate theatre
outside of traditional theatre spaces and
to build stronger and more creative
communities
through
performance
Anywhere but theatre. (Anywheres 2014
Business Plan)

III. Mission
To create opportunities for collaboration
for the meaning they bring to our lives,
the power with which they engage us, to
share stories and engage audiences to
find meaningful solutions for the
challenges we face today. (Anywheres
2014 Business Plan)

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Situational Analysis

DEFINITIONS

1.0 Macro-environment
1.1 Socio-cultural Analysis
Theatre has long been a major part of
Australian culture with indigenous Australia
has traditions of performance and storytelling stretching back millennia. Today, the
theatre sector is diverse and vibrant. It
includes commercial theatre, professional
subsidised theatre, unsubsidised independent
theatre and participatory/amateur theatre.
The theatre sector has benefited from the
growth and diversification of performing arts
infrastructure over the last fifteen years.
(Theatre Network Australia)
In terms of language spoken in Brisbane,
about 48% of the population speak English
only and about 51.5% speak other languages
at home and speak English. The top five nonEnglish languages spoken at home for
Brisbane are Chinese, Indo Aryan,
Vietnamese, Southeast Asian Austronesian,
and Italian.

1.2 Economic Environment

Dr. Junankar claimed that Australias
economy which includes health, wealth and
environment is the best among most of the
OECD countries, such as the United States
and Germany. Australias Gross Domestic
Product (GDP) has been growing from 1991
without a recession (Junankar, 2014). Hence,
there is more consumption within society as
the economy is good.

With the household saving ratio (appendix) is

going down between 2013-2014, the people
are looking for more affordable activities,
and this coincides with one of the objectives
of Anywhere; to provide consumers with
more affordable theatre performances.
The revenue of Anywhere Festival is
substantial as a large number of people have
bought tickets and many major sponsors
including
business
companies
and
government department are supporting the
event, leading to growth in profits. In terms of
event visitation, there is an increasing trend
of people attending the festival. There were
4000 attendees in 2011 and this increased to
66,000 attendees in 2012 (2014-2016 Business
Plan, 2013).
Having said all that, it is forecasted that
Australias economy will improve in the
coming years.
Although a good economy brings many
advantages towards the festival, natural
disasters such as floods can potentially affect
the sponsorship amount, particularly so in
Brisbane. Many companies may prioritise
their funds to disaster management rather
than to the festival (Osuch, Anywhere
Theatre Festival, n.d.). Fortunately, there is
no back-out of sponsorship after making the
promise.

1.3 Political and Regulatory

Environment
Australia is a modern country that provides
stable environment for the performing arts
industry and it has strong, stable, and
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transparent politics. The cultural policies in

Australia offers an invaluable pictures of
arts and cultural policies across all spheres
of government agencies concerned with all
platforms, screen culture, public and
commercial media, indigenous affairs,
heritage,
education,
training,
and
economic policy.
With the stability and the support that the
government has towards the performing
arts, the political and regulatory
environment has little impact to Anywhere.
One of the impacts from the government
policies on Anywhere is the government
funding. According to the arts and culture
survey by Australian Bureau of Statistics,
which was released in June 2014, showed
the state and territory, that the arts
spending fell $20.7 million between 2011-12
and 2012-13. However, the change of the
policies in the government could be
beneficial to Anywhere. Because of
allocation of the funds benefited mostly to
the big corporation, individual artists
received less attention and benefits. And in
turn, they may rely more on Anywhere due
to its unique business idea.

manageable uncontrollable force faced by

marketers. Organisations need to be aware
of new technologies in order to turn these
advances into opportunities and a
competitive edge. Technology has a
tremendous
effect
on
life-styles,
consumption patterns, and the economy.
Advances in technology can start new
industries, radically alter or destroy existing
industries, and stimulate entirely separate
markets. The rapid rate at which
technology
changes,
has
forced
organisations to quickly adapt in terms of
how they develop, price, distribute, and
promote their products (telecollege).
One of the ways for Anywhere to utilise
technology in the strategic plan is to use it
to promote itself. By using social media,
Anywhere is able to reach larger mass from
different markets. The features of social
media allow interactive interactions and
engagements between Anywhere and its
consumers and Anywhere can use these
features to appeal and attract their niche
markets in order to increase its brand recall
and engagement.

1.4 Ecology and Technology

Environment
The technological environment refers to
new technologies, which create new
product and market opportunities.
Technological developments are the most

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2.0 Porters Five Forces

Analysis

Low although Anywhere has a unique

business model that others may follow and
it needed low capital to start, new entrants
are less likely because there are other
factors involved. Brisbane has a great deal
of annual festivals and it is not easy to
obtain government approval and funding.

DEFINITIONS

2.4 Bargaining Power of Customers

High with the dawn of a trend towards
more accessible fun pastimes, live theatres
still find it challenging to compete and
attract audiences. Customers of live
entertainment have a strong bargaining
power as they have far more choices as to
how, where, and when to spend their
money on live entertainment. On the other
hand, Anywhere has a wide variety of
performance and offers affordable ticket
prices, which set Anywhere apart from
other festivals and theatres.

2.1 Rivalry
High - In the theatre industry, the exit
barriers are high because the theatre
buildings are not able to be easily and
inexpensively converted to be used for
other forms of business, it has low industry
concentration
with
many
theatre
companies and festivals as rivals and with
no significant market share, lastly, it has
high fixed costs, low switching costs, and low
level of product differentiation. All of these
factors have led to intense rivalry within the
industry.

Porters five
forces analysis is a
tool that businesses
can use to put
together a strategic
business plan. The
model describes the
five different forces
that can affect the
business sales and
success rate. As
shown in the
diagram above, the
five forces include:
a.
b.
c.
d.

2.5 Bargaining Power of Suppliers

Low For Anywhere, suppliers would be
the artists and performers. Hence, in these
sense, the suppliers bargaining power is low
as there are a lot of new and aspiring artists
around Australia who are waiting for their
chance to perform. Theatre companies
would choose renowned artists to perform
on their stage as to attract more audiences
and gain more profit. With the unique
business model, different artists are able to
perform for Anywhere at the same time
and Anywhere would incur significant costs
to switch suppliers.

With that being said, from Anywheres

perspective and with the unique business
model, all of the factors mentioned has low
impact; the barriers of exit is low as there is
no fixed theatre space, it has low fixed costs
(appendix), and it has a high product
differentiation in terms of artists and
performances, when compared to other
festivals and theatre companies.

e.

Competitive
rivalry within
an industry
Threat of
substitute
products
Threat of
new entrants
Bargaining
power of
customers
Bargaining
power of
suppliers

2.2 Threat from Substitutes

High The numerous substitutes will posed
a high threat towards the festival. Brisbane
city provides fierce competition for
Anywhere, these rivals include La Boite,
Metro Arts, World Theatre Festival,
Brisbane
Festival,
and
Brisbane
Powerhouse.

111

However, since the first time Anywhere was

held, the festival has continued to perform
better comparing with its competitors.
(appendix 1)

2.3 Threat of new Entrants

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3.0 Micro-analysis
3.1 Current Marketing Strategy
3.1.1 Target market
Anywheres relevant target market is
aimed at three specific segments:
a. Audiences who attend <2 performances
per year
Market through media outside
of theatre and leverage
partner organisations
Ensure shows are well priced
and pitched as unique but still
entertaining
with
safe
experience
The event itself will provide
media
partners
across
platforms
to
maximise
coverage and respectability
Aim to make them to join the
event every year
b. Audiences who see >2 performances
Maximising engagement of
those on subscriber base
Focus on exclusivity and
provide detail through arts
partners
Make sure they can see the
uniqueness of the event
Increase number of tickets
purchased
c. Participants who join for the first time
Focus on the quality of the
hospitality
to
improve
Anywheres first image
Approach key established
performers for shows and
potential mentorships
Proactively seek out producers
and performers

3.1.2 Promotion
Anywhere uses online resources and
printed brochures to advertise and
promote the festival. The festival uses the
public relations and marketing services
offered by Arts Queensland to develop
programs and activities to promote
Anywhere.
3.1.3 Ticketing
Customers are able to purchase their
tickets either online, through Anywheres
website or through Seat Advisor Box
Offices website
3.1.4 Product (programming)
The festival engages artists from diverse
genres of performances to be able to reach
the different target markets.
3.1.5 Funding & Sponsors
As part of the states festival, Anywhere
received funding from Arts Queensland.
Throughout the years, the festival has
worked with several sponsors, such as
Oblong + sons and Quest Newspapers, to
finance the festival.

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3.2. Segmentation

3.2. Positioning

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The Festival makes it clear that creating theatre is

about connecting

with people, and

that is something I deeply respect and am
proud to take part in.
Morgan Aldrich,
Two Hours Traffic
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Marketing Objectives
Impact
Objectives

To increase income to
implement the festival

Contract more diverse

producers and performers
to curate a quality festival

Increase ticket sales

Increase awareness and
promotion of the festival

Strategies
Positive

Negative

A bigger and
better festival with
good coordination
and team
management

Festival will not

be implemented

Focus on current small number of key funding and

create new funding and opportunities

$200,000 worth of grants

yearly

Acquire more diverse organisations and/or corporations

to be the sponsors of the festival

50 and more business

partners yearly

Merchandising

$10,000 income

To provide food stalls at the locations of the shows. Seek

food seller to rent those stalls
Proactively seeking performers and producers; stress the
benefits of joining the festival to them

Able to target new

and different
markets to
increase profit

Quality of festival
is reduced with
inclusion of
normally rejected
producers or size
of festival is
reduced

More income for

the festival

Not enough to
finance future
festivals

Increase ticket
sales and media
coverage

Fail in achieving
ticket sales target

Goals

$5000 income
60 productions per
festival

Contract popular performers to work over multiple years

and offer them performance packages

Market through media outside of theatre industry and

leverage partners organisations and corporations
More ticket bundling and packaging
Customer loyalty package
Use integrated marketing communication tools

80%-90% tickets sold

Increase 25% market

share

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Event Marketing Mix

1.0.

Products, Programming, and Packaging

It is important to know what the potential customers need, want, and what they are willing to pay for. The products
of a festival are the performances, and they are intangible. Hence, it is important to package the products to give
the most satisfying experience to the customers. Anywhere offers a variety of performances for its customers. The
performance genres include drama, cabaret, circus, dance, comedy, music, live art, community events, opera, and
many more, that use everyday locations throughout Brisbane. It is a platform for performers to create innovative
performances. This in return, help the festival to attract different niche audiences to come to the festival. Total, there
were 53 productions in 2015. Here are some of those productions.

Strategy:

To package the performances to give the best experience to the customers. This will get the customers to return
for other performances and/or keep returning to the festivals in the coming years.
Proactively seeking performers and producers, and emphasise on the benefits they will receive if they join the
festival

Tactics:

To contract at least one famous production and to package the show as the core product of the festival. The
show will act as the main production. Make the show to be bigger than the other productions. The core product
will give the consumers one of the main reasons why they decided to come to the festival.
To package the shows with food and beverage by setting up stalls at locations that do not sell food and drinks.
These stalls can be rented to food seller to increase our income or be given free of charge for one of our food and
beverages sponsor to market their products. A food product, in general, provokes instantaneous physiological
gratification1 and bakery products, in particular are one of the highest impulse items among other food and nonfood products2
Collaborate with local universities arts department and get them to showcase their productions during the
festival.

2.0. Sponsorship and Partnership

Being a not-for-profit organisation, Anywhere is very dependent on funding, sponsors, and partnership to finance the
festival. Anywhere is supported by the Queensland government through Arts Queensland, Creative sparks a joint
initiative of Brisbane City Council and Arts Queensland, and by other Regional and city councils such as Frankston
City Council, Parramatta City Council, Mackay Regional Council, and Isaac Regional Council.

Our media partners include The Guardian Australia and Scenestr

1
2

Peck and Childers,2006

West, 1951; Bellenger et al., 1978

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Other than these main sponsors, there are organisations and companies who have donated to the festival. For
Anywhere to be able to organise the festival yearly, it has to be able to retain these sponsorship and create new ones.

Strategy:

Focus on current small number of key funding and create new funding and opportunities
o Possible foundations to be approached for philanthropy income are the Fairfax Family Foundation,
Vincent Fairfax Family Foundation

Acquire more diverse organisations and/or corporations to be the sponsors of the festival
For additional income, we can launch our own line of merchandises to be sold during the performances.
However, we give priority to the performers who want to sell their own merchandise.

Tactics:

Continuously search for other government bodies, such as Artslink Queensland, to acquire additional funds.

Integrate performances into their business locations instead of asking them to come to us. This way we are
exposing the customers with their products and indirectly promoting their products to the customers. By doing
this, we are able to reduce the cost of paying for a location for any performance.
To maximise referrals and word of mouth from existing partners
Liaise with local universities arts department. In return for them sponsoring, the festival could allocate a time
for the arts department to showcase their production to the public and the festival will not take its percentage
from the sales of the tickets. Griffith University and the Queensland University of Technology are some of the
possible universities that can be approached to be the sponsors of the festival.

3.0. Pricing and Ticketing

Currently Anywhere provides competitive prices ranging from $0 to $80 for different productions, with the average
of $20 for most of the performances. However, there are no tickets bundling and this may distract the customers
from buying the tickets. Customers are easily attracted by low-price items3. A study reported that consumers

Fleischmann et al., 2004; Yee et al., 2008

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bought additional items for those under promotion price offer as they perceived that they are getting a better
value of exchange4.
Anywhere has two different ways of purchasing tickets, which are online, through our website, and Seat Advisors
Box Office.

Strategy:

Better ticket pricing strategy

Tactics:

Create a few price strategy:

o Early Bird discount
o Buddy Price: Buy 2 tickets at a cheaper price
o Cheaper price for another ticket of other productions. From appendix 8, it can be seen that there are a
number of customers that watched different productions.
Bundled tickets with food and beverages offer.
Add another way of purchasing ticket, which is to allow customers to purchase ticket on the venue of the
performance. This is to allow walk in customers to watch the performances.

4.0. Physical Setting and Venue(s)

Anywhere, as its name shown, takes place anywhere for performances. Therefore, it has no specific venue for
physical setting for the events. It could take place in a park, a street, or a market. However, there are limitations in
choosing the venues in terms of the quality. In order to maximise consumers satisfaction, strategies particularly for
customer satisfaction are needed.

Strategies:
In order to keep the event fresh, the organisation should keep seeking for new venues for performances. For the
location, they should be highly visible for public as high attention to the event could increase its awareness. The
venue should be audience-friendly which is a crucial element to maintain the consumer satisfaction. It should be
easily accessible in terms of the location and transportation. Anywhere should offer a satisfied place for performers
and audience to enjoy the performance. The social proof is especially important in marketing an event venue.
Prospective clients want to hear what other clients have thought of the venue, as well as how it was received by
guests. The appropriate ambience is essential for targeting the right target market.
It is important to account for the unique selling proposition of the venue as it could increase the consumers
satisfaction and expectation from a special place.

Tactics:
To increase the consumer satisfaction, the venue should offer good vision to the performance from the seats, which
means no column or objects, or other audience would block the vision. Car parks and public transport should be
near the venue for consumers convenience. In order to fit the nature of performances, the ambience and
atmosphere should be match with the genre of performance. Like performing operas and dramas at the theatre,
singing and dancing at parks etc. The venue should be spacious enough for the crowds. In other words, it should
provide enough seats and space to move around. To satisfy consumers satisfaction on the social proof, venues
should be presentable.

Stewart, 1993; Hsu and Liu, 1998

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5.0. Promotions
We will be employing the application of integrated marketing communication strategies to promote the festival.

Strategy:
To use the disciplines of IMC

Tactics:
1.

Advertising:
Currently, Anywhere is printing brochure to be distributed to different places where we can reach our
target market. Oblong + Sons is one of the major partners which helps Anywhere Theatre festival with
advertising the event and getting more audiences to build its image and reputation. It is responsible for the
development of website and programme design which allows developers to post applications for wide
distribution. To cut down on expenses, the festival will concentrate more on advertising online using, mostly,
social media platforms.

Anywheres website will be used to tie in all of the posts from all the social media. The website will
contain all of the information, such as the artists performing, the date and time, and the location of
the productions, and other important information.
Videos of performers profiles and past festivals, teaser videos, and profiles of our sponsors and
partners can be posted on YouTube and Facebook.
Twitter will be used to post current status of the festival, any updates on the festival, and days
countdown before the start of the festival.
2. Public Relations:
Public relations services are provided by one of our sponsor, Arts Queensland, as one of the benefits
3. Sales Promotion:
Free tickets could be given to a few of our partners to be given as a prize of their own product
promotions.
Discounts could be given to those customers who purchase their tickets early, The Early Bird
Promotion.

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Evaluation
As mentioned above, there are three objectives; increase income, increase awareness, increase ticket sales and
increase the diversity of performers which have been discussed in Part 5.

The reason for the evaluation of the event is to ensure our goals and objectives have been achieved, as well as to
find out about areas of improvement. A mix of quantitative and qualitative measures would be taken to evaluate
the Anywhere Theatre Festival.

There are two types of evaluation; pre and post-event evaluation. The latter will be mainly adopted for this event.
Firstly, measuring event revenue outcomes, for example, an increasing trend of overall profit, ticketing and
merchandising is a good way to find out if the event is good. Reviewing the profit and loss of the event organisation
would allow future events to stay within budget and minimise unexpected expenses. For free performances,
manual counters can be used to count at the entrance of the venue so as to see if free performances have the
potential to be charged as paid performances so as to increase the profit.

It is difficult to measure the amount of awareness of people. Social media may be a useful tool to evaluate
awareness through the number of likes and followers in Facebook, Instagram and Twitter. This is regarded as one
of the qualitative measures by observation to gain secondary data. Moreover, increased coverage by newspapers
and radio is another way to show the measures used are on the right track to increase public awareness. It is also
possible to measure the Return of Investment (ROI) on the promotion methods that we have adopted.

Furthermore, we will run a questionnaire which is one of the quantitative measures to get primary demographic
information which will help to enlarge our target audience who mainly love watching performances to everyone.
(Appendix 7) Volunteers are stationed at the exit of the event to invite participants to answer a questionnaire,
which helps in gaining feedback including statistical information on visitor patterns.

Having sponsors as part of the evaluation process is an important factor to see if the event run smooth to receive
secondary and qualitative data. If sponsors are willing to continue sponsorship for future events, this would indicate
that the event brings good reputation for the sponsor. This implied mutual benefit is brought out throughout the
event which facilitates further sponsorship.
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Conclusion
The Anywhere Theatre Festival is an event that appeal to all ages. Within the three years of operation, the festival
has managed to increase its ticket sales to 72% since 2011. The key to success depends on the strategy of the
marketing mix and as analysed from the marketing mix, the festival has been successful in meeting its objectives.
For the future festival objectives would be focussing more on generating more revenue, increasing the scale of
promotion to increase ticket sales, and to contract more producers and performers to give a better quality of
performances.
To generate more revenue, we are concentrating to acquire more diverse organisations to be the sponsors and
partners of the festival. Better application of the IMC tools would help to promote the festival to the public. And
with the increase awareness among the public, we are anticipating an increase in the sales of tickets. With more
profit, we would be able to contract better quality and diverse performers.

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References
2014-2016 Business Plan. (2013, July 13). Retrieved May 4, 2015, from Anywhere: http://www.anywherefest.com/downloads/2014_BusinessPlan.pdf
Bruneau, E. A. (1989). Advertising. Washington. Retrieved May 4, 2015
Clarke, M. (1974). On the Concept of 'Sub-Culture' (Vol. 25). The British Journal of Sociology. Retrieved May 5, 2015
Junankar, R. (2014, May 8). The state of Australia: the economy. Retrieved May 5, 2015, from The conversation: https://theconversation.com/the-state-ofaustralia-the-economy-26230
Osuch, P. (n.d.). Anywhere Theatre Festival. Retrieved May 4, 2015
Osuch, P., Mctavish, A., & Donohoe, R. (2014, November 17). 2015 Anywhere Producer Pack. Retrieved May 4, 2015, from Anywhere:
http://anywherefest.com/2015-producer-pack/
Anywhere Theatre Festival. (n.d.). Retrieved June 3, 2015, from http://en.wikipedia.org/wiki/Anywhere_Theatre_Festival
Anywhere Theatre Festival Financial Statements 2013-14. (2014). Anywhere Theatre Festival Financial Statements 2013-14.
Artslink Queensland Annual Report 2013. (2013). Artslink Queensland Annual Report 2013, 37-37.
Baylis, J. (2009). MAPPING QUEENSLAND THEATRE. MAPPING QUEENSLAND THEATRE, 83-83.
Community profiles. (n.d.). Retrieved June 3, 2015, from http://www.brisbane.qld.gov.au/sites/default/files/20140529-community-profiles-updated.html
Manktelow, J. (n.d.). Porter's Five Forces: Assessing the Balance of Power in a Business Situation. Retrieved June 3, 2015, from
http://www.mindtools.com/pages/article/newTMC_08.htm
Marketing Theories PESTEL Analysis. (n.d.). Retrieved June 3, 2015, from http://www.professionalacademy.com/blogs-and-advice/marketing-theories--pestel-analysis
PESTLE Analysis. (n.d.). Retrieved June 3, 2015, from http://www.marketingminefield.co.uk/pestle-analysis/
Parkinson, D. (2012, May 15). Macroeconomic policy for changing circumstances. Retrieved June 3, 2015, from
http://www.treasury.gov.au/PublicationsAndMedia/Speeches/2012/Post-Budget-ABE
Seares, P., & Gardiner-Garden, D. (2011). Cultural policies in Australia. Cultural Policies in Australia, 40-40.
Study Room - Business - Marketing - Analysing the market - Demographic Segmentation. (n.d.). Retrieved June 3, 2015, from
http://www.examstutor.com/business/resources/studyroom/marketing/market_analysis/8_psychographic_segmentation.php
The Australian Economy and Financial Markets. (2015, June 1). Retrieved June 3, 2015, from http://www.rba.gov.au/chart-pack/pdf/chart-pack.pdf
Ticket Attendance and Revenue Survey 2012. (2012). Ticket Attendance and Revenue Survey 2012, 4-47. Retrieved June 3, 2015, from
www.liveperformance.com.au
EMI STRATEGIC INSIGHTS REPORT: Measuring Events in the Marketing Mix. (n.d.). Retrieved June 3, 2015, from
http://www.evalu8pro.com/_pdfs/MeasuringEvents_Report.pdf

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Appendices
Appendix 1

Appendix 2
Anywheres Funding compared to other companies and festivals

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Appendix 3
Bribanes communities

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Appendix 4
Anywheres Financial Statements

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Appendix 5
Australias economy

Appendix 6
Performing Arts industry statistics

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Appendix 7
Evaluation Feedback Form

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Appendix 8
Attendees statistics watched different productions

Appendix 9
Programming
Artists
A Dream Play

Adventures of Wonderbabe The Terrible

Dates
Sun 10 May
Sun 17 May
Fri 22 May
Sat 23 May

Times
7.30pm
12.00p
m
7.30pm

Price
$15

Duration
120mins

Fri 8 May
Sat 9 May
Fri 15 May
Sat 16 May
Fri 22 May
Sat 23 May

8.30pm

FREE

90mins

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The Apology

Tue 12 May
Wed 13 May
Thu 14 May
Tue 19 May
Wed 20 May
Thu 21 May
Sat 23 May

7.00pm
6.00pm
7.00pm
7.00pm
6.00pm
7.00pm
3.00pm

$20

60mins

Arrivederci

Thu 7 May
Thu 14 May
Fri 15 May
Thu 21 May
Fri 22 May

7.00pm

$18

60mins

Awesome Ocean Party

Thu 14 May
Fri 15 May
Sat 16 May
Thu 21 May
Sat 23 May

7.30pm

$18

60mins

Becoming Bette

Wed 13 May
Thu 14 May
Thu 21 May
Fri 22 May

7.30pm

$20

60mins

Being Jesus

Fri 8 May
Sat 9 May
Wed 13 May
Fri 15 May
Sat 16 May
Wed 20 May
Fri 22 May
Sat 23 May

8.00pm

$10

45mins

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Bermuda

Thu 7 May
Sat 9 May
Thu 21 May
Sat 23 May

7.30pm
8pm
7.30pm
8pm

$15

50mins

Blue-Bearded Lady

Fri 15 May
Sat 16 May
Sun 17 May

8.30pm

$20

60mins

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