We have received some very interesting and informative emails from Ivor in Peacehaven, East Sussex, with information which we feel could be useful to clubs if they are considering making big changes to their existing set up, or starting a new organisation.
Please take the time to read Ivor and Val's inspiring story below:
Hello, my name is Ivor. Over the last twenty years, my wife, Val, and I have run a very successful musical organisation. I am hoping that you will feel curious enough to read this page, in its entirety, to learn how we have enjoyed large audiences, continually, over these many years.
Three months after our local organ club closed, Val and I self-financed and started "Musical Showtime". Pictures of our function are available on our web site www.musicalshowtime.co.uk/
Initially we booked a small theatre, offered priority tickets to the 60 original membership of the former club and then we trawled the streets, knocking on doors. We were so proud to achieve a full house of 148, for our start up show featuring Tony Stace.
We presently have no difficulties attaining a large audience of 180 to 200. We have never made a financial loss. We put this partly down to only contracting those top entertainers, with that extra Xfactor, that people look forward to enjoying.
It saddens us to hear some of the excuses that are being made to justify closing down a club that could easily continue if a little thought was applied. Running a club is like running a business. We consider that the business model that most clubs presently follow is no longer appropriate for the present day. For a club presenting 12 shows per year, the total outgoing cost must be met and shared by its sponsors. If not, losses are made and eventually the club will close. Shows need promoting - people are not going to know if they are not told about the function. If clubs were to change their business plans and have a more open mind about change, less clubs would be closing.
Below is our business model and the way we organise our functions.
Our remedy is only put on as many shows as is affordable for the income received. Our research shows that our audience can definitely afford to pay £30 per year for their entertainment. So we present 4 shows a year at £7 per seat, interval refreshments are included.
Saturday show dates are selected with the following in mind. We will avoid holiday season, nationally televised sporting events, other locally advertised functions and months where we have historical data of lower audience numbers.
Two months before the next presentation, Val telephones everyone on our name list to ask if they would like to purchase a show ticket. We have anytime inclusive calls on our phone package.
There are approximately 230 names on the list. Our fire limit is 200. When we have reached our break-even point for attendees, contracts with the venue and artist are then and only then exchanged. This way we can never make a financial loss. Any extra attendees, above this number, are pure financial surplus to the fund. All surplus income is reinvested into “Showtime” A month before the show we collect the ticket cash from individuals, usually when we are passing their homes.
The interval raffle is financially run completely separate to the main show and so all raffle money is extra income and the opportunity for audience members, who can afford it, to make extra donation towards their evening out. The raffle income is never needed to bail out the show.
Our view is that our hobby is one that has to be experienced. Poster and leaflet advertising does not cut the mustard. So the way we get newbies in is as follows:
So far, just one person has been responsible for attaining an organist, venue and profitable audience. The excuse we keep hearing of the lack of ability to organise a show due to old age is rubbish. If someone is capable of talking on a phone, in their comfortable arm chair, they are doing no more than my Val does.
Some people do not like to feel committed on a committee, so we find a more informal approach works for us. Musical Showtime has no committee but has a number of very willing volunteers, who allow the show to take place on the night. 3 on catering, 2 on the raffle, my son and I do the stage craft by installing the lighting rig and stage set. I also compere.
If a “Showtime” rep cannot come along, we simply call someone on the name list. They usually agree to help, We could not do without these extra friends on the night. All reps receive complementary tickets, for helping out, however some refuse and still want to pay.
Our venue is large - 3100 sq foot hall with a very decent stage we install a stage set, lit by our DMX lighting fixtures, to add even more to the mood. There is a rake of 160 tiered seats to which we add another 40 at floor level for those less able to climb stairs. Everyone enters to the relaxing sound of background music, we do a pre-show warm up, to start a party atmosphere. The artist then is introduced with an already warm audience.
Everyone goes home happy. The following day we telephone the newbies and a selection of regulars to get some feedback. Over the year we have learned well from these wise words.
We call ourselves "Musical Showtime" for the reason that we are selling the experience of a great musical evening and not so much to what is producing the sound. Not having a membership means we cannot afford to put on anything other than popular, top of their profession acts, or that show could be our last. Our name also gives the flexibility of varying the instrument type. In the past we have welcomed Michael Wooldridge and his additional trio of drums, singer, sax and trumpet. At another show, we enjoyed a fantastic comedian, Andy Oakley accompanied by the equally fantastic Ian Griffin. Only just six months ago we contracted an 18 piece big band, where we enjoyed a full house of 200. We also included within this show, Rosalie Birchmore, playing relaxed piano. You will see on the web site that our next session (Feb ’20) is with Rod Pooley and vocalist Poppy Rawles. The entertainers love playing to a large audience where the atmosphere is pure electric.
I am sad that we do not hear more of the success stories in the organ and keyboard world. I know that Matthew Bason, Liz Harrison, Chris Powell and a couple of others are all running popular functions that are doing well.
I think that with just a little forethought and renewed enthusiasm, this hobby can once more go from strength to strength. We have proved it to be the case.
Ivor Lawrence
(Musical Showtime)
Please take the time to read Ivor and Val's inspiring story below:
Hello, my name is Ivor. Over the last twenty years, my wife, Val, and I have run a very successful musical organisation. I am hoping that you will feel curious enough to read this page, in its entirety, to learn how we have enjoyed large audiences, continually, over these many years.
Three months after our local organ club closed, Val and I self-financed and started "Musical Showtime". Pictures of our function are available on our web site www.musicalshowtime.co.uk/
Initially we booked a small theatre, offered priority tickets to the 60 original membership of the former club and then we trawled the streets, knocking on doors. We were so proud to achieve a full house of 148, for our start up show featuring Tony Stace.
We presently have no difficulties attaining a large audience of 180 to 200. We have never made a financial loss. We put this partly down to only contracting those top entertainers, with that extra Xfactor, that people look forward to enjoying.
It saddens us to hear some of the excuses that are being made to justify closing down a club that could easily continue if a little thought was applied. Running a club is like running a business. We consider that the business model that most clubs presently follow is no longer appropriate for the present day. For a club presenting 12 shows per year, the total outgoing cost must be met and shared by its sponsors. If not, losses are made and eventually the club will close. Shows need promoting - people are not going to know if they are not told about the function. If clubs were to change their business plans and have a more open mind about change, less clubs would be closing.
Below is our business model and the way we organise our functions.
Our remedy is only put on as many shows as is affordable for the income received. Our research shows that our audience can definitely afford to pay £30 per year for their entertainment. So we present 4 shows a year at £7 per seat, interval refreshments are included.
Saturday show dates are selected with the following in mind. We will avoid holiday season, nationally televised sporting events, other locally advertised functions and months where we have historical data of lower audience numbers.
Two months before the next presentation, Val telephones everyone on our name list to ask if they would like to purchase a show ticket. We have anytime inclusive calls on our phone package.
There are approximately 230 names on the list. Our fire limit is 200. When we have reached our break-even point for attendees, contracts with the venue and artist are then and only then exchanged. This way we can never make a financial loss. Any extra attendees, above this number, are pure financial surplus to the fund. All surplus income is reinvested into “Showtime” A month before the show we collect the ticket cash from individuals, usually when we are passing their homes.
The interval raffle is financially run completely separate to the main show and so all raffle money is extra income and the opportunity for audience members, who can afford it, to make extra donation towards their evening out. The raffle income is never needed to bail out the show.
Our view is that our hobby is one that has to be experienced. Poster and leaflet advertising does not cut the mustard. So the way we get newbies in is as follows:
- To people not in the organ world, the names of the entertainers and what instruments they play, means nothing. This is why it is more important to advertise the experience and how they will feel during and after the show. eg. “An evening of live music, leaving you feeling relaxed and well entertained.”
- Their first visit will be “free of charge” for one night only. This sprat to catch a mackerel allows us to get the newbie to fill in an enrolment form that gives us consent to telephone them, to advertise the next show. This enrolment form covers us for GDPR administration too. Their second visit costs the normal seat fee. A newbie always spends money on the raffle and an occupied seat is better than one unoccupied. So effectively the newbie is paying for our advertising.
- We get the entertainment committees of local “Managed homes” to spread the word and bring parties. The over sixties club, WI and other local clubs spread the word. We get members of other music clubs coming as far away as London, Surrey, Kent and West Sussex, to our theatre in Peacehaven, East Sussex.
- One original freebie – Liz - now brings a party of 30 from her line dancing club.
- We enjoy free advertising on www.wherecanwego.com/ which offers 500 characters. Check it out.
So far, just one person has been responsible for attaining an organist, venue and profitable audience. The excuse we keep hearing of the lack of ability to organise a show due to old age is rubbish. If someone is capable of talking on a phone, in their comfortable arm chair, they are doing no more than my Val does.
Some people do not like to feel committed on a committee, so we find a more informal approach works for us. Musical Showtime has no committee but has a number of very willing volunteers, who allow the show to take place on the night. 3 on catering, 2 on the raffle, my son and I do the stage craft by installing the lighting rig and stage set. I also compere.
If a “Showtime” rep cannot come along, we simply call someone on the name list. They usually agree to help, We could not do without these extra friends on the night. All reps receive complementary tickets, for helping out, however some refuse and still want to pay.
Our venue is large - 3100 sq foot hall with a very decent stage we install a stage set, lit by our DMX lighting fixtures, to add even more to the mood. There is a rake of 160 tiered seats to which we add another 40 at floor level for those less able to climb stairs. Everyone enters to the relaxing sound of background music, we do a pre-show warm up, to start a party atmosphere. The artist then is introduced with an already warm audience.
Everyone goes home happy. The following day we telephone the newbies and a selection of regulars to get some feedback. Over the year we have learned well from these wise words.
We call ourselves "Musical Showtime" for the reason that we are selling the experience of a great musical evening and not so much to what is producing the sound. Not having a membership means we cannot afford to put on anything other than popular, top of their profession acts, or that show could be our last. Our name also gives the flexibility of varying the instrument type. In the past we have welcomed Michael Wooldridge and his additional trio of drums, singer, sax and trumpet. At another show, we enjoyed a fantastic comedian, Andy Oakley accompanied by the equally fantastic Ian Griffin. Only just six months ago we contracted an 18 piece big band, where we enjoyed a full house of 200. We also included within this show, Rosalie Birchmore, playing relaxed piano. You will see on the web site that our next session (Feb ’20) is with Rod Pooley and vocalist Poppy Rawles. The entertainers love playing to a large audience where the atmosphere is pure electric.
I am sad that we do not hear more of the success stories in the organ and keyboard world. I know that Matthew Bason, Liz Harrison, Chris Powell and a couple of others are all running popular functions that are doing well.
I think that with just a little forethought and renewed enthusiasm, this hobby can once more go from strength to strength. We have proved it to be the case.
Ivor Lawrence
(Musical Showtime)
