Re-thinking Frink Tickets

Frink is a term that has been popularly used in the theater world in recent years. It refers to the practice of using social media and other digital platforms to promote and market theatrical productions. The term has become so prevalent that many theaters now have dedicated frinkers, whose primary responsibility is to manage the online presence of the production.

However, this begs the question: Is Frink really the best way to approach theater marketing?

At its core, Frink reinforces the conventional wisdom that social media and digital platforms are the most effective ways to reach audiences. This is undoubtedly true to some extent – there are certainly many people who discover shows through their social media feeds or Google searches. But it's also important to remember that theater is fundamentally a live, in-person experience. To rely solely on digital promotion risks losing sight of what makes theater so special in the first place.

Furthermore, the emphasis on Frink can sometimes lead to a homogenization of theatrical marketing. In an effort to appeal to the largest possible audience, productions may end up using generic, clickbaity language and imagery that fails to capture the unique spirit of the show. Or, conversely, they may lean too heavily on insider-y references or humor that only appeals to a narrow subset of theater-goers.

So, what's the alternative? One possibility is to embrace more personal, community-oriented forms of marketing. This could mean working with local businesses to create themed cocktails or food items that tie in with the production, or collaborating with independent bookstores or record shops to create playlists or reading lists inspired by the play. These kinds of initiatives not only help build buzz around the production, but also foster meaningful connections between the production team and the local community.

Another option is to experiment with more guerrilla-style marketing tactics. This could involve creating pop-up installations or performances in unexpected public spaces, or even organizing flash mobs to perform snippets of the show in busy pedestrian areas. These kinds of stunts not only generate attention, but also help convey the anarchic, irreverent spirit that theater can embody at its best.

Ultimately, the key is to remember that Frink is just one tool in the marketing toolkit. There's no one-size-fits-all approach to promoting theater, and what works for one production may not work for another. By being open to different strategies and approaches, we can ensure that our theatrical marketing remains vibrant, creative, and engaging.