<p> This project seeks to identify the impact of donor recognition practices upon acquisition and retention of individual donors within the Southern California theatre industry as a shift occurs in philanthropy trending away from corporate to individual gifts. </p><p> Drawing upon interviews with development professionals, cost and benefit analysis, and investigation of past donations, this project determines the effectiveness of current donor recognition structures that are commonly implemented without constant analysis of their performance. The objective of gathering practical data and understanding how and what motivates the average theatre donor, will determine future donor recognition approaches that can be implemented within the Theatre Arts Department. Additionally, the results of this study will inform the implementation of a donor wall for the CSULB Theatre Arts Department</p>

<p> This thesis, presented in partial fulfillment of the requirements for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, investigates the business models used by performing arts festivals known as "fringe festivals." In the United States, there are three basic fringe festival models: the open access or Edinburgh model, the limited access model, and the adjudicated model. Interviews with artists who participated in fringes as producers reveal that the model impacts the participant experience less than the degree of scaffolding the fringe offers and the degree to which the fringe constrains producing choices. This thesis suggests a fringe festival framework, classifying fringes by degree of scaffolding and constraint, which can be used by producers to identify festival settings that will be the best fit for their needs. The framework can also be used by fringe festival organizers as a tool for self-reflection and festival assessment.</p>

<p> This paper reviews current and historical opera marketing practices and analyzes the marketing mix (product, place, promotion, price, and people) of major opera companies in the United States. The purpose of this paper is to determine methods to attract and build sustainable, less homogenous audiences. Surveys were conducted to determine public perceptions about the art form from both opera-goers and non-opera buyers and interviews with leaders within the field of opera marketing revealed current trends. The paper provides insights about changes within the field in recent years and offers suggestions for improvement based on the success of other opera companies and other artistic organizations.</p><p>

<p> This thesis, presented in partial fulfillment of the requirement for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, analyzes the origins and limitations of the traditional subscription model used by performing arts organizations. As subscription sales continue a nationwide, decade-long decline, some companies are exploring nontraditional models, while in other industries new media is facilitating innovative alternative methods of monetization. These new models are successful when they customize offerings and increase value provided to patrons, who increasingly desire flexibility and dialogue. Based on a SWOT analysis and Quantitative Strategic Planning Matrix, these alternative patronage models are evaluated with respect to their viability for implementation by California Repertory Company (Cal Rep).</p>