Earning attention

At his non-rambling best Merlin Mann is one of my favourite contemporary online writer-thinkers.  Lately he's been energetically promoting the idea that what counts in life is not so much where we spend our time or money but rather where we focus our attention.

Every professional performer has endured the experience of a paying audience getting bored and talking through your act: -

Even after they've given you their time and money you still have to earn your audience's attention

The signals that you've yet to earn that attention are pretty blatant if you know what you're looking for.  My first corporate theatre gig, which was also my first paid work after I quit the marketing department of Coca-Cola, was a morning of team building for some long since subsumed Sydney freight company.  The maiden outing of Alternative Corporate Training Services (aka 'ACTS')* was in mid-December 1991 and the job had been a long time coming.  Our show used improv techniques to teach teamwork to corporate types but we'd really just been hired to make the group laugh for an hour whilst they set up for Christmas lunch in the room next door.  I have three distinct memories of that afternoon: -

1. There was no air conditioning so it was stifling.  It was Sydney in December and our hour was the only thing between the group and a fridge full of icy beer
2. We took the 'stage' (read: walked to the space at the front) to the Emerson, Lake & Palmer version of Fanfare to the Common Man.  The idea was the entrance would be epic but as the venue had no sound desk we'd brought along an old boom-box, which I had to clunk on then hold above my head from the back of the room
3. As we started the MD, who hadn't signed off on our appearance, sat at the foremost table took out a massive mobile phone and ostentatiously placed it in front of him

The signal was as clear as day: you have my attention but only for as long as no one (anyone) from the outside world wants it.  The amateurishness of our entrance, our visible lack of self-belief and even our dumb company name meant we hadn't earned the right to ask him to switch off his phone.  Everyone in the room knew it and our gig went downhill from there.

There's a moment with every audience when you have to 'get them'.  If that point in time passes without you earning the room's attention you will struggle thereafter.  The same rule applies with absolutely every kind of audience; a target market of prescribing doctors, an electorate or an online community.

That day in 1991 we stumbled through the hour by dropping the team building message and playing for laughs, which is all they wanted anyway.  They paid us in cash and we went directly to the Chinese restaurant up the road and spent the entire fee on our own boozy Christmas lunch.  Late that afternoon our pager beeped (we shared the one between us) and a booking agent offered us a gig at a January kick-off event.  At that second, boom-boxless, gig we earned the attention of the room and ACTS-CORPRO-Instant Theatre-Dramatic Change went on from there.

* Because we were a theatre group.  Geddit?  No?  Anyone? This was the first of our dumb company names.  After that we went for CORPRO Productions ('Corporate Impro') before getting to Instant Theatre then Dramatic Change