Something New Under the Sun: Cirque du Soleil

You'd be hard pressed to find someone who isn't at least aware of Cirque du Soleil. The entertainment company is everywhere: Cirque du Soleil shows perform on every continent except Antarctica and Africa (until 2012, that is). They've not only reinvented the circus, but launched a women's clothing line and the Revolution Lounge at The Mirage Resort and Casino in Las Vegas.

Cirque du Soleil even showed up in my entrepreneurship class as an example of Blue Ocean Strategy. In fact, the company is mentioned on the first page of the first chapter of the book. Cirque du Soleil CEO Guy Laliberté's created an experience that does a traditional circus. As a result, the company was able to achieve a level of revenue (not to mention success) that it took Ringling Bros. and Barnum and Bailey over a century to attain.

Most of the companies cited in my entrepreneurship class are technology companies who succeeded by eliminating steps from the manufacturing process. Where does an entertainment company, let alone one as diverse as Cirque du Soleil, fit into the mix?

Technological innovators such as Steve Jobs and Michael Dell saw opportunity in the market. Yet Guy Laliberté recognizes potential in people, especially Cirque du Soleil's audience:

“We're happiness merchants – giving people the opportunity to dream like
children.”

Banana Shpeel, Cirque du Soleil's latest production, is nothing if not imaginative.

True to Cirque du Soleil tradition (if there is such a thing), Banana Shpeel is an innovative production - but not in the typical fashion. The show is a new twist on vaudeville, incorporating tap, hip hop, slapstick and an engaging storyline. It's inspiring and comedic, but not in the abstract sense. If you've seen Cirque du Soleil in Las Vegas or Orlando, get ready for something entirely new. Get a behind-the-scenes look with dancers Joseph and Josette Wiggan:



Get an even closer look at Banana Shpeel at an exclusive performance on Nov. 18! The first 100 guests who bring a banana to The Chicago Theatre box office on Tuesday, November 3 will win two tickets and be the very first to experience Banana Shpeel!

Banana Shpeel, presented by Cirque du Soleil and MSG Entertainment, will perform at The Chicago Theatre from Nov. 19, 2009 - Jan. 3, 2010. Tickets range in price from $23-$98 and are available by calling 1-800-745-3000 or visiting www.TheChicagoTheatre.com or www.CirqueduSoleil.com.

“...a bracing shot of youthful adrenalin” - Fulcrum Point New Music Project

"Youthful" and "adrenalin" are typically associated with a roller-coaster ride rather than classically-inspired music. Yet Fulcrum Point New Music Project concerts can be as unpredictable as a roller coaster, yet still ambitious and avant-garde. "New Music" is actually a synonym for contemporary classical music, which includes subgenres ranging from New Complexity to Post-Minimalism. The abundance of individual genres, however, indicates that New Music is difficult to define:



Fulcrum Point New Music Project is entering a new era this year. For the 2009-10 season, Randall Woolf will be Fulcrum Point's Composer-in-Residence and each program in the season will include one of Woolfe's works. Woolf has collaborated with everyone from rappers to children's authors (For fans of Where the Wild Things Are: Woolf has an album based on the children's book). He deliberately combines classical with seemingly discordant musical styles and contexts, wishing for the audience to find common ground.

Rooted in technology and popular culture, Fulcrum Point New Music Project's 2009-2010 season is inspired by golems, Jerry Springer, computers and Being John Malkovich. Further extending their reach, the company will perform with Luna Negra Dance Theater, collaborating to explore Heroes and Demons: Legends of Urban, Latin and Native America.

It's not surprising, then, that Fulcrum Point New Music Project's outreach program is as innovative as its music. They bring educational programs and performances to Chicago Public Schools and Cook County Correctional Facilities. Supporting its mission to be a leader in diverse performances, Fulcrum Point New Music Project reaches out to a diverse audience, specifically the immigrant community. By linking immigrants with composers from their home countries, Fulcrum Point New Music Project proves that innovation only serves to bridge the gap between place and time.

Don't miss Fulcrum Point Plugged In, "An intimate show of rarely performed new music influenced by cosmic astrology, Tibetan tantra, and Jerry Springer!" Up to four complimentary tickets per person are available.
















Wednesday, October 28, 2009 at 7:30 p.m.
At the Evanston SPACE
1245 Chicago Avenue, Evanston

RSVP to info@fulcrumpoint.org
by noon on Tuesday, October 27 for free tickets.
Limit 4 complimentary tickets per person.

Offer includes admission only; cash bar will be available.
Offer not valid on previously purchased tickets.

See Fulcrum Point Plugged In, then stay plugged in and connected with The Silverman Group on Facebook. Join our group and receive more special offers.

TSG seeks an Intern!

The Silverman Group is currently accepting applications for its Winter Intern position.

The primary function of the TSG intern is to assist in the overall success of operations at the company. Because this is a boutique firm, all members of the team pitch in wherever needed. As an intern, you have the unique opportunity to be exposed to every facet of activities at a full-service public relations agency as well as experience a variety of types of entertainment clients. Interns will have the opportunity to participate in media interaction and tracking, writing, promotional planning, event facilitation, and market research in addition to some day-to-day administrative duties.

Students pursuing a career in public relations, communications, or arts management who are willing to immerse themselves in the fast-paced work environment are encouraged to apply!

This is an unpaid internship, school credit is available. Length of internship is 3 months minimum, 6 months maximum and at least 20 hours/week.

Interested candidates should send a cover letter, resume, and two writing samples to laura@silvermangroupchicago.com

Don't miss out on this once-in-a-lifetime opportunity!

TSG Speaks Out!

The SILVERMANifesto is officially running at full speed ahead (with great help from our current intern) so we thought we'd take a moment to introduce those behind the curtain. To see a run down of our qualifications and past experience check out the Staff Bios page on our website, but to really learn about who we are as Public Relations professionals and why we do what we do, stay put.

New to The SILVERMANifesto will be a series of posts where we SPEAK OUT! It's your chance to learn why each of us got into PR, why we've stayed in PR, and what are our favorite things about the ever-changing always-exciting Public Relations!

Stay tuned....

First-rate Theater in the Second City: Black Ensemble Theater

Chicago theater has come into its own, and reporters at home and abroad are taking notice. The New York Times praised the diversity and unassuming attitude of the theater scene here. Charles Isherwood went so far as to call New York "the east side of Chicago." Similarly, the Guardian posted an article last month reminding Chicagoans that while rivaling New York theater shouldn't be a goal, it is an attainable one.

It's heartening that the arts scene here is gaining recognition in terms of both quality and quantity (with nearly 200 theaters in Chicagoland). Kris Vire of Time Out Chicago praised Black Ensemble Theater as representative of the city's brand of homegrown theater: "Consider also the uplifting portraits of African-American icons produced by the Uptown district's Black Ensemble Theatre, run by one-woman gale force Jackie Taylor..."

As apt as the metaphor is, it still might not convey the breadth of Taylor's achievements. After writing over 100 plays, her goal is still to use theater as a platform to bring together audiences of all races to celebrate similarities and differences. The result is the most ethnically diverse audience in the country: "BE’s audience demographics are 50 % African American, 40% Caucasian and 10% other races; and 70% female, 30% male." Demographics alone can't account for the power of her plays, however:

Her productions are not only highly educational but uplifting and spiritual. She uses her plays to cross cultural barriers bringing people of all colors and kinds into the theater to celebrate the human spirit. For 30 years she has successfully used theater as a communicator and facilitator to help eradicate the basis of racism, which is ignorance.

Just 29 years after its founding, Black Ensemble Theater was listed in the Encyclopedia Britannica Almanac 2005 as one of the top 25 theaters in the country. Seeing a Black Ensemble Theater production is a spiritual yet educational experience.

The company is The Beatles of theater: Black Ensemble Theater is somehow prolific, inspired and culturally relevant. As Black Ensemble Theater is in its 33rd season, the similarities end there. Their latest production, The Message Is In The Music (God Is A Black Man Named Ricky), does feature songs from the Fab Four. Other artists featured include Curtis Mayfield, Stevie Wonder and The Isley Brothers, The Temptations and Paul Simon.

Don't miss The Message is in The Music, scheduled for an open run at the Black Ensemble Theater. Tickets are available through Ticketmaster.

The Joffrey Ballet: Engaging a Wider Audience

The Joffrey Ballet and Lar Lubovitch's Othello premiered Wednesday! I blogged earlier about the rehearsal, yet still can't wait to see the full performance.



Lar Lubovitch's staging of Othello is dramatic, passionate and anything but typical. It seems like a strange ballet to perform given the current climate -which is exactly what I love about it. Instead of performing an uplifting, lightearted, escapist work, The Joffrey Ballet chose a piece that mirrors the turmoil in society and in many of our personal lives (though not too closely, I'd hope). It is artistic choices like these that truly make The Joffrey Ballet "America's Ballet Company of Firsts." Othello is the sort of ballet that, as cliche as it sounds, has something for everyone - from those who have never experienced professional ballet to those who think they know the extent of The Joffrey Ballet's artistic capabilities.

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My earliest memory concerning dance is watching a ballet at my aunt's house on the tiny TV in her bedroom. More likely than not it was The Joffrey Ballet that I was watchig on WTTW years ago. Still, it boggles my mind that Chicago did not have its own ballet company until 1995. Before then, The Joffrey Ballet split its time between New York and LA.

From the beginning, Joffrey and Arpino wanted a company that came out of their
roots, out of America.

It's fitting, then, that the company made the Midwest its permanent home. It was a defining moment for Chicago in establishingthe city's reputation as more than a wannabe New York. Despite its ties to the city, the company that began touring out of a station wagon continues to tour extensively. Making stops that other companies might pass up, the company recently performed in Des Moines, Iowa. Fabrice Calmels describes the crowd:

They were a wonderfully responsive audience, even giving us a long standing
ovation at the end of the evening.

The Hancher Theater in Des Moines, Iowa. Photo courtesy of Fabrice Calmels.

Perhaps outreach is such an integral part of the company itself because The Joffrey Ballet originally began as a touring company. They educate the next generation of dancers through school programs and through the Academy of Dance, Official School of The Joffrey Ballet. To me, the most important aspect of the company's outreach program might not officially be considered outrech. The Joffrey Ballet literally goes where many other companies do not (artistically, emotionally and geographically). In my mind, this is what sets them apart from other companies and what makes them a true representation of a Midwestern city. From nomadic beginnings to their current state as artistic missionaries, the company has stayed true to its goal: innovation, offstage as well as on.

Othello runs through Oct. 25. Tickets are available here.

When Bad Reviews Hit...

It happens in every form of entertainment - theater, film, dance, music - every now and again a performance is bound to receive a poor review and when that happens, as a publicist, what do you do? It is your job, after all, to sell said performance to the media and ultimately to the public, but when a reviewer bashes it from the get go, giving it the ill-fated "Not Recommended" label, how do you ensure that the production still receives deserved press and attendance?

For some clients reviews don't mean a thing. Yes, they like to see their product written about in the major papers, magazines, and websites, but whether or not they sell out a show has nothing to do with the reviews. Sometimes that's because the company has such strong credibility that one bad review can't come close to smudging their reputation and sometimes it's because the company has such a loyal following that, good or bad, they will be there to witness the newest form of art. However, for most companies a critic's review is important and bad reviews can sting.

Working in Entertainment PR it is imperative to look at the performance beyond the physical performance. For example, who in the cast and crew has an extraordinary tale to tell or where did those costumes come from? When bad reviews hit, it's our job to put on the research glasses and find another hook. Profiles, anniversaries, and special occasions are excellent ways of sharing the performance with the public without relying on the work its self. Just because a reviewer doesn't give a performance his praise does not mean the general public wouldn't enjoy it; however, the general public needs to be exposed to a positive story in order to catch their attention.

Despite bad reviews, clients have still received great write-ups in the Food, Business, and Metro Sections. Pitching specific people, ideas, or eating habits can help shine a light on a client as can pitching different media. For example, if a theater production has a great soundtrack why not reach out to a music writer?

Of course all this is easier said than done, but it's our job to try. Fortunately, one bad review will not ruin a company and there's always the next production! But it's always a good idea to look outside the box because one day a client may receive a bad review and hopefully you'll already be prepared with a list of other hooks!

The History of Pegasus Players

So far, I've been introduced to many companies and concepts that I was familiar with before I started this internship - and many more that I have not had the privilege to see in person. One such company is Pegasus Players. I had the opportunity to conduct some informal research as their newest production, Ten Square, premiered yesterday.

Photo by Shepsu Aakhu

Pegasus Players has a unique, holistic view of theater. Part of their mission in performing as well as outreach is to inspire and train the next generation of actors. As a result, the company holds completely open auditions. Outreach goes beyond the classroom, as the company includes the elderly and middle aged among its extended audience. Pegasus Players is the only arts organization to win the James Brown IV Award of Excellence for Outstanding Community Service.

Their commitment to the continuity of the art exists onstage as well as off. They choose scripts based purely on artistic merit and contribution to social justice. As a result, Pegasus Players' performances include shows that were not originally hits on Broadway, including Assassins, Merrily We Roll Along, Pacific Overtures, Anyone Can Whistle, The Frogs, Passion, and Company. In addition, the company dedicated itself to restoring the Duke Ellington musical Jump for Joy, never previously heard by the public. Eight never-before-heard songs premiered as part of the musical in 1994.

More than 310,000 people have seen Pegasus Players perform since 1984 alone. Check out Pegasus Players' website and explore over thirty years of theater history. Then see the magic for yourself with this exclusive offer:

We'd like to offer you $10 tickets to the World Premiere of "TEN SQUARE" presented by MPAACT and Pegasus Players. (Tickets are regularly priced at $17-$25).

$10 tickets are available for:
Thursday 10/8 at 8pm
Friday 10/9 at 8pm
Saturday 10/10 at 8pm
Sunday 10/11 at 3pm
and every remaining Thursday performance (Oct. 15, 22, 29; Nov. 5, 12, 19)

To purchase tickets go to http://pegasusplayers.org/cms/ and use code word "silverman"

Pegasus Players is collaborating with MPAACT to present the world premiere of Ten Square. Ten Square will be at the O'Rourke Center at Truman College through Nov. 22. Tickets are now on sale.

Photo by Shepsu Aakhu

Befriend The Silverman Group on Facebook or follow us on Twitter for more exclusive offers.

A Day in the Life of The Silverman Group's Intern

I've already seen that it's difficult to define a "typical" day in public relations, but my days are more typical than most.

On a given day, I may be conducting research, updating press materials, compiling media lists and clip packets, making recommendations to clients and of course, adding to the blog. Conducting research is my least favorite aspect of the writing process in class, but I really don't mind it in a professional setting. For two years, I've heard professors preach about the importance of research, but now I've seen firsthand the impact that it can have. During my first week, I found it much more difficult to write on behalf of clients with whom I was not familiar. Seeing or hearing a client's work and studying it beyond familiarity helps enormously. I can put myself in the place of an audience member and determine what sets an individual or a company apart.

While I've had the opportunity to work on hands-on projects, I think I've learned the most through osmosis. For a PR student today, determining whether or not you want to work for an agency is one of the hardest decisions to make (and naturally, we think we have to figure it all out now). Everyone in an agency environment seems to describe the trade off in terms of having a working knowledge of multiple clients or knowing one client very well. I'm not sure that's true any longer. As I've mentioned in other posts, working in a small agency and knowing your clients well seems to be both personally and professionally gratifying.

My time with The Silverman Group is only about a quarter of the way through and I've already experienced so many aspects of the business - more than I would have expected. My previous internship with a start-up was much different. Managing multiple clients and having existing relationships is somehow easier and more difficult than working with a small company. Bloggers were a key part of our strategy, and were a perfect fit for the brand, but it's much more satisfying to see TSG clients appear in major publications. I've enjoyed studying how to promote events and companies with mainstream appeal and a unique artistic vision.