Doug Matthews's Blog, page 3

The Performing Mindset

Back in December, I started talking about performers and the reasons why they do what they do. In this post I want to discuss the performer's mindset.



Mindset – frame of mind – zone – headspace. These terms
describe a utopian psychological state inhabited by performers, elite athletes,
motivational speakers, and anyone who must be at their absolute peak of ability
performing before a live audience. It is a place where their body, mind, and
spirit meet in harmony in readiness for the task at hand. Only those who visit
can understand how necessary it is to find it in order to give a successful
performance.







Different performers have different ways of achieving this
state. Some pace, some pray, some joke, some drink coffee, some intently review
scripts, some practice, some stretch or do exercises, some just talk, but
everyone does it, either consciously or sub-consciously. Indeed, some
performers have onstage personalities completely different from their offstage
personalities and people are often astonished by this. Really, it is only their
inhabitation of a performing mindset that is happening. If the two
personalities are extremely different, then performers may need some extra time
to get into that performing mindset.




Anthropologist Victor Turner understood what is
happening. Any performance, as he noted, involves “frame, flow, and reflection”.
By “frame” he was referring to “that often invisible boundary... around
activity which defines participants, their roles, the ‘sense’ or ‘meaning’
ascribed to those things included within the boundary, and the elements within
the environment of the activity,” in other words, for our purposes, an event
entertainment show. Performers recognize that the show (or “frame” according to
Turner), is a distinct activity outside the norm of everyday life, and can be
treated as such, so that they are free to be who they want or need to be. They
can only get to this state by being given time to be on their own away from
distractions.




What does this mean for event producers? It means that performers,
no matter who they are, must be given quiet time before their performance, on
their own, to find the right frame of mind. Therefore, it behooves the producer
to provide such an environment. I consider this to be one of the most important aspects of working with
performers.



References:
















Turner, Victor. (1988). The
Anthropology of Performance. New York: PAJ Publications. pp54-55.

My Latest Book Finally Launched

After a couple of years of writing and editing, my latest book has finally launched. It's a compilation of stories and anecdotes that took place during my nineteen years as an entertainment agent and special event producer.



No doubt everybody has similar stories if you are in this business. The problem is, would you tell them to your clients while you are still working? I no longer have to worry about gaining clients so here they are, all the embarrassing moments that nobody knew about until now.  This is what it's all about:



Uncontrollable
laughter. Overwhelming tears. Thunderous applause. These are what every
performer strives to educe from an audience. In my job as the person
responsible for planning private corporate entertainment shows and putting the
right performers onstage at the right time, it was also my goal and a measure of my success. Unfortunately, something
happened along the way.





Jungle
animals on the loose, bar fights, pyrotechnics gone awry, technical glitches,
unusual brushes with the famous, a sweltering outdoor show for UN troops in
war-torn Cambodia, and clients who committed deadly sins – these are but a
small sampling of the stories that await within Stumbling Toward Applause: Misadventures in Entertainment.




This inspiring book is a selection of stories and
anecdotes from the early 1980s to 2004, when the special events industry was in
its infancy. While there are many entertainment memoirs on the market, this is
the first book of real-life experiences within this particular industry. With
the consequences of human frailty as the overarching theme, it takes readers on
an emotional rollercoaster ride, from hilarious live, onstage mishaps to the
poignancy of an actor’s death. Under the surface, though, lurk nuggets of
wisdom and lessons about life, business, and relationships. 




Check out a preview, or buy the book on Amazon.




I hope you enjoy this lighthearted read.

Why Performers Perform

Loosely interpreting the pioneering work of Turner (1988)
and later of Schechner (2002), performance in complex societies is a
three-phase process consisting of a
rehearsal period (proto-performance,
from Schechner), a performance period, and a cooling-down or post-performance
period (aftermath, from Schechner).
These periods form the core of performers’ existences, and although they move
occasionally outside the phases, they inhabit them most of the time if performing
is their chosen profession. It is a lonely place to be, especially during the
rehearsal period, a place where the only feedback may be a mirror, a director’s
or choreographer’s comments, the playing back of a taped song, or a spouse’s
friendly encouragement. Validation comes with group rehearsals and eventually
from a real audience. Why, then, would anyone choose such an existence? There
are several reasons.




·     
To enter flow. Czikszentmihalyi (1974), and later Turner (1988) are credited with
bringing the term flow into the lexicon of psychology. Flow refers to
“an interior state which can be described as the merging of action and
awareness, the holistic sensation present when we act with total involvement, a
state in which action follows action according to an internal logic, with no apparent
need for conscious intervention on our part.” Most performers at some point in
their careers will experience this. If they are highly trained, it will
undoubtedly occur on a regular basis. For the performer, it is a very desirable
mental state, somewhat metaphysical and even transcendental. For them, it is a
feeling of wanting to remain “in the moment.” It happens particularly with
group performances and only when members are completely “in synch” and
performing together, each “sensing” what the others are doing as if they were a
single, totally blended unit. It does not happen for every performance and it
does not necessarily happen for an entire performance. When it does, however,
it is magical for the performer.




·     
To connect with the audience. Connecting with an
audience is the ultimate validation for their existence that performers seek.
It means that first, the audience has indeed “received the message,” and
second, the art form and method of delivery are appreciated. Most of the time,
this will be either sensed by or obvious to, the performers (e.g. through the
audience’s rapt attention or applause/laughter at appropriate times). Of
course, negative connection is also possible and if it is obvious to them, the performer
must make immediate changes to try to re-establish a positive connection.




·     
To receive recognition. What better job
satisfaction can there be than the instantaneous gratification obtained by
sustained applause or a standing ovation? For performers, this beats the
endless pushing of paper in an office, the constant struggle to climb the
corporate ladder, and the frustrations of company personality clashes. The
occasional accolade letter or annual corporate personnel reviews do not come
close to the ecstatic screams of an adoring audience. Why else would the
Rolling Stones still be performing after 40 years? They certainly do not need
the money!




·     
To receive remuneration. Unfortunately,
performers have to live and, unlike the Rolling Stones, most of those who work
in special events are not highly paid, contrary to the opinion of some
uninformed clients and the general public. While the psychology of performing
may be their main reason for choosing this career path, they do need to be
compensated for doing it.




References: 



Schechner, Richard. (2002). Performance Studies: An Introduction. London: Routledge.
Turner, Victor. (1988). The Anthropology of Performance.
New York: PAJ Publications.

Annual Venetian Masked Ball: Il Ballo del Doge

Thanks go to my industry colleague, Sharon Bonner, of Bright Ideas Events here in Vancouver for this post. Sharon has landed a deal to promote Canadian attendance at the 2013 edition of the Il Ballo del Doge. I took a look at her web site and the video below of last year's event and realized the outstanding creativity and thought that went into it. I felt it would be a great idea to share it with readers as it is truly a magnificent event, so here it is, described below. For more information about attendance, go to the Bright Ideas web site at http://www.brightideasevents.com/il-ballo-del-doge-3/.






A palace lit by the flames of a thousand candles. A visual feast of performers and décor. A stunning parade of culinary masterpieces, assembled with a historic palette. And amidst it all, masked guests adorned in sumptuous costumes, playing their own part in an extravagant illusion, conjuring history, and bringing magic to a modern age.

This is the   unforgettable real-life experience of Il Ballo del Doge. One of the most renowned events of the annual Carnival of Venice in Italy, Il Ballo del Doge is a masked ball without equal. The brainchild of Italian designer/producer Antonia Sautter, Il Ballo del Doge is held every year in the opulent Palazzo Pisani Moretta – a perfect setting for this amazing evening. This year’s event is called It’s All About Amore – with Eros, Romance, and Passion each taking over a floor of the famed Venetian palace.



Created to entertain and delight the most discerning of guests, Il Ballo del Doge even surpasses the lofty expectations of those accustomed to a world of beauty and luxury. No surprise that it’s a favorite stop on the social calendar for members of the global A-list and Vanity Fair called it “the most sumptuous, refined and exclusive ball in the world.”

Whether you are looking for an unforgettable way to celebrate the masquerade tradition of the Carnival of Venice, seeking a chance to anonymously rub shoulders with the rich and famous, or simply want to experience one of the world’s most memorable parties, the 2013 Il Ballo del Doge should be on your bucket list.

What better way to experience the unforgettable Il Ballo del Doge than by opening and closing the Venetian carnival with one of Antonia Sautter’s signature events? This year it’s finally possible. For 2012, Sautter has expanded her vision even further, bringing back her showcase 'best of' event for a second year with Frames of a Dream, to be held Saturday, February 2, 2013, at the start of the festival, and providing a suite of event packages for discerning travellers wishing to a enjoy a complete Carnival of Venice experience. As the exclusive Canadian representative for Il Ballo del Doge, Bright Ideas Events can arrange for your tickets to this truly unforgettable experience.

Five Predictions: What’s Next in Event Management Technology and What It Means

It appears that our fast-changing event world is increasingly dependent on technology, particularly mobile technology. Not a specialist in that area, I am calling on a guest for this week's post. He is Justin Ungerboeck, the Product Marketing Manager at Ungerboeck Software International. In this post, he takes a look at the future.


In an industry that evolves as quickly as event management technology,
figuring out what comes next can be nearly impossible. However, there are some
trends rising that could indicate some big changes for developers, organizers,
and venues alike. Here are some of the “next big things” on the horizon for our
industry, and what they could mean.


#1: Free or Low-Cost Apps


As more people come to expect mobile apps as part of an event,
organizers will need a way to provide this perk without busting their budget. In-app
advertising will offer a way to offset the costs of an application, and ever-decreasing
lead times for development will also contribute this price drop.


#2: HTML5


StrategyAnalytics predicts that sales of HTML5-compatible smartphones will grow to
1 billion in 2013, up from just 336 million in 2011. This language will become
the standard for event management applications because it allows for easier
compatibility between devices. 



#3: DIY Mobile Event Apps


Mobile apps have traditionally been the realm of larger, established organizations,
since the cost was simply too high for smaller players to get involved. DIY
mobile event apps will provide an affordable alternative for those with smaller
budgets. However, these apps will be limited in their uses and designs, leaving
space for custom and semi-custom apps to remain. A parallel can be drawn between
this and website development: Standard templates can be used to create a cheap
and easy website. You simply fill in the blanks with your information and upload
it. However, this template may not accommodate all your needs and also may not
reflect the company perfectly. A custom website is more expensive, but it also
provides flexibility and a better representation of your brand. In the same way,
DIY apps will offer a fast and cheap solution, but custom and semi-custom ones
are here to stay. 




#4: Multi-Platform Integration



Right now there is a heavy focus on smart phones, but development is
moving more into tablets and desktops, as well as toward the integration of
these three platforms. As hardware progresses and these devices become more
powerful, they will become mobile equivalents of the laptop/desktop software,
offering everything that the main system can do in a more portable package. All
information will be available and synced instantly between devices. 




#5: Social Media



The role of social media will increase in mobile apps and be integrated
into the software itself. This will allow attendees, organizers, sponsors, and
other involved parties to network and communicate better, and lend a more
community-like feel to the event.




These are just five of the possible developments that could occur in
event management software over the next few years. Whether these changes
actually come to pass is anyone’s guess, but in any case, it’s plain to see
that mobile event management software, and the people who use it, are in for a
major transformation.

A Last Look at Reasons for Entertainment

Creating Ambience




Particularly
in theme events, establishing the right ambience for the event is one of the
first considerations producers have. The ambience can be so much more than
static décor or lighting, even if the lighting is automated. Adding other
sensory input in the form of live entertainment helps to set a “living” mood.
This can be done for any number of reasons, such as providing an atmosphere for
easy discussion, for conducting business, or for relaxing. The proper choice of
music can accomplish this with perhaps a jazz trio that enables unstrained
conversation. As a side note, the importance of establishing and maintaining
this relatively “quiet” ambience should not be passed over lightly. At far too
many special events, the background noise level is excessively high, caused by
poor room acoustics but exacerbated by music that is supposed to be background
but is too loud. Producers tend to believe that volume equates to having a good
time which in turn equates to a successful event and they could not be farther
from the truth. In the majority of corporate events, guests attend because they
want to dialogue with long-lost colleagues, and in many such events, to
consummate business deals. This cannot be done if talking is uncomfortable. At the
other extreme, atmosphere can be high energy. For example, a group of
“paparazzi” greeting guests at the event entrance sets a lively ambience
(Figure 1). One prime example from my own experience was adding to a beach
party ambience by having a surf band enter the party in an authentic “Woodie”
complete with honking horn, surfboards, and girls in bikinis.











Figure 1: Example of “Paparazzi” Greeters
Helping to Set Ambience (Courtesy Alan Gough, www.visionmasters.net, and Pacific Show
Productions, www.pacificshow.ca – Copyright 2006)






Rewarding Performance and for
Image Purposes      




Frequently, producers are called upon by clients to “just
give me something really good”. This would seem to yield the conclusion that
not all entertainment needs to have a deep reason. Realistically, there usually
is one if the event producer or client is asked the right questions. For
example, an incentive client may make just that statement, although the real reason
for the entertainment is as a “reward” for top sales people (i.e. meaning
motivational content). Likewise, a client may not state a reason but in reality
wants to impress his or her clients by providing great entertainment. If budget
presents a problem, producers may have to find performers or perhaps a single
act, who can deliver an “all-round package” at a reasonable price. Such
performers tend to exhibit three key characteristics. First, they are
absolutely perfect at their craft (entertainment form) whether it is music,
comedy, dance, athletics, or any combination. Second, they incorporate a
component of comedy into their act and make it seem natural and spontaneous,
not forced. Typically, though, it has been rehearsed, proven, and refined over
the course of time. Third, they incorporate a component of audience
participation into their act, again making it seem unrehearsed and spontaneous,
and again it will have been proven to work over the course of dozens or
hundreds of performances. Such acts, in my experience, regularly receive
standing ovations and make producers and clients alike look good.




Celebrity performers can also be ideal as “rewards” or as
image enhancers. Dianne McGarey, a producer with considerable experience
in this area states, “Of all the things I do on a regular basis, celebrity
events are my favorites. Over the span of 23 years, I have produced Smoky
Robinson, Natalie Cole, Jim Belushi, The Four Tops, The Temptations, The Steve
Miller Band, The Doobie Brothers, and Kenny Loggins . . . to name just a few. In
almost every case, the client who chose these acts did so for the express
purpose of creating a company image. They wanted to impress as well as
entertain those in attendance whether they were employees, their own key
clients, or potential customers.” For clients with good budgets, this is
undeniably the best way to gain prestige. Figure 2 shows a celebrity (Jim
Belushi) at a private corporate special event.













Figure 2: Celebrity
Headliner at a Private Corporate Special Event (Courtesy Axtell Productions
International, www.axtellproductions.com )






That's it for the reasons for entertainment. In future posts, I'll look at different types of entertainment and how to work with performers.

Another Set of Reasons for Using Entertainment in Special Events

Decoration




A novel
and frequent use of entertainment in events is as decoration. The performer(s) take
on the persona of decorations that can be either stationary or moving,
interactive or inactive. Costumed living statues, interactive entertainers (e.g.
stilt walkers, mimes, dancers, and others in themed costumes who move amongst
guests anywhere but on a stage), and look-alikes are typical of decorative
entertainment. Figures 1 and 2 are representative of extremely novel
interactive, but decorative, performers.


My
company produced many events using this form of entertainment. At some, we
placed dancers in spotlighted statuesque poses amongst tables as guests entered
an event space. Once all were seated, the dancers then gradually came out of their
poses and began an introductory dance routine. At another beach party event, we
actually hired bodybuilders to pose and lift weights as if on “Muscle Beach.”








Figure 1: Example of Dancers as Decoration (Photo
by Photo Tech, courtesy of Event Solutions)













Figure 2: Example of a Performer as Decoration (Courtesy
Designs by Sean, www.designsbysean.com)






Announcing, Introducing, or Advertising



For this
use, performers may announce, introduce, and advertise people, products,
services, and activities. These reasons are lumped together because the concept
for each is similar. Some examples best illustrate this concept:




Celebrities as masters of ceremonies
Herald trumpets to sound a call to dinner, to introduce another
segment in an event, or to draw attention to a speaker (Figure 3)
A personalized video greeting from a celebrity or from an
automated talking head as part of a product introduction
Strolling “robots” used at a trade show to draw attention to a
particular booth or product
A magical “reveal” created by a magician for introducing a product
or person
Fireworks at midnight used to “introduce” the New Year.





Perhaps
the best results occur when producers get creative with “off-the-wall”
concepts. Here are some examples from my own personal experience. 



We once introduced a new Vancouver to Boston airline service by
photographing a Paul Revere character riding a horse in front of a taxiing 747
while holding a huge banner announcing the service.
One of our clients (a gas company) made the front page of the
local newspaper when we dressed up two actors as a new baby and Father Time and
had them lighting a giant 15ft tall gas torch like an Olympic flame (it was an
Olympic year), just before New Year’s.
For the introduction of a version of Microsoft’s Flight Simulator
computer program near Christmas one year, we provided about a dozen Santa
Clauses all playing the game at a bank of computers, an advertising gimmick
that successfully drew a lot of attention and garnered press coverage.
A new dollar coin was introduced using an 18ft diameter flying
helium “space ship” inside a convention center ballroom that made a surprise
entry flying over the heads of assembled guests and dropping a giant replica of
the coin onstage to a VIP speaker who proceeded to make a speech about the
occasion.












Figure 3: Example
of Trumpets and Horns Used to Announce or Introduce (Courtesy Calgary
Exhibition and Stampede, www.calgarystampede.com)





I'll cover the last reasons for entertainment in the next post.

More Reasons for Entertainment in Special Events

Emotionally Moving People




Psychologists define the primary emotions as fear,
anger, sadness, joy, surprise, disgust, and contempt. An emotion is considered a
response to stimuli that involves characteristic physiological changes—such as
increase in pulse rate, rise in body temperature, greater or less activity of
certain glands, change in rate of breathing—and tends in itself to motivate the
individual toward further activity (Emotion, 2004).
People tend to confuse emotions with feelings and even psychologists are not
united in definitions. “By one estimate, more than 90 definitions of ‘emotion’
were proposed over the course of the 20th century (Plutchik, 2001,
p. 344).” For simplification, we will assume that emotions are the
primary stated above and feelings are what emanate from these. For example, one
might feel guilty about not contributing to a charity for starving children as
a result of watching a movie that stirs the emotion of anger in the observer
because so much food is being wasted due to corruption in poor countries. One
might feel exhilarated and proud because of the emotion of joy experienced when
hearing one’s national anthem played as an Olympic champion stands on the podium
Any performance that is able to trigger strong emotions and subsequent feelings,
to stir the audience inside, will be
memorable, no matter what the performance genre (e.g. music, dance, comedy,
acting). Emotional content is a direct reflection of the skill of the
performers in choosing appropriate material, combined with their abilities to
deliver it. We will explore this in depth in the next section.




I was
once given the task of providing after-dinner entertainment for a black-tie gala
of a national association. The organizer and her committee were not too happy
with my suggestion of a harmonica player as they thought it was not befitting
the occasion; however, because they were longstanding clients, they allowed me
to proceed. The show went very well and after it, several people came up to me
and thanked me profusely because they were moved to tears by the performance,
which had managed to hit them deep inside. The choice of performer was
purposeful, in that he had a tremendous ability to deliver emotionally charged
songs (his own), delivered in a simple yet effective manner and I knew they
would work. He was also adept at playing over 20 different mouth instruments
and had won numerous awards.




Motivating and Inspiring People




Motivating
an audience is distinctly different from emotionally moving them, although they
will undoubtedly experience some strong feelings when being motivated. As
opposed to only trying to stir inner feelings, motivation’s goal is to
give the audience a reason to take some action. This might be to buy a product,
to improve one’s life, to become closer to God, to work harder, to give to
charity, to sell more cars, or a host of other reasons. Motivational
entertainment takes emotional performances and adds a specific message and call
to action. For example, if one is producing a fundraising event for special
needs children, the entertainment might incorporate a moving song performed
live by an onstage celebrity with video clips of the special needs kids in the
background. At the end, a request is made for donations. For more excellent
examples of this type of persuasive entertainment, one only has to watch the
many charity telethons that raise millions of dollars annually. Almost any form
of entertainment can achieve motivation if the content and timing are correct.
Other examples of when it might be used are for incentive groups and
teambuilding activities (e.g. with drum circles), for sporting events (e.g.
with cheerleaders or loud rock music), and for conference opening and closing
sessions (e.g. with motivational speakers). Figure 1 gives an example of a typical
motivational speaker, a form of entertainment often used in special events. Inspirational
entertainment differs from motivational primarily by the fact that there is not
necessarily any call to action, only a general uplifting of the spirit.











Figure 1: Example
of a Motivational Speaker at a Special Event (Courtesy inspirational business
speaker Ian Percy – www.IanPercy.com)




Still lots more reasons to go and I'll look at them in the next post.




References






Emotion. (2004). The Columbia Encyclopedia (6th ed.). New York: Columbia University Press. Retrieved April 27, 2006, from Questia database: http://www.questia.com/PMqst?a=o&d=101242680


Plutchik, R. (2001, July). The Nature of Emotions. American Scientist, 89, 344. Retrieved April 28, 2006, from Questia database: http://www.questia.com/PMqst?a=o&d=5000081731.

Why Use Entertainment in Special Events?

As event planners and producers, before we use entertainment in a special event, we need to understand its impact on an audience. In other words, we need to analyze exactly why we are suggesting it to a client.




The reason for any given entertainment concerns the overall
message delivered by a performance. It is the “why” question answered. The
performance must satisfy the audience and client and deliver the promised
results based on the original reason for the entertainment. For special event
production purposes, the audience’s interests are usually represented by a single
person (e.g. a client or event manager) or a small number of persons (e.g. an
organizing committee) during the planning process, and it is this person or these
persons who must articulate the reason for the entertainment to the producer. Here,
then, are the main reasons we produce entertainment shows for special events.




Education




A
powerful reason is the imparting of knowledge to an audience; it may be based
entirely on learning or may be a small part of a larger show with multiple
goals. Here are some typical examples that have proven successful in my own and
my colleagues’ experiences.



Scripted show. This occurs when entertainment is used with the main
goal of providing – or helping to provide – knowledge to the audience. I have
done this for a scripted variety show format in which we created a show that
told part of the history of Canada through segments that incorporated singing,
dancing, comedy, and acting, thus telling the audience in an interesting way
about the country’s history. Another way is to partially script a show to
augment a corporate presentation and to thereby explain more about the company
goals, such as for a sales meeting, or for the explanation of a complicated
concept. I have done this through the use of improvisational comedians who
performed semi-scripted, humorous problem scenarios for an audience of
financial planners who then had to workshop solutions for the scenarios
presented. Dianne McGarey, formerly of Atlanta-based
Axtell Productions has had considerable experience with this
type of show and states, “To do this successfully, it is vital to have a
professional scriptwriter who will work closely with you to incorporate all the
vital information, and agree (up front) to do “rewrites” as needed. A
theatrical director and rehearsal hall for the cast will also be required.”


Existing act. Knowledge may also be imparted through the inclusion
of performers who use education as part of their act, such as cultural dance
groups who explain the origins of their dances (e.g. Chinese, Native American,
African), storytellers, or handwriting analysts (personal knowledge), among
many. My company frequently used a world champion gold panner who would not
only teach guests how to gold pan, but would also teach the history of
gold panning and gold rushes while they were doing it. Figure 1 depicts a
Native American show that imparted knowledge about their culture using song and
dance to portray a legend.











Figure 1: Knowledge Imparted through the
Enactment of a Native Legend (Courtesy Wayne Chose Photography and
Pacific Show Productions, www.pacificshow.ca – Copyright 2006)




Physically Moving People



There is
no more impressive method of physically moving crowds than to have them follow
highly visual and loud performers. Using a marching band or other “noisy”
entertainment to lead people can save considerable time, especially with a
large audience, and can be a nice segue from a reception to dinner or between
event segments. In my career I have used marching bands, Swiss alpine horns,
drum groups, color guards, cowboys on horses, fanfare trumpets, a town crier,
stilt walkers, a Chinese lion, Dixieland bands, dancers of various types,
clowns, old cars, and more I can’t remember. In almost all cases, guests
automatically followed the entertainment without having to be told what to do,
thus making my job as a producer a little easier (not to mention negating the
need for a costly add-on audio system in a remote location).




Following
musical performers or noisy acts is not the only way to move people. Also
possible is creative hosting. For example, we once designed an Evening in Paris
night for an important client at which we used a dozen male and a dozen female
dancers dressed in traditional French attire and all very outgoing. They
greeted and cheered guests as they arrived and individually escorted each guest
to their table, then appeared later to perform a can-can dance routine after
which they went into the room full of seated guests to bring them up to the
dance floor (Figure 2). This concept of participative “party starters” has
gained tremendous popularity in recent years.









Figure 2: Example of Creative Hosting (Courtesy
Alan Gough, www.visionmasters.net,
and Pacific Show Productions, www.pacificshow.ca – Copyright 2006)




More reasons for entertainment in my next post.

What To Do When Event Disaster Strikes

When event disaster strikes - and it does - to everyone in this industry at some time or other, it helps to have a game plan. There are two possible general scenarios from which you will need to recover. One occurs when the event itself is in jeopardy and something must be done to make it continue successfully. The other occurs when you have to save a client and your reputation. These situations assume that you have already taken every precaution for controlling risk and have completed proper risk assessments before the event has even begun.
















Saving an Event




When you are called
upon to “save” an event, it usually means you must add, delete, substitute,
reconfigure, or accommodate something in order to make the save possible! In
almost all cases, the “save” is necessary because of unforeseen and
unimaginable circumstances. Based on the collective war stories of TEAM Net
(Total Event Arrangements and Meeting Network – www.go2teamnet.com) and the foresight of
Dianne McGarey, one of the founders, the following key rules are offered for
handling those eleventh hour challenges, whatever their size and scope. 






Keep a cool head and a professional demeanour. Your client depends on you to know the answers, fix the problems, and
hold his (or her) hand through each event. If you go ballistic when faced with
a challenge, you both lose!  Find a
non-public place to discuss the problem with team players. Always be the
expert, always remain in control of your emotions and your temper, and always
be a leader. 
Pull your core team together and determine
what options exist. Questions to ask include: What are the key elements of this event that must happen? What is the most important thing to the
client? What absolutely cannot happen? What are the physical and logistical limitations? What resources do we have to make changes –
financial, human and technical? What are our options?
Divide and conquer. As a group, determine the best one option and put all of your resources
to work to make it happen. Once you have decided on the solution, make sure to
clearly define individual responsibilities. During this crunch time, it’s important for everyone to be working parallel ahead toward the same goal. Don’t rule out
help from your competitors. 
Make sure the new plan is clearly articulated
to the client and approved. Also, be sure to communicate the plan to the entire event team,
including all support vendors who may or may not have been contracted by you. 
Make it happen! Be sure to personally thank everyone who helped make the save possible!
In some cases, it might be appropriate to share the “save” with the client so
they can appreciate your problem-solving professionalism. 
Learn from the challenge. What lessons were learned from this challenge
that can be applied to future events to prevent similar situations from
developing?




Saving a Client – and Your Reputation




Sometimes, no matter
how much you anticipate, how much you plan, how many times you double-check
details, or how hard you try to make the “save,” Murphy’s Law strikes and a
situation develops that has the potential to do serious damage to your
reputation and your relationship with your client. Usually, it boils down to
the fact that something you were contractually obligated to provide does not
materialize in a manner that is satisfactory to your client. In these cases,
there may be no other alternative but to come to some compromise with your
client or with another player in the event such as a venue. This is often known
as a “good dose of humility” or “eating crow!” Every event planner experiences
this at some point in their career.






When an event goes
wrong or something unrecoverable happens, the key points to consider are: If the event is still ongoing, minimize any adverse
effects on your client, the guests and the venue. It may be possible to minimize effects if the people on your team react
quickly and competently, as outlined in the first section. For example, in the
case of technical problems such as microphone or audio difficulties, computer
glitches and such, if backup equipment and software are available, a minor
problem will remain just that and may not require any compromises. However, if
they are not and the problem is not resolved swiftly, it quickly becomes a big
problem and a major interruption in an event’s flow, which will probably
require some settlement with the client. Preparation and anticipation are the
key words here. 
Communicate to your client exactly what has happened
and why it has happened, as soon as possible and as honestly as possible. When a problem is obvious to guests or an audience, and to your client
– and obvious is the key word - the worst thing you can do is to remain silent.
Your client wants to be kept “in the loop” and must know what is happening
literally from moment to moment. This communication is ultimately what will
probably save your reputation and your client. Without it, the client can feel
as if you are trying to hide something. Even if the problem is due to someone’s
incompetence, admit it up front and take immediate steps to solve the problem.
Don’t hide. Be proactive! 
Formulate a methodology to appease and keep your
client. Now comes decision time. If in your assessment  - or by way of client comments - the event
was compromised by a problem, then after the event a continuing dialogue with
the client is very important. Explain to him/her you are concerned that the
event was not up to the standards you promised and are known for. Have ready
within 24 hours after the event a solution that you believe will honestly make
the client happy and will keep him/her as your client. This does not mean you
have to give away the farm, but it usually means either financial restitution
of some sort (read substantial discount relative to the size of the problem) or
a promise of future consideration in the form of free or discounted services or
products. Arrogance and an unwillingness to negotiate a fair settlement have no
place in these situations. 
Learn from the problem. As in the case of saving an event, what
lessons were learned from this problem that can be applied to future events to
prevent similar situations from developing?




The next time you sense disaster about to strike, try to remember these rules and you should end up smelling like roses!




Oh, yes, and by the way, I have had more than my fair share of both types of situations. In fact, a tell-all book of these stories will hit bookshelves sometime this fall. I'll keep you posted.