About Trevor O'Donnell

I'm an arts & entertainment consultant who's developed successful marketing and/or sales initiatives for Disney Theatrical Productions, Cameron Mackintosh, Cirque du Soleil, the Music Center of Los Angeles, Center Theatre Group, Blue Man Productions, Broadway’s Nederlander Organization and for numerous Broadway shows, performing arts presenters and nonprofit arts organizations across the US. I help my clients build larger audiences and earn more revenue by using smarter message strategies, tapping non-traditional audiences and employing innovative approaches to sales.

An Absolute Must-See Video for Arts Leaders

Ruth Hartt has hobbled together a demo video that every executive director of every traditional arts institution should see. It’s a raw mockup she’s created to illuminate the future of arts marketing and it may well be the salvation that audience-hungry arts organizations are searching for.

Click the link above, read the post carefully and watch the video.

If you’re member of the funding community, this is what you guys should be paying for.

If you’re an arts policy wonk, this is what the policy community should be advocating.

If you represent an arts industry trade organization, this is an initiative your group should be spearheading.

If you’re a leader of an arts organization who thinks your old-fashioned, self-centered promotional boasting is a good idea, you need to stand down, get out of the way and let this happen.

Promoting shows doesn’t work anymore. We have to sell the personal, emotional, customer-centered value of going to shows and Ruth has just given us a template for doing that.

It’s time.

L. A. Times Skewers ‘Paranoid’ Art Museum

If you like stories about arrogant, imperious, out-of-touch arts organizations getting their comeuppance, read this L. A. Times article now.

In the grand scheme of things, news stories about museum directors are about as important as summer corn salad recipes or things to do over the Labor Day weekend. And news stories about publicists trying to control news stories about museum directors are of dubious journalistic relevance.

But if you’re a Covid era arts administrator who still communicates with your support systems from a position of self-important superiority, Christopher Knight’s takedown of the Museum of Contemporary Art is a cautionary tale worth heeding.

It’s also a deliciously juicy good read.

Is it a Brochure or a Text Book?

In a recent blog post on her Culture for Hire website, Ruth Hartt reminds us that it’s not a good idea to be overly didactic in arts marketing content. It’s useful advice for organizations that need to replace audiences lost to the pandemic.

New audiences don’t possess the same background knowledge that older audiences do, so arts administrators often try to fill in the gap by slipping educational content into their marketing. It comes out of an ernest but twisted sort of thinking that says, “We know you lack this knowledge so we’re going to feed it to you in this promotional material in hopes of making you a better prepared – and thus better motivated – consumer.”

You know what I’m talking about: Ibsen exposed the plight of women in male-dominated 19th century Norway; Balanchine broke free from restrictive classical ballet traditions; Kodály incorporated Hungarian folk music in his compositions; Italian opera was once a popular art form; DaVinci dissected stolen cadavers to teach himself anatomy…

Some of it is innocent, and basically harmless, but a lot of it is pedantic to the point of being insulting. And, in case it isn’t obvious, insulting new customers in an effort to make them worthy of becoming our customers is a lousy marketing strategy.

If your pre-Covid sales content was peppered with educational tidbits and you’re not sure whether it was harmless or insulting, here are three questions you might want to ask before publishing your first post-covid promotional lesson.

Are you answering the questions your new customers are asking?

These questions tend to be things like: Will I enjoy this experience? Will the people I’m with enjoy this experience? Is it worth the money? Is it going to be obscure or intimidating? Will we be safe?

You can be certain they’re not asking about Russian ballet history or late nineteenth century Norwegian class structures. If you want to educate potential audiences, find out what they’re curious about first, and then use your communications content to answer the questions that are uppermost in their minds.

Does the information promise to satisfy desires that your new audiences expressed?

If your focus groups said they just couldn’t wait to hear how early 20th century ethnomusicologist/composers incorporated folk music traditions in their works, by all means, lecture away. But chances are they said they wanted to share a meaningful entertainment experience with friends or loved ones, in which case filling your communications content with history lessons is a truly terrible idea.

Even if your audiences tell you they want to be educated, which is just great, marketing is there to promise them the educational lift they desire, not deliver it.

Are you telegraphing a lack of respect for your customers’ existing level of knowledge?

If your communications content makes people feel ignorant or under-educated or ill-prepared to be a part of your audience – or that coming to your venue will be like going to school without having done their homework – you’re probably doing more harm than good.

Instead of feeding new audiences what you think they should know, learn what they do know and reward them for their knowledge: “You know good music.” “You love great stories well-told.” “You don’t have to be a TikTok star to know that dance is the best way to express certain powerful emotions.” “Mona Lisa is absurdly famous, of course; but have you ever wondered…”


The key to all this is learning what new audiences are curious about, learning what they yearn for, and respecting what they already know. Arts organizations that aren’t doing this have no business trying to teach people how to be their customers.

Three Survival Tools for Post-Pandemic Arts Leaders


Climbing out of the hole this pandemic has dug will not be easy.

Arts organizations are likely to see sharp drops in audience participation, which will be compounded by a slow build toward a new normal that could lag well behind pre-covid levels. Developing audiences during this process will be a delicate dance requiring a new set of attitudes and practices that arts leaders are likely find disturbingly unfamiliar.

Here are three survival tools that arts organizations will need in order to build sustaining audiences after the pandemic.


Nobody will be writhing in the aisles with their guts hanging out during your next Noel Coward play. Calling it a side-splitting, roll-in-the-aisles romp may be cute and catchy, and it may ring comfortingly familiar to older arts leaders, but it isn’t true and it’s not effective communication.

New audiences don’t respond to frivolous hyperbole. They want clear, honest, useful information that explains why your products matter to them. If what they’re looking for is a fun, stimulating way to create lasting memories with family, friends or loved ones, your job is to sell social experiences that offer lasting memories; i.e. if that memory is about sharing a funny play, you should probably say something like, “You’ll remember laughing together for a lifetime.”

Same goes for orchestral concerts, operas, dance events, gallery shows, etc. Take a closer look at your pre-covid communications and ask yourself, “Is this literally true?” “Is it fresh, direct and conversational?” “Does it accurately reflect what new audiences have told us they’re looking for?” “Does it honestly describe the experience newcomers will have when they attend our events?”

The pandemic has made new audiences more important than ever before. We’re talking survival-level importance here, so it’s time to stop spraying hokey nonsense at old insiders and start talking openly and honestly with young outsiders about how the art we sell will give them what they told us they want.


Older arts leaders will find it extremely difficult to humble themselves before the audiences on which their futures depend. It goes against everything they’ve ever believed about what they’re there to do: Creating and presenting art is a higher pursuit, administered by elevated people, for the benefit of lesser souls who might be motivated to aspire.

But new audiences aren’t motivated to aspire. They don’t recognize the elevated status of arts institutions and they lack an internal impulse to ascend into the ranks of an elite cultural class. Research tells us that arts audiences want stimulating ways to share quality entertainment with people they care about. For new audiences, the relative value of an arts event may be persuasive only to the extent that it can facilitate a rewarding social experience. (Talk about humbling.)

Take another look at those pre-covid communications. What have you been selling? If you’re like most arts organizations, you’ve been boasting about how wonderful and important you think your products are without bothering to ask the folks on the outer edges of your support systems (a.k.a. your future) what they think is wonderful and important.

Arts leaders who want to grow post-pandemic sustaining audiences would do well to embrace this crisis as a chance to reconnect with their communities – not as self-important, condescending purveyors of cultural elevation, but rather as humble members of diverse societies who have as much to learn as they have to offer.


It’s not about you anymore.

It really hasn’t been about you for a long time, but the pandemic is about to drive this truth home with painful urgency.

Take one more look at your pre-covid communications and measure how much content was devoted to boasting about how wonderful and important you are vs. how much was devoted to your audience and how satisfied they’ll be when they attend one of your events. If you’re like most organizations, the ratio is about 95% / 5%.

Consider the Noel Coward copy above. The side-splitting stuff is about you. The laughing together line is about them. They’re both designed to indicate that the play will be enjoyable, but the laughing together line is immensely more meaningful, relevant and persuasive because it started with them and it leverages real motivating desires. (The side-splitting line started with a marketing staffer who, using no credible market intelligence, regurgitated the familiar cliches her executive director likes to read when he approves promotional materials.)

If there’s any overlap between what new audiences have told us they want and what the art we’re trying to sell is capable of delivering, this is the world arts administrators need to start living in.



Ultimately, if we’re lucky, the pandemic will have had a great leveling effect, bringing the arts down off their pedestals and giving elite arts leaders the opportunity to relate to people in their communities as equals. Only then will we be able to talk with one another honestly, humbly and selflessly about what is truly wonderful and important.

Covid Could Accelerate Downward Audience Trends By Ten Years


Michael Vincent writes at Ludwig Van Toronto about a scary new trend in classical music: Orchestras that have seen incremental audience declines in recent years may be headed for a frightening fast forward.

If your cultural organization has been steadily losing audiences, the pandemic could accelerate the trend by ten years, says NYU Stern School of Business professor and New York Times best-selling author Scott Galloway. If true, this could mean a devastating plunge in paid participation for already vulnerable arts organizations.

For the last ten years I’ve been begging classical music organizations to abandon their outdated, amateurish promotional traditions and get serious about new audiences, which most have neglected to do. Now it may be too late. The classical music industry has proven itself unable to prevent decades-long audience attrition, let alone reverse downward trends, so it’s pretty clear that a ten-year jump forward – on top of 2020/21 losses – will be catastrophic.

Newer, smaller, more nimble organizations may rise to the challenge, but I fear that larger, less flexible organizations won’t be able to adapt. Survival for many legacy institutions will require a radical overhaul of deeply entrenched organizational cultures and a top-to-bottom restructuring of the way they relate to their support systems. Anyone who has ever worked with a large orchestra or opera company knows that the chances of this happening are slim.

The good news here is that this acceleration will force organizations to do what they’ve been avoiding for so many years, which is to humble themselves before the people on whom their futures depend and find more democratic ways of making themselves relevant to a broader cross-section of their communities. This is, and for some time now has been, the key to cultivating new audiences.

How about your arts organization? Are you prepared to survive a ten-year acceleration in the trends you’ve seen in the last ten years? Or, put another way, if you’ve projected where you’re likely to be in 2031 under normal circumstances, are you ready to be there tomorrow without having had ten years to prepare?

Is Your Arts Organization Humble Enough To Survive?


Doug Borwick published a great series of posts recently about connecting with communities. I think they’re essential reading for elite arts leaders who hope to recover from the pandemic.

Doug says that survival for many will depend on approaching new audiences with respect and uncharacteristic humility.


I tend to agree with Doug, but I wonder how much humility we can expect from institutions that were designed to occupy elevated positions in their cities’ cultural hierarchies. Most legacy arts organizations were created by cultural elites who wanted to hand down the riches of fine art, classical music, theatre, opera, dance, etc. to their communities in an effort to raise people up – to improve their lives – to educate them – to elevate their status – to make them better people.

There’s just no mistaking the top-down “we’re better than you” orientation in this relationship.

And the attitude with which these organizations approached their communities has always been one of benevolent condescension. “We are wonderful and important and you, in recognition of our wonderfulness and importance, should be grateful that we’re here to make your lives so very much better.”

Humility was never part of the equation.

Today we know that new audiences don’t particularly care how wonderful and important arts organizations think they are, and they find their endless streams of self-important boasting to be unpersuasive. “Who the hell are you to tell me what’s wonderful and important? And why would I want to be improved by a bunch of out-of-touch artsy types who occupy positions of no particular status or importance in my worldview?”

This is the disconnect Doug hopes to resolve.

The question I’m struggling with is this: Can arts organizations that were designed to elevate their communities from a position of assumed superiority find a way to convince people of their value, relevance, usefulness and desirability without being condescending?

I’m not sure they can.

How about you? Is your organization a humble, respectful, deferential, coequal member of the community it serves, or does it hold itself above the community and talk down to people whose lives it thinks are in need of improvement?

“A Museum Conceived at the Cocktail Hour”


Washington Post architecture critic Phillip Kennicott, in his review of the new “Planet Word” museum, recently said this:

“Planet Word, which feels a bit like a museum conceived at the cocktail hour, … inhabits essentially the same universe as most of the museums that preceded it a century ago: It hopes to raise up the discourse, and spread the blessings of the educated and elite to those who hope to be educated and elite.”

This quote blew me away because it so perfectly describes legacy arts organizations and it illustrates why so many are in such deep trouble. Spreading the blessings of the educated and elite is a highly questionable undertaking these days and tomorrow’s audiences aren’t begging to be raised up by people who look down on them.

As we come out of this covid crisis, many traditional arts organizations will be forced to acknowledge the shameless condescension inherent in their missions, and consider whether they’re talking down to communities that aren’t looking up. If new audiences are happy with their place in the cultural hierarchy and just looking for stimulating ways to spend time with peers, arts organizations will have to stop trying to yank them up a ladder they don’t want to climb.

The pandemic is going to bump a lot of elite arts leaders out of their mahogany-paneled conference rooms and down out of their ivory towers and insist that they relate to the people in their communities as equals.

It’s tragic that it had to happen in such a disruptive way, but such displacement is long overdue, and it may turn out that having elite arts leaders relate to their communities as equals – virus or no virus – is the most productive way forward.

Is It Time To Professionalize Arts Marketing?


I read this great post by UK arts pro Michelle Wright at Arts Professional today. Wright makes a clear, well articulated argument for professionalizing fundraising.

As you read it, feel free to substitute marketing wherever she says development.

I’ll show you how it works in this lead-in from her fine article.

”Recruiting on the basis of passion for the arts doesn’t make sense in vital income-generating roles… Sector leaders need a talented pool of fundraisers with recognised knowledge and skills.”

”Recruiting on the basis of passion for the arts doesn’t make sense in vital income-generating roles… Sector leaders need a talented pool of marketers with recognised knowledge and skills.”

Who are arts marketers? Where do they come from? How did they ‘end up’ in the arts? Where did they study marketing? Did they study marketing? What professional standards does the industry use to assess their preparedness for their jobs? Are they marketing professionals or arts marketers? Should they be both?

As we emerge from this covid crisis, it’s worth asking – again – If the amateur marketing we’ve grown so accustomed to can save professional art forms.


Does L.A. Need Another Elite Arts Complex?


I’ve been following the LA Times’ classical music critic, Mark Swed, as he champions the development of an elite cultural complex designed by architect Frank Gehry and located next to Disney Hall, the Music Center, The Broad museum, MOCA and the Colburn School in Downtown Los Angeles. This massive new mixed-use commercial complex – The Grand – is meant to tie these disjointed arts venues together, add more performance venues, humanize a sterile stretch of Grand Avenue and provide amenities that expand the area’s destination appeal.

Planning for such a project was well under way when I worked at the Music Center some 20 years ago. My various roles in marketing and sales there often took me into L.A. communities where I learned just how shockingly unengaged the Music Center was with the world around it. Most of the the Black and Hispanic people I met, for example, didn’t know what the venerable old Music Center was or what went on there.

If you read Mark Swed’s articles, you can see this disconnect at play. His commentaries are love letters to Frank Gehry, one of the world’s most elite white architects, and they’re passionate arguments in support of an upscale project designed around traditional Eurocentric arts institutions and their affluent audiences. He’s careful to mention non-traditional arts and audiences, of course, but these mentions are usually tagged-on afterthoughts or obligatory inclusions. Here’s an example from the end of a paragraph extolling the virtues of one of Gehry’s new theaters: “It could just as importantly welcome dance and musical theater created in L.A.’s diverse communities.” 

I’m sure the people who live in those communities will be thrilled that the conspicuously non-diverse planners of this project have condescended to imagine that they might also be included.

Cultural complexes that are designed to serve diverse, multicultural, de-centralized urban populations don’t talk about the people they’re meant to serve as afterthoughts or use the word ‘could’ when discussing what the facility is designed to do. It’s clear that this complex is being built for and will be dependent on a class of Angelenos who spend serious money on tickets to classical concerts, dance, theatre, opera, etc. and who eat at pricey restaurants, shop in trendy stores and stay in fancy hotels.

I have to admit there’s a part of me that finds the whole thing appealing. Marketing events at the Music Center was always an uphill battle. The show had to be really desirable because getting there was a chore and there wasn’t much else to do in the neighborhood. But now with a shiny new mall attached and a broader selection of dining options, it should be much easier to encourage ticket buyers to come. If I were a marketer of cultural events on Grand Avenue, I’d be one of the project’s biggest cheerleaders.

But as an outside observer, I can’t help wondering in this era of Black Lives Matter upheaval if it’s wise to invest so much money in such an elite enterprise that’s relevant to such a narrow slice of the region’s population. All that money being invested in one “center” by one starchitect in one place for one group of affluent arts patrons seems hopelessly out of touch and old-fashioned.

Wouldn’t it be interesting to imagine all that money being invested in a collection of small, local, organic, de-centralized, non-traditional arts venues designed by a diverse group of young architects for an inclusive range of artists and audiences who are products of, and who have a direct, personal investment in the communities they inhabit?

Personally, I think that would be just grand.


Interesting Downtime Reading for Arts Pros


This great commentary from WBUR in Boston came to my attention through Artsjournal.com. I recommend reading it.

It describes exactly how marketing works in just a few short sentences – useful stuff for folks who will eventually need to bring audiences back into theatres, galleries and concert halls. Arts administrators who have never really understood how marketing works will need this fundamental understanding more than ever as we emerge from the Covid-19 crisis.

Julio Vincent Gambuto, the author of this essay, is a filmmaker who takes a bleak, dystopian view of the way marketers will manipulate people into resuming their mindless over-consumption, so it’s not a cheery piece. But it does zero in on an ultimate question for managers of arts brands: How will we rewire the hearts of our post-pandemic patrons?

“Smart marketers know how to highlight what brands can do for you to make your life easier. But brilliant marketers know how to rewire your heart. And, make no mistake, the heart is what has been most traumatized this last month. We are, as a society, now vulnerable in a whole new way.”

Marketers will jump to capitalize on this vulnerability. Some will use it in shallow, callous ways to sell us things we don’t need, that can’t heal or that have no intrinsic value. Others will use it to make people whole again.

The need for heart healing will be overwhelming when the Covid-19 crisis is behind us. Successful cultural organizations will be the ones who make the most credible case for well-being through art.