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Théâtre d’Aujourd’hui and its Internet marketing strategy
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Marketing case – Commerce Games TD Meloche Monnex 2007
Presented by Procter and Gamble
1
Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
Presented by Procter and Gamble
2
Théâtre d’Aujourd’hui and its Internet marketing strategy
Théâtre d’Aujourd’hui and its Internet marketing strategy
Case written by Iulia NITA and Professor Sylvain SÉNÉCAL.
Introduction
According to a survey conducted in 2004,1 Internet use in Quebec grew significantly over the
preceding five-year period. The survey showed that nearly two-thirds of all adults in Quebec
were using the Internet and that just over half of them lived in households with Internet
connections. It also indicated that many people had made the Internet their preferred method for
seeking information, despite a relatively low rate of on-line purchases (27.5%). This low rate may
be explained by the following reasons: People are uncertain about the security of credit card
purchases made over the Internet and they prefer physical contact when buying a product or
service. The nature of the product or service involved may also put a brake on e-commerce..
Are cultural goods and services really suited to e-commerce? What role does a website play in a
theatre company’s marketing strategy and what elements should it contain to attract the greatest
number of visitors? What are the criteria for ensuring the effectiveness of a theatre company’s
website, according to users? Such are the questions that the people responsible for marketing and
communications at cultural organizations must try to answer. This case study involves the
analysis of the e-service offered by one of Montreal’s pioneering theatre companies, Théâtre
d’Aujourd’hui (hereafter referred to as TA).
Presentation of TA
Brief history
TA is a state-subsidized theatre company that has existed for close to 40 years. It describes its
mission as follows: “TA is a Montreal theatre institution devoted exclusively to the creation,
production and distribution of Quebec and Canadian plays written in French. It is a theatre for
playwrights in which the dramatic text is both the source and focus of artistic projects.”
Since its inception, TA has presented the works of close to 140 playwrights and is the only
theatre company devoted exclusively to theatre on a national scale.
1
NETendance 2004, Utilisation d’Internet au Québec, p. 15 (trans.: survey of Internet use in Quebec in 2004).
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Théâtre d’Aujourd’hui and its Internet marketing strategy
TA was created on August 26, 1968, when two leading semi-professional theatre groups, the
Apprentis Sorciers and the Saltimbanques, joined forces with the Mouvement Contemporain and
the Compagnie de Michel Poletti to found the Centre du TA. Its first home in Montreal was a
small theatre house at 1297 Papineau Avenue, which it inherited from the Apprentis Sorciers and
its leaders, Jean-Guy and Claude Sabourin. The first works that TA put on in this old atelier with
its elegant columns were European post-war plays.
TA changed direction radically in 1969, when Jean-Pierre Saulnier and Pierre Collin teamed up
with Jean-Claude Germain and the Théâtre du Même Nom (TMN) to make it a theatre company
dedicated to the production and distribution of plays by Quebec authors.
In October 1991, Michelle Rossignol found a ‘real’ theatre house for TA. This new facility was
built at the site of the former Carré Saint-Louis cinema house on Saint-Denis Street. A production
of Michel Tremblay’s “La Trilogie des Brassard” inaugurated this new theatre space, which had
two stages, the main stage (seating capacity of 274) and the Salle Jean-Claude Germain (seating
capacity of 75). The 1999-2000 season, the first with René Richard Cyr as artistic director and
Jacques Vézina as managing director, marked TA’s thirtieth birthday.
TA’s market
French-speaking professional theatre companies in Canada are located primarily in
New Brunswick, Quebec, Ontario, Manitoba, Alberta, Saskatchewan and British Columbia.
In Quebec, Montreal alone is home to more than 175 theatre companies. Some have their
own theatre houses, but most of the younger theatre troupes produce their plays in
venues as invited guests and are thus renters of the houses they perform in.
The main industry indicators for Quebec theatre are given in the following table:
Main statistics for paid performances1 of Quebec theatre productions2, September-October 2005r
Unit
SeptemberOctober 2005
Cumulative for the first 10
months of 2005r
No. of different productions
n
174
464
No. of performances
Average no. of performances of a single production
n
n
942
5.4
4,989
10.8
Total attendance
n
204,251
1,370,698
- Paid attendance
- Attendance by complimentary ticket
n
170,055
1,197,981
n
34,196
172,717
Rate of spectators with complimentary tickets
n
16.7
12.6
Average attendance per performance
Average attendance per production
n
n
217
1,174
275
2,954
No. of available tickets
n
307,130
1,922,689
Occupancy rate3
%
66.5
71.3
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Paid attendance occupancy rate4
%
55.4
62.3
No. of stages/venues used
Average no. of stages/venues used for a single
Production
n
144
235
n
0.8
0.5
Ticketing revenue, excluding taxes
$
3,648,366
25,814,980
Average ticketing revenue, per spectator
Average ticketing revenue, per paid spectator
Average ticketing revenue, per performance
Average ticketing revenue, per production
$
$
$
$
17.86
21.45
3 873
20,968
18.83
21.55
5 174
55,636
1. Excludes certain types of paid performances: private performances, performance of amateur productions, and
performances put on for students in the local elementary schools and high schools. Also excludes performances
for which the admission fee is in the form of a badge or passport for all activities in a festival or event, and for
which the admission fee is in the form of a cover charge.
2. Includes productions in repertory theatre, creative theatre, vaudeville and storytelling theatre.
3. Occupancy rate: Proportion of the number of spectators to the number of available tickets.
4. Paid attendance occupancy rate: Proportion of the number of paying spectators to the number of available
tickets.
Source: Institut de la statistique du Québec, Observatoire de la culture et des communications du Québec. March
31, 2006
TA is one of the 15 best known theatre companies in Montreal. The others are Bluff productions,
Compagnie Jean-Duceppe, Espace Go, Espace Libre, La Licorne, La Maison Théâtre, Les deux
mondes, TNM, Théâtre de Quat’Sous, Théâtre Denise-Pelletier, Théâtre le Clou, Théâtre
Prospero, Ubu and Usine C.
As a cultural enterprise, TA seeks to reach several markets 1: the consumer market (to reach
spectators), the intermediary distribution market (to mount tours), the government market (to
obtain government grants – each year, the Conseil des Arts et des Lettres du Québec receives
grant applications from close to 70 theatre production organizations that mount nearly
300 productions with 7,000 performances attracting approximately 1.5 million spectators in
Quebec each season2) and the sponsorship market.
There is relatively strong competition in each of these markets, but TA has a well-established
clientele in the market that makes up Montreal’s mature and highly saturated cultural landscape.
But the Francophone theatre groups do not just compete directly with each other. There is also
indirect competition from providers of recreational-cultural services in general (movies,
museums, television, festivals, dance, music, etc.).
1
COLBERT, François. Le marketing des arts et de la culture, 2e édition, Gaétan Morin Éditeur, Montréal, 2000, p. 60.
2
These are the approximate numbers for 2002-2003, according to “Statistiques principales des organismes de production en
théâtre, soutenues par le Conseil des arts et des lettres du Québec, 1998-1999 a 2002-2003” (Source: Conseil des arts et des
lettres du Québec).
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Théâtre d’Aujourd’hui and its Internet marketing strategy
The market of theatre goers is also segmented according to status (subscriber or non-subscriber
and frequency of theatre attendance). Subscribers form the primary segment targeted by TA. Its
secondary target group is made up of persons who often go to plays.
In March 2002, hoping to build greater loyalty among its clients and to focus its communication
activities more effectively, TA’s management asked Groupe Gignac Communications Marketing
to analyze the profile of its subscribers. It surveyed 377 TA subscribers and the survey’s results
made it possible to identify TA’s main competitors. The other theatres that the respondents also
had subscriptions included primarily TNM (47%), Compagnie Jean Duceppe (30%), Espace Go
(29%), Théâtre de Quat’Sous (25%) and Théâtre La Licorne (21%).
Théâtre La Licorne (1981) is home to the activities of Théâtre de la Manufacture, which fosters
the development of dramatic creation in Quebec. According to its mission statement, it is “a
theatre for contemporary artistic expression that tells the story of today’s urban scene and elicits a
response from spectators in an intimate space providing them with moving and thoughtprovoking experiences.” It focuses on Quebec works, but also gives the stage to Canadian and
foreign playwrights. In 1989, La Licorne moved to a new and larger facility on Papineau Avenue,
Le deuxième plateau. This new theatre house, which opened its doors in October 1995, retains
the intimacy and warmth of the theatre’s former location. It is a place for experimentation and
research on a small scale.
Théâtre de Quat’Sous was founded in 1955 and celebrated its 50th birthday in 2005. It is the third
oldest theatre company in Montreal, coming after Théâtre du Rideau Vert and Théâtre du
Nouveau Monde. Andrée Lachapelle expanded its mandate by creating Les Auditions Générales
du Quat'Sous. Under this initiative, launched in 1985, the theatre devotes three days each year to
working with young theatre school graduates and self-taught actors. The theatre has a seating
capacity of 160.
Espace Go (1978) combines a double vocation through its work as producer and distributor and
its efforts to cultivate a public that is eager to learn more about contemporary playwrights and
innovative practices. Espace Go is a theatre for modern and creative repertory works, which it
presents on two stages with a total seating capacity of 360. Its program is largely made up of new
productions that are being introduced to the public for the first time. It puts on modern works
from here and abroad, with the emphasis on plays written in French.
La Compagnie Jean Duceppe (1973) has given itself the mission to create a dynamic theatre of
emotion and identification, giving priority to modern works, particularly those from Quebec. It
puts on five productions each season at the Théâtre Jean-Duceppe (capacity of 746 seats) and
organizes annual tours throughout Quebec by Les Tournées Jean Duceppe.
Finally, Théâtre du Nouveau Monde (TNM) is a theatre company created in Montreal in 1951
amidst the cultural effervescence which followed World War II and led the way to the Quiet
Revolution, which in turn allowed Quebec to take its place in the modern world. TNM produces
and distributes major works, classics and new plays alike, of national and international stature,
with the emphasis on creative repertory. TNM runs several other activities to maintain the
dynamism of the creativity for which it is known. These activities include holding educational
theatre labs and workshops, discussing and sharing theatre expertise with the community, and
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Théâtre d’Aujourd’hui and its Internet marketing strategy
putting on plays by its Troupe des abonnés (TNM subscribers who are passionate about theatre)
under the guidance of a professional theatre director.
TA’s marketing communications strategy
TA is in an advantageous marketing position. It is functioning well in its theatre operations, it is
very active in artistic creation and it has posted an average attendance of 70% for the
performances it puts on. Further to its regular season offerings, TA organizes numerous activities,
including conferences, readings of new plays yet to be produced, presentations of working drafts
of plays, special literary events and benefit performances. TA’s clientele participates strongly in
these activities, thereby demonstrating its close attachment to TA.
Three of the five plays presented during a regular season are in-house productions. Two-thirds of
the tickets for each performance are bought by subscribers and loyal customers.
TA’s marketing objectives include the following: 1. Consolidate the theatre’s image and
trademark reputation as a showcase for Quebec plays; 2. Reach more people in the younger age
groups (the average age of subscribers is 46.71) and; 3. Build loyalty among its main clients, i.e.,
its subscribers. To achieve these objectives, the communications director2 believes it is necessary
to develop Web tools for use in the marketing communications strategy.
The media placement budget comes to $15,000 to $20,000 for each production, with the amount
distributed among some 15 different promotional tools. TA bases its media placement choices on
a survey of subscribers, which found that the vast majority (90% and more) get their cultural
information from newspapers, radio and television, while nearly two-thirds (64%) read weekly
cultural newspapers and just over one-third (38%) get their information from on-line cultural
media.
Following are the media that TA used during the past two seasons.
 Advertising

Print media: La Presse, Voir, Le Devoir, Ici.

Television: Télé Québec, RDI, ArtTV, Radio-Canada.

Radio: CIBL.

Websites: Voir (www.voir.ca), Radio Max (www.radiomax.ca), ArtTV (www.arttv.ca).

Internal advertising: posters, brochures, postcards, season programs, theatre marquee and
window display, and Renaud-Bray bookstore window display.
 Public relations: articles, critiques and interviews published in trade magazines;
invitations sent to various personalities for premiere performances. Media relations are of
the utmost importance to a theatre company because they have a direct impact on ticket
1
According to a March 2002 survey of subscribers.
2
All the information presented here on the marketing communications strategy was obtained through interviews with Théâtre
d’Aujourd’hui’s communications director, Philipe Drago.
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Théâtre d’Aujourd’hui and its Internet marketing strategy
sales. However, TA depends on its artistic personnel for its media relations (for example,
one actor refused to give interviews in a media campaign for a production, and this refusal
harmed the subsequent coverage of the production.)
 Sales promotion: The privileges used most often by subscribers are the subscription
discount (58%), no-cost ticket returns (51%) and two-for-one tickets (31%)1.
 On-line communication

Website (see following section and appendices four and five).

E-mail: TA has been using this form of communication since October 2005. Partnerships
have been established with University of Québec at Montréal (UQAM) and La
Cinémathèque allowing them to share their e-mail lists with TA for promotional mailings.
TA has also had Mastodonte Communication Inc. conduct a statistical analysis of its email campaigns (see following table).
Statistics concerning TA’s E-mail campaigns
No. of
Date of e-mail
e-mails
delivery
sent

1
No. of
e-mails
opened by
recipients
No. of
forwarded
e-mails
opened
Total no. of
times an
e-mail was
not opened
by anyone
Total no. of
clicks on
links
2005-10-21
776
396
33
1.93
173
2005-10-26
800
384
39
2.00
145
2005-11-01
797
389
21
1.77
63
2005-11-18
793
375
20
1.84
111
2005-11-30
792
344
14
1.52
57
2005-12-15
972
452
34
1.69
156
2006-01-06
976
459
39
2.13
201
2006-02-13
1 005
459
22
1.77
118
2006-04-04
2 183
985
63
1.50
185
References: An analysis conducted over a 14-month period (September 2005November 2005) gave statistics on all the websites that were referencing TA’s website
(the total number of references at each website during that time was equal to or more
than 20). Among the 45 websites analyzed, those of Toile du Québec, Voir, Théâtre
Québec, City of Montreal and Hydro-Québec contained the most references during the
period under study (see following table). All of the websites analyzed were in one of
the three following categories: specialized portals, media partners’ websites and
According to a March 2002 survey by Groupe Gignac Communications Marketing.
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Théâtre d’Aujourd’hui and its Internet marketing strategy
sponsors’ websites. They include, for example, the portal ThéâtreQuebec.com, which
is an initiative of the Académie québécoise du théâtre and the Association québécoise
des auteurs dramatiques. This website is made up of the three following modules
(translated into English): 1. Now playing – Full information on the current season of
plays; 2. Theatre under the spotlight – A new and original look at Quebec theatre and;
3. Theatre on the Web – Everything about theatre on the Internet- more than 600
Internet references to cover the entire theatre industry, broken down into 25 categories
and including the websites of 135 Quebec theatre companies. This portal amply
demonstrates the complex nature of Internet use in the cultural world.
Name of referencing website
Toile du Québec (www.toile.com)
1 755
Voir (www.voir.ca)
945
Théâtre Québec (www.theatrequebec.com)
830
Radio-Canada (www.radio-canada.ca)
434
Syclick Ltd (www.syclick.com)
407
Mon theatre.qc.ca (www.montheatre.qc.ca)
402
Théâtre du Nouveau Monde (www.tnm.qc.ca)
372
Montrealplus (www.montrealplus.ca)
289
Théâtre du Rideau Vert
(www.rideauvert.qc.ca)
219
Festival mondial des arts pour la jeunesse
(www.montreal-2005.com)
188
Ville de Montréal (www.ville.montreal.qc.ca)
172
Servicesmontreal.com
164
Toutmontreal.com
130
Agence Goodwin
(www.agencegoodwin.com)
118
Théâtre Hall (www.theatrhall.com)
103
Hydro-Québec (www.hydroquebec.com)

Total number of references to TA
95
Blog (see Appendix 5): In September 2005, TA created a first in the Montreal theatre
scene by putting a blog on its website to allow spectators to express their opinions.
Even though the blog is on an internal page, the number of visits to it has increased
sharply in recent months. Within four months after going on-line, it reached the 2,000
plus mark. Interest in this new way of interacting with theatre has grown steadily since
it began. The blog was visited 158 times in September 2004; the number jumped to
1,544 the following month. According to users, the main advantages of this Web tool
are that it allows them to obtain information faster and to find information not given
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Théâtre d’Aujourd’hui and its Internet marketing strategy
anywhere else at the theatre’s website (images, links to other sites, samples of music
from plays, etc.). It also gives them a better perspective and the feeling of being able to
give more honest and critical opinions about the plays they see. The blog will be
improved with the addition of videos and costume designs.
TA’s website (www.theatredaujourdhui.qc.ca)
The first websites created by large companies were devoted primarily to giving information. But
the role of websites rapidly evolved to give more room to creativity, to offer on-line promotions
and forums, and even to sell products and services.1 This phenomenon did not bypass the theatre
industry. Cultural organizations also began developing Internet marketing strategies, and ecommerce has become a reality for cultural service providers, including theatre companies.2
By its nature, a theatre company presents differences regarding the creation and maintenance of a
website. This is because a significant part of the website must be changed even though the
communication objectives remain the same, i.e., create a trademark image, disseminate
information, acquire a reputation both for the organization and its activities, and for theatres that
use their websites for e-commerce, obtain information to draw up a profile of their consumers
and to broaden their markets. With regard to this last objective, a recent survey in France
identified the trends involving on-line purchase of theatre tickets. In April 2004, the Département
des études et de la prospective (Research Centre for the Socio-Economics of Culture) of France’s
Ministère de la Culture et de la Communication conducted an economic survey regarding the
ticketing for live theatres performances. Three hundred and sixty-eight theatres (62.5% of the
total number of participating cultural organizations) completed the survey questionnaire (see
Appendix 1). The Internet was found to be one of the methods used most often by
communications strategies to inform consumers about programs and plays (57.9% of cultural
organizations were doing so through their own websites, while 37.7% were doing so through
their municipality’s websites). Nevertheless, only 22% of the organizations that took part in the
survey were offering on-line ticket sales and just 8% were selling tickets over the Internet.
TA launched its website in June 2004. It is a Francophone website intended to provide
information about the plays put on by the theatre each season, and about the theatre’s activities,
history, etc. Two seasons later, the theatre’s management decided to totally revamp the website
for the 2006-2007 season, in order to have a more flexible and easier to manage website that
would allow information to be updated throughout the year, thereby encouraging people to visit it
from the beginning to end of the season. The launch of this new website was planned for the
spring of 2006.
Currently, the number of website visitors drops sharply between the start and end of the season.
About 60% of users spend less than 30 seconds at the website. They are probably persons who
1
George E. Belch et al., Communication Marketing – une perspective intégrée, Chenelière–McGraw-Hill, Montreal,
2005, p. 510.
2 We note in this regard the CA*net Institute, a non-profit organization working to promote Internet development in Canada. The
projects it has funded include one by Tornado Theatre, the first theatre company to broadcast live immersive drama over the
Internet. Using state-of-the-art 360° video streaming technology, Tornado Theatre develops, produces and broadcasts plays
through its website at www.tornadotheatre.com.
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Théâtre d’Aujourd’hui and its Internet marketing strategy
are looking for a precise bit of information or persons who have reached the website by accident.
The use of cookies or statistics concerning the websites leading them to TA’s website may shed
light on this matter. In all cases, less than 20% of users spend more than 30 seconds at the
website. Thus, the information should above all be presented in a format that is easy to navigate,
with a ‘click here for more details’ option for the 20% of users who are prepared to spend more
time at the website. The website’s popularity has increased a great deal since June 2004 (with
visits jumping from about 500 to about 6,000, for a close to ten-fold increase). This provides one
sure proof of the success of TA’s marketing efforts. The number of website visitors drops during
the summer, which suggests that most are Montreal residents – the number of tourists increases in
the summer while the number of ‘local’ visitors goes down (see Appendix 2).
Qualitative analysis of TA’s website
To gain better understanding of what consumers thought about TA’s website, a survey using a
group discussion technique was conducted. Seven persons were recruited from TA’s e-mail list.
The participants were sent an e-mail indicating that they would each receive thirty dollars for
participating and would have a chance to win a pair of tickets to a play put on by TA. During the
discussion session, they had access to a portable computer to evaluate TA’s website (see
discussion guide in Appendix 3).
Group discussion results
Frequency of theatre attendance and sources of information: The participants, several of whom
were studying in the fine arts, including theatre, go to plays for enjoyment. They want to be put
off balance and surprised, and they want the theatre to be a “form of celebration, a place of ideas
and interaction.”
In concrete terms, they make the decision to see a particular play on the basis of information that
they seek from several sources of widely varying relative importance. Word of mouth was found
to be among the most important sources, while the participants were divided regarding the
influence of critics. Other sources mentioned include the print media (critics writing in the
newspapers), radio (Radio Canada’s cultural calendar), posters and brochures (one participant
obtains brochures at the end of each season) and the Internet.
Some participants said they were influenced by advertising for a play, while others said they wee
wary of advertising. Some said the plays put on during a particular season had a strong influence
on whether or not they would want to go see plays during the next season. Having a like or
dislike for a particular playwright, actor, director or style was found to be another factor
determining the choice of plays to see. Several participants felt that the theatre companies were
too much alike in their offerings and that each theatre should find ways to set itself apart from the
others and develop a personality all its own.
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Evaluation of the various aspects of TA’s website
Appearance: According to the participants, “most theatre company websites look alike” and “one
theatre makes a website, which the others simply copy.” They said that people expect the
theatre’s website to have an appearance in harmony with the theatre’s mission. They felt even
more strongly that it should reflect the theatre’s creativity: “The website should have an artistic
component that is more theatrical, imaginative and playful, and it doesn’t need to be made
complicated by animations.” “It should evince a mysterious and dramatic flair.” Above all, they
reproached it for not being in touch with today’s world: “Does a website with a nostalgic look
and sepia tones really describe the way things are today?” “It needs to be contemporary, up-todate.” “It looks like a funeral home’s website.” “It’s a boring website.”
The participants evaluated TA’s website (see Appendix 4) harshly in terms of its visual aspect:
“It lacks contrast and a sense of purpose, of unity.” “It’s enough to put you to sleep.” “What’s
with the tired, brown colours?” “It has no imagination. It should have a playful and colourful
look, like a stage set.” “Is it trying to look like a government website or an on-line Holocaust
journal?” “It has an imitation theatrical look with a certain slant, but it doesn’t let people’s
imagination take flight.” “It looks like the National Bank website.” “It has some drama, but it
lacks mystery.”
The website of Théâtre La Licorne was described as “difficult to navigate but with a different
vision,” and one participant felt that Balcon Café-Théâtre had the best website because of its
simplicity and excellent graphics: “It’s a small but beautiful theatre. You can get tickets very
easily via Admission.” The participants said that a theatre, as a place for artistic creation, should
show the same creativity in designing its website that it does in staging its plays, and that users
expect the website to be artistic.
Functionality: For the participants, a website’s level of functionality depends on “ease of
navigation,” “the logical organization of information,” and “the use of clear and well-separated
components.” They said they hoped that the TA website would add a search engine. They saw an
interaction between a website’s functionality and its content (i.e., information), because the
information, regardless of its quantity or quality, can be used only if it can be accessed. If the
information is too difficult to find, it will not be used.
The participants said that as theatre website users, they would like the ticketing section to be well
separated from other sections providing information, so that they can do what they want in the
shortest possible time, i.e., buy tickets or use the website as a tool that will provide them with
information, give free rein to their imagination and enrich their cultural lives (“lose myself in the
website,” as one participant put it).
Content: The participants distinguished between two main types of information: practical
information and information on the theatre in general. They saw the first type as representing the
pragmatic aspect of the website and the second as representing its artistic aspect.
They felt that the practical information component should be functional and clearly set out, and
that it should include a map of the neighbourhood and a seating plan, plus all the necessary
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Théâtre d’Aujourd’hui and its Internet marketing strategy
information about packages, subscriptions, prices, playtimes and dates. They also felt that it
should not be overly sophisticated.
Overall, the participants gave TA’s website a good mark in terms of information content (“this
website is well suited to my needs and gives me just the right amount of information”), similar to
the mark they gave the website of Théâtre de Quat’Sous. But they said they would like to see
more information at the website in the form of links to other Web pages. They preferred this
format because it does not load the website down with too much information and gives users the
freedom to consult the information provided by these links if they wish to do so.
The participants were not impressed by the section ‘Mot de la directrice artistique,’ which they
felt was “too cliché-ridden.” They also felt that the terms for the menus could be improved. For
example, they considered that the section ‘Amateurs’ (theatregoers) should be called ‘Histoire’
because it gives the history of TA.
They also felt that information should be presented in a form adapted to the Internet and that the
texts should be succinct, not “book-like” or “verbose.”
Some respondents were irritated by the space given to sponsors and the organizational chart.
They felt this space could be put to better use by providing more interesting information with
artistic content for theatregoers: “I go to a play because I like the playwright or the actor or
director involved.” “When you’re thinking about seeing a certain movie, you go onto the Internet
to find the actor’s filmography. A theatre’s website should offer this function as well; it would
help us to learn more about the people involved in a play’s production.” “There should be more
images.”
They also said that the information at the website should be regularly updated.
Customization: The participants considered customization to be of secondary importance, but
they felt that the website should still show evidence of customization, and in ways that make the
website more accessible. They felt that simple strategies should suffice here (“use bold lettering
for the ‘subscribe to our newsletter’ and ‘questions/comments’ headings”).
Community: Although the participants did not feel that a website could provide much of interest
regarding the community aspect of theatre, several spoke of their frustration at the difficulty in
“finding people who enjoy theatre and who want to go to a play with me.” They all enjoy getting
together with others after a play to “analyze it for hours on end” or to “discuss it afterwards,” or
simply to “spend an entire evening talking about theatre.” The need for community and sharing
is thus very strong among theatre lovers, but the participants felt that it was difficult for a theatre
company’s website to meet this need. They also felt that a website should not have a blog.
Communication: This component contains the elements that allow users to contact the theatre by
means other than the Internet, e.g., by mail or telephone. It also covers the possibility of
subscribing to a newsletter. This aspect is important with regard on-line buying and is especially
so if the information at the website is unclear or incomplete.
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Privacy protection and security: Some participants considered on-line buying to be a “convenient
and fast way to shop,” while others said they did not like to buy things on-line. The majority of
them have had negative experiences in on-line buying and they find the process to be a source of
anxiety, especially when they feel they have not successfully completed the transaction. But they
think about the aspects of website security and privacy protection only when the on-line purchase
they are trying to make does not go through. The participants said that Espace Go’s website was
very user-friendly for on-line buying, more so than the websites of Licorne and TA.
The ideal website
In discussing the qualities of an ideal theatre website, the participants stressed the aspects of
“easy access to information” and “fast and easy on-line purchases.” For them, an ideal website
would present “an artistic image fully representative of the theatre” and would “invite users to
explore the world of theatre.” They all agreed that an ideal website would separate the ticketing
component from the component providing information about the theatre, including its program
and that it would provide a perfect balance between them (“an ideal theatre website is divided
into shopping and navigation”). They also agreed that it would meet a wide variety of users’
needs (“shopping around, publicity, information, etc.”).
According to the participants, a theatre website is an effective tool if it:
“does a good job of presenting the theatre.”
“is easy to navigate.”
“gives me quality information.”
“allows me to easily find all the information I need.”
“shows that it is well thought out.”
“is user-friendly.”
“has a sense of humour and provides some real atmosphere.”
And, a theatre’s website is successful if:
“it gets my attention.”
“I end up buying tickets.”
“it makes me curious to go and see the plays.”
“it is both artistic and functional.”
“it reflects the theatre’s image.”
“it gets me to buy.”
“it arouses my curiosity.”
The participants said they are satisfied with visiting a theatre’s website if it:
“gives me a sense of what this particular theatre is all about.”
“gives me information about the actors and other artistic personnel.”
“ends up gaining my loyalty.”
“lets me quickly find what I am interested in.”
“takes me away from the everyday world.”
“allows me to browse its content with ease.”
“appeals to my intelligence.”
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Conclusion
It is within the above-described context that TA should redesign its website and work to
maximize the effectiveness of its Internet marketing strategy. This will entail making several
decisions, in particular regarding the functionalities, content and presentation of the new website.
Decisions regarding the overall marketing strategy will also have to be made. Whatever the
decisions TA makes, it will have to do so by keeping firmly in mind its mission and objectives,
the limited resources available, the number of plays presented each year, and the needs of
theatregoers.
2006-05-15
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Appendix 1
What communication methods do you use to publicize your program or productions?
On-site information and distribution
Target mailings (pamphlets, newsletter, etc.)
Local posters
Province-wide posters
Partnerships with radio and TV media outlets
Regional press
Provincial press and/or trade journals
Our own website
Our city’s website
Others
91.2%
91.0%
93.5%
5.6%
55.3%
86.6%
42.6%
57.9%
37.7%
7.5%
What methods do you use to reserve tickets for spectators?
Time and place of performance
Pre-performance (ticket counter)
Telephone
Through our own website
Minitel
External ticketing operator (ONE only)
Several external ticketing operators
Specialized agency
Through another website
Tourism office or tour operator
By enterprise committee(s)
Others
32.3%
69.4%
61.6%
22.1%
2.5%
16.8%
12.2%
3.2%
7.6%
10.2%
22.2%
7.0%
What are the ways in which you sell tickets?
Pre-performance (at the theatre)
At the theatre just before the performance
External ticketing operator (ONE only)
Several external ticketing operators
Specialized agency
Telephone
Minitel
Through our own website
Through another website
Tourism office or tour operator
Enterprise committee(s)
Others
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69.4%
88.3%
33.8%
20.9%
4.2%
24.1%
2,4%
8.0%
8.8%
11.5%
19.9%
7.1%
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Théâtre d’Aujourd’hui and its Internet marketing strategy
What types of TICKETING SYSTEMS would you like to develop over the next few years?
Ticket counter
Office
External ticketing operator (ONE only)
Specialized agency
Telephone
Minitel
Through our own website
Through another website
Tourism office or tour operator
Enterprise committee(s)
Others
39.9%
28.7%
17.7%
3.2%
23.9%
1.9%
66.4%
15.6%
12.2%
31.6%
2.2%
What types of TICKETING SYSTEMS would you like to phase out during the next several
years?
Ticket counter
Office
External ticketing operator (ONE only)
Specialized agency
Telephone
Minitel
Through our own website
Through another website
Tourism office or tour operator
Enterprise committee(s)
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5.6%
3.9%
3.4%
2.0%
1.7%
1.5%
0.7%
1.2%
1.5%
0.3%
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Appendix 2
Temps passé
80.00%
70.00%
60.00%
50.00%
0-30sec
30sec-20mn
40.00%
30.00%
20.00%
10.00%
0.00%
Ju
n04
J
ul04
Au
g04
Se
p04
Oc
t04
No
v04
De
c04
Ja
n05
Fe
b05
M
ar05
Ap
r05
M
ay05
Ju
n05
J
ul05
Au
g05
Se
p05
Oc
t05
No
v05
De
c05
Ja
n06
Fe
b06
M
ar06
Visites
7000
6000
5000
4000
3000
2000
1000
0
Jun04
Jul- Aug- Sep- Oct- Nov- Dec- Jan- Feb- Mar- Apr- May- Jun04
04
04
04
04
04
05
05
05
05
05
05
Marketing case – Commerce Games TD Meloche Monnex 2007
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Jul- Aug- Sep- Oct- Nov- Dec- Jan- Feb- Mar05
05
05
05
05
05
06
06
06
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Appendix 3
Discussion Guide
A. Introduction (10 min.)
B. Complete the sheet with information regarding the participants

Word of welcome and thank-you for participating

Presentation of the facilitator, the topic and the discussion method (observers,
recording of the session, confidentiality)

Presentation of the collaboration between TA and HEC Montréal

Discussion rules:
o Speak so that everyone can hear
o Speak one at a time
o Negative points are as important as positive ones
o Give your own opinion even if it is different from others’ opinions
o The facilitator determines the order in which participants speak
o Turn off cell-phones

Participants briefly introduce themselves:
o First name
o Theatres they go to
o Favourite plays
o Time spent each week on the Internet (leisure, work or both)
C. Behaviour regarding use of theatre websites (20 min)
1.
2.
3.
4.
5.
6.
7.
8.
9.
How often do you go to plays?
Do you go to the theatre by yourself or do you go with others (partner, group)?
What theatre websites have you visited?
What kind of information were you looking for (plays, playtimes, promotions, season
program, etc.)? Tell me more about the websites you have visited.
How often do you visit theatres’ websites?
What other information sources do you use to learn about plays, season programs, etc.
(magazines, newspapers, brochures, telephone, etc.)? Do you still use them? What
advantages and drawbacks do these media present in comparison to websites?
Among the plays you have seen, are there any for which you visited the website before
going to the theatre?
What do you feel are the advantages and drawbacks for a theatre company in having a
website?
Do you make purchases by Internet and if so, what types of products do you buy? Have
you ever bought theatre tickets on-line?
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Théâtre d’Aujourd’hui and its Internet marketing strategy
10. What has been your experience in buying theatre tickets on-line? What were the
advantages and drawbacks?
D. A look at the TA Website (30 min.)
For the next ten minutes, I’d like you to visit the website of Théâtre d’Aujourd‘hui. After your
visit, I’ll ask you to complete an evaluation sheet. We’ll then discuss your comments.
(Website visit and evaluation sheets given to participants)
Here is the evaluation sheet:
In the first column, I’d like you to categorize, in order of importance, with 1 the most important
and 7 the least important, the elements of the website that are to be evaluated. Please also give
any comments you might have for improving each of these elements.
Before we go ahead with the evaluation, I’ll briefly explain each of the website’s elements that
are to be evaluated. Please let me know if you have any questions if any of my explanations are
not clear enough.

Appearance and functionality: Overall look of the website, its design and ease of
navigation, as well as the ways in which information is organized.

Content: Refers to all information and the quality of that information.

Community: On-line interaction with other users.

Customization: The extent to which the website is adapted to you.

Communication: Ways of getting in touch with the theatre when you visit its website,
i.e., telephone number, sign-up for more information, address and postal code.

Privacy protection: How the website keeps your personal information private.

Security: How the website ensures security of on-line purchases.
E. Feedback on the evaluation sheet (15 min.)

What are the two elements of the website you consider to be the most important and why?

What are the two elements of the website you consider to be the least important and why?

What elements need to be improved?

What elements did you like?
F. The ideal theatre website (10 min.)

Now, I’d like for us to try a creative activity of our own. Let’s use our imagination and
have a bit of fun.
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Théâtre d’Aujourd’hui and its Internet marketing strategy

If you could create a website for a theatre, what would it be like? What elements would it
contain? What benefits would it offer its visitors? What would you make sure not to
include in it?

Please complete the following sentences:
o A theatre’s website is an effective tool if it ….
o A theatre’s website is successful if it ….
o I enjoy visiting a theatre’s website if I can …
o Other comments
o Thank-yous and remuneration of participants
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Appendix 4
(refer to the visual aspect, and not the content)
Marketing case – Commerce Games TD Meloche Monnex 2007
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
Presented by Procter and Gamble
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
Presented by Procter and Gamble
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
Presented by Procter and Gamble
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
Presented by Procter and Gamble
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
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Théâtre d’Aujourd’hui and its Internet marketing strategy
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Théâtre d’Aujourd’hui and its Internet marketing strategy
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Appendix 5
Marketing case – Commerce Games TD Meloche Monnex 2007
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Théâtre d’Aujourd’hui and its Internet marketing strategy
Marketing case – Commerce Games TD Meloche Monnex 2007
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