We identified these brand personas that represent balletLORENT’s brand and message. These developed ‘characters’ can help to better understand our typical audience and accordingly send more accurate marketing messages. (For internal use, only)

1. Hardcore Dance Fans (Rapunzel & Rapunzel After Dark)

WORK: creative industries, arts, media
AGE: mid 30’s up to mid 60’s
GENDER: mostly female
SALARY BRACKET: middle-income
LOCATION: various
EDUCATION: Further education/degree level
FAMILY STATUS: partner, usually have kids
GOALS: aims for interesting cultural experience, wants to be a part of contemporary/cultural scene, goes to the theatre for intellectual stimulation.
CHALLENGES: time and their personal preference of dance/theatre productions.
MARKETING: Through the venue (direct mail, e-shots, newsletters etc.) Emphasise the importance of the dance, movement, style. Likely to use social media.

2. Families (Rapunzel)

2.1 Families of the participants (local school children)

WORK: Ordinary and non-specific
AGE: early 30’s to mid 40’s
GENDER: both parents, female and male, but females are more engaged
SALARY BRACKET: lower-income to middle-income
LOCATION: various
EDUCATION: various
FAMILY STATUS: family with child or children
GOALS: seeking an outing for the entire family/ want to see own child in the production
CHALLENGES: time and possibly logistics of taking child to workshops and rehearsals. Cost of tickets for the while family to go.
MARKETING: Through the school by flyers distributed by balletLORENT. Likely to use social media, they can be effective messengers/influncers on social media.

2.2 Families (cultural families, theatre-going)

WORK: Non-specific
AGE: early 30’s to mid 40’s
GENDER: both female and male, but female more engaged
SALARY BRACKET: middle-income
LOCATION: various
EDUCATION: Further education/degree level
FAMILY STATUS: family with children
GOALS: finding the right family activity, spending quality time with a family, aims to expand kid’s knowledge on culture and arts.
CHALLENGES: time and pricing; personal and child’s preferences; not willing to take a risk regarding the content of the show.
MARKETING: Through the venue (e-shots, brochures, social media, word of mouth). Local TV and press coverage, poss local radio. Important to focus on a clear message about how suitable this production is for children, revealing storyline and well-done trailers; focusing on reassurance that it’s suitable for kids. Likely to use social media, active on local family Facebook groups.

2.3 Grandparents

WORK: possibly retired
AGE: mid 50’s to mid 70’s
GENDER: mostly female
SALARY BRACKET: middle-income
LOCATION: various
EDUCATION: Various
FAMILY STATUS: married, grown-up children, young grandchildren
GOALS: quality bonding time with grandchildren (possibly suggested by parents, thus ticket buyer is still mum or dad); aim to expand child’s knowledge on culture and arts; personal entertainment. Treat/outing/an occasion with the grandchild.
CHALLENGES: price, time, possibly accessibility to the venue, health.
MARKETING: Through venue and balletLORENT (adverts in newspapers, brochures, theatre newsletter, e-shots and e-mails, social media sometimes. Local Radio and regional TV coverage). Reassurance that the production is child-friendly, sending clear message about the content of the show.

3. Older theatre lovers (Rapunzel & Rapunzel After Dark)

WORK: high level jobs, possibly government, financial, business or high positions in arts sector.
AGE: mid 40’s to mid 70’s
GENDER: both male and female
SALARY BRACKET: middle to high income
LOCATION: various
EDUCATION: degree level
FAMILY STATUS: Partner, possibly with grown-up children, hence visiting theatre with a partner who is falling in the same category.
GOALS: aims to have quality time, goes to the theatre for intellectual stimulation and genuine appreciation of the arts.
CHALLENGES: personal preference; time.
MARKETING: through the venue (newsletters, brochures, e-shots, social media, word of mouth etc). Focus on dance as an art form, highlight on the theatrical side of things, huge focus to the aesthetic of the company and brand image.

4. Dance course students (Rapunzel & Rapunzel After Dark)

WORK: still at University, possibly on a placement or aiming for one.
AGE: late teens to mid 20’s.
GENDER: mostly female
SALARY BRACKET: minimum income
LOCATION: cities providing dance courses
EDUCATION: degree level in dance or relative degree (e.g. performance, stage management, costume design)
FAMILY STATUS: not married, no children.
GOALS: going to the theatre to see a professional dance production due to educational purposes (independently from the school/university), aims to learn and be inspired by professional dancers and choreographers; is interested in all aspects of the production, mainly choreography, techniques, styles and execution, but also stage, costumes and story.
CHALLENGES: price and time
MARKETING: through the venue, balletLORENT and the university. Engaged on social media, Instagram, Tik Tok.  Focus on the dance side, dancers, choreographer and their daily routines, behind the scenes, dancer takeovers etc. Student ticket offer.

5. Schools (teachers) (Rapunzel)

WORK: teacher or other representative in school AGE: mid 30’s to mid 50’s
GENDER: mainly female
SALARY BRACKET: middle-income
LOCATION: various
EDUCATION: degree level
FAMILY STATUS: various
GOALS: aims to present interesting and useful educational opportunities for students, willing to engage them in quality workshops and introduce them to high-quality art productions. The Lost Happy Endings is part of the national curriculum for primary schools.
CHALLENGES: price, time, higher focus on different subjects or art forms, e.g. sport, drawing etc, not willing to take a risk regarding the content of the show.
MARKETING: through brochures and direct marketing to schools. Presenting balletLORENT as educational organisation, producing quality work for children, presenting the production in a child-friendly way. Supporting materials for teachers.