More often than not, sales of a product are related to consumer behavior, brand or product reputation, customer and business networks, price points, persuasiveness of messaging, accessibility to bandwidth (and so much more) rather than just excellence alone.

He or she knows that merit is not enough fuel sales of a product.

But wait, wait, you have capital-E Excellence on your side!Д®dgar Allen Poe once said: вЂњThere are few cases in which mere popularity should be considered a proper test of merit.вЂќ A marketer knows this. Now, youвЂ™re expected increase income by 150%?! In one year?! And this expectation comes with fewer chances to recoup losses (you only have two productions to earn your budgeted income) and a just slightly less-than-pathetic marketing budget. YouвЂ™ve been squeezing blood from of a stone for years with your pathetic marketing budget just to sell $1,000 worth of tickets to each show. If you are or have ever been responsible for ticket sale income, you are probably hyperventilating. However, letвЂ™s say we were inspired by the advice given by Remington and McGuirk at the 2011 TBA Conference! If we decided to вЂњfocus on excellenceвЂќ by reducing the number of productions (in this case, weвЂ™ll say from five to two) while keeping our budget flat, as was suggested by Remington and McGuirk, then weвЂ™d expect to get a model like this in 2011-12: So, letвЂ™s say we are able to recoup the costs of each $2,000 productions with $1,000 in ticket sales and $1,000 in contributions, like this: We earn the remainder from donations and grants. We donвЂ™t think running up a cumulative deficit year after year is very healthy, so we aim to earn at least $10,000 (or $2,000 a production) to balance the books.Д«eing a nonprofit performing arts organization, we tend to only earn about 50% of our income from ticket sales. Of course, we are fiscally responsible managers in our hypothetical example and our expenses are based not only on what it would take to accomplish our artistic vision but also our pragmatic revenue expectations. For the sake of easy math, let us divide our budget equally among the productions: $2,000 per production. Let us say that we run a theatre company and our budget for our 2010-11 season of five productions was $10,000 (weвЂ™ll roll the operational budget into the production to keep this simple). Second, the advice of Remington and McGuirk was based on math that did not account for the less-than-flexible variable of earned income.

That is not to say there is not excellence being produced with more (or crap with less), only that it is impossible to support the claim that that funding is the sole catalyst of artistic excellence. I think we can all agree that we have all, on more than one occasion, seen quite the opposite: small budget projects succeeding because of creative solutions to having less and big budget projects failing because of uninspired excesses from having more. In other words: if more funding, then better art less funding, worse art. With further thought, I see two problems with this advice.ДЇirst, the advice of Remington and McGuirk was based in what is, in my opinion, false logic: Funding equates to excellence of artistic product. The suggestion was not to, for example, continue spending $10,000 on five shows, but rather spend $10,000 on four shows (or three or two), increasing the budget per show and thus, according to the speakers, increasing the excellence of the artistic product. вЂDo less, but better, with the sameвЂ™ was the gist of their statements. His views do not necessarily reflect those of Theatre Bay Area or those of his employer.Д¬an we really вЂDo less, but better, with the same?вЂ™ДЄ follow-up to the 2011 Theatre Bay Area Annual Conference PlenaryДuring the Supply and Demand Plenary at the 2011 Theatre Bay Area Annual Conference, it took me a moment to realize just how misleading the advice of Ralph Remington of the NEA and John McGuirk of the Hewlett Foundation was. He has an MA in Community Development and Planning from Clark University and previously worked with Philharmonia Baroque Orchestra, Trinity Church in the City of Boston and as a freelance writer. Sasha Hnatkovich is the Communications Director of Marin Theatre Company.

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