Fast Company: I revisited my definition of strategy several years ago and realized recently that I hadn’t written about it—just presented it privately to executive teams in the context of my strategy work with them. I decided to rectify that oversight by writing this Playing to Win/Practitioner Insights (PTW/PI) piece on it called Revisiting my Definition of Strategy: Compelling Desired Customer Action.
3 comments:
It's absolutely critical that union members get their benefits in the theater industry. I believe that every strike is entirely justified especially in an industry that would throw all of its workers into a meat grinder if they could. Of course in order to fund this sort of union work I think we need more funding from the government or other sources to continue to ensure that our industry work continues to function. Considering just how inconsiderate the industry has been. Union workers should continue to strike for everything that they believe in. Especially for medical reasons. Our work can be incredibly dangerous and not having funding for the dangerous work that this industry makes us do is absolutely ridiculous and a totally worth striking over. I also think that union work especially should become more normal because there's just so many benefits to being in the Union and strikes can be incredibly beneficial to the working community
In the light of performance, art, and theatre, the words “business strategy” can feel slightly conflated to me. It’s impossible to create a long-lasting show without strategy (targeting your audience, advertising, making it look appealing, strict budgeting, and ensuring that profits will cover expenses over time). On the other hand, a show made purely for money looks and feels soulless in a way that audiences detect without fail. The author’s new definition of strategy really makes me think about the competitiveness of the industry. I’m using Broadway as an example, because it’s the most competitive and deals with the most finances. Almost every show there upcharges tickets, and offers drinks and merch. By the author’s definition, this isn’t strategy, because it’d be stupid not to do these things. But by the nature of plays and musicals, each show offers something new that can draw in an audience. Does this count as strategy? Or is the strategy in appealing to the masses? (In that case, we’re in for a world of adaptations, jukebox musicals, and revivals).
Despite this being an article on how to run a business I think this is quite applicable to the stage and production manager. Despite the running and managing of theatrical shows not primarily being focused on monetary success, it is still absolutely crucial that the aspects of running a successful business, personnel and customer wise, are taken seriously into account. This article reminds me of the book we are reading in Stage Management Seminar called ‘Start With Why,’ a book largely focused on creating a successful business. In this article, the author mentions how it is crucial to make sure that all choices are integrated within each other. This point instantly reminded me of making a load-in schedule. The PM needs to ensure that every department has the time and space available to them in order to accomplish what they need to but also each department needs to be able to work in the same space on a limited schedule.
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