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I wish I had more time to respond, but in the few minutes before I get in the shower, I would add these points:
A great number of the theatre directors I’ve spoke to about in-house (marketing, if you like) blogging they have seen it’s *primary purpose* as circumventing what they see as piss-poor print-bound criticism which can kill a show’s sales just because the critic had a hangover.
Mr Billington should have a look here for an explanation of how to deal with that “relentless din”
I sat in front of Mr Billington at a press night last week. He was very well behaved, as you’d expect. The same can’t be said for one of his peers who threatened to disrupt the beginning of the show because the seat he’d been given didn’t suit his taste.
Is anyone doing (new)media literacy classes for these poor old hacks? How can we help them distinguish between the different types of blogging in theatre, spot the good stuff in among the rest and understand that you don’t have to read them all, any more than you have to read every column-inch of a newspaper.