All posts by Sarah Louhichi

Digital PR and Communications Report 2018 Launch

I had the pleasure of going to my first PR industry event last week and it was such a great experience that it will definitely not be the last. The PRCA event was held at Lansons and presented the key findings in the Digital PR and Communications Report 2018. 

pr eventt
Sarah Louhichi

Ellie Glason, MPRCA and Associate Director for Ginger Research: “This year we can see that – although the digital landscape continues to shift and evolve- the PR industry has now firmly taken up the reins on digital and social media content- a heartening if not unsurprising development.”

Ginger Research partnered with PRCA to survey 384 agency and in-house PR professionals across business services, finance and banking, technology and telecoms, charities and NGO’s, Government and other sectors. The event revealed the insights into digital strengths of PR and communications.

Here’s a summary of the most interesting findings (in my opinion):

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The key findings of in-house social media use indicate that brands rely on social media to drive awareness (83%), reach a wider audience (65%) and increase brand awareness (64%). However, lack of budget (30%), staff (49%) and time (45%) are the biggest reasons for not putting effort into social media engagement. Most of the budget is spend on paid social media activity (55%), web design (51%) and video based content (49%). The main social media platform used by in-house PR and Communications department used for brands is Twitter (91%), whereas only just over half used Instagram.

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The key findings for digital services offered by agencies are online media outreach (83%) and text-based content not far behind with 78% of agencies offering that service to clients. Client expectations mainly lie in blogger outreach (40%) as well as social influences outreach (40%). In addition, 36% of clients expect digital crisis management and online reputation management. The leading agencies services provided to clients are online press release distribution (13%) with text-based content, online media relations and paid social media activity all at 12%.

Unlike In-House departments, agencies heavily rely on LinkedIn and Facebook with 85% and a 11% rise of Instagram use to 70%. The leading platform is Twitter with 91%.

Overall, the report also found that both, agencies and in-house have a need for more education. In-house PR departments cited social influencer outreach as their key area of education (39%), whereas agencies need more education in technology such as augmented reality (39%) , chatbots (27%) and SEO (26%).

Panel

Another really interesting aspect of the evening was the panel discussion with industry professionals Toby Gunton MPRCA, General Manager, Edelman ,Marshall Manson, Partner, Brunswick and Abby Guthkelch, Co-founder, Not Another Agency Ltd. Big discussion points were:

Influencers

During the discussion of influencers all panelists agreed that big agencies pay too much money to influencers that don’t have a big reach and that PR practitioners should be clear with influencers to work in an efficient way. Another interesting point was that micro influencers are now on the rise whereas mega influencers are decreasing, because influencers are about relevance, authority and accessibility and not just a big following. It was also agreed that the responsibility lies with the agency because influencers usually don’t know much about marketing

Trends

The panelists revealed what they believed was one of the trends in PR and Communication in 2018:

Artificial Intelligence – is on the rise with paid search optimisation that allows business to increase.

Social media backlash – because even influencers are now removing themselves from social media or “taking a break”, articles and studies have surfaced connecting social media to mental health issues and addiction to social media.

Rise of non-keyword search – keyword search is going to be replaced by voice search or photographic search.

Overall, I thoroughly enjoyed the evening and thought it was very insightful, educational and included a thought-provoking discussion of the findings with an industry panel. It’s not only useful for practitioners but also for students wanting to start out in the PR industry.

For further information and other Digital PR and Communication Report 2018 events around the UK check out the PRCA events site.

 

 

 

Welcome to the world of Public Relations

Some of you might be wondering why this blog has changed from including sections like film to a Public Relations section. Well, let me explain this somewhat strange decision.

I originally wanted to write about theatre (don’t worry, I still do) and use the skills and knowledge learned during my Journalism degree. So in my third year of my Journalism undergraduate, together with a friend who wanted to write about films, we started this blog.  Now, it’s two years later and she’s moved on to other (great) things and I find myself back at university, pursuing a career in Public Relations.

I’m now doing a Public Relations MA and I would like to use this blog to share my thoughts on relevant issues in PR, use the skills learned and find out what sector in PR I’m most interested in.

For those who followed for all things theatre, don’t worry, it’s still my number one source of entertainment so there will be updates as well.

So please bear with me while I’m trying to find my place in the PR world and use this blog as a channel for that.

Dust | Review

★★★★☆  DEM Productions, Trafalgar Studios

Dust is a bold, honest and heartbreaking one woman show about mental health, depression and the aftermath of a suicide.

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Milly Thomas as Alice in Dust | The Other Richard

Alice struggles with mental health and one day she gives up and kills herself, but she’s stuck. She’s like a fly on the wall, in-between worlds, watching the aftermath of her death and  the effects it has on the people around her. We first meet her on the mortuary slab, where she examines her dead body, almost like she’s looking at someone else. We’re with her when she’s at her own funeral, when she commits suicide and when she wants to hug her parents.

There a light and funny times during the play, where Alice jokingly talks about things in her old life but the dark and more intense scenes, such as her suicide outweigh the lightheartedness. In combination with the mirrored stage by Anna Reid and the direction by Sarah Joyce, the show leaves an aftertaste of feeling lonely, vulnerable and weak.

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Milly Thomas as Alice in Dust | The Other Richard

 

The show itself has a millennial feel to it, not only because Alice is a typical millennial but it also focuses on issues like the addiction to smartphone and the constant urge to check social media that we all know to well.

Milly Thomas’s raw, vulnerable and more than honest performance transfixes the audience. I kept catching myself trying to hold my breath during certain scenes. The overall effect of the production is so powerful that it goes beyond thinking about it afterwards. It almost had a physical effect on me while watching it, unlike anything I’ve ever experienced when watching a show.

Dust runs at Trafalgar Studios until 13 October. Tickets are available here

 

Circa: Peepshow – Meet acrobat Ela Bartilomo

The Underbelly Southbank festival is in full swing and combines the best of Udderbelly Festival and London Wonderground, to bring you the best in circus, comedy and family entertainment.

Taking over Underbelly’s spiegeltent with a night club vibe is Circa’s Peepshow. Most of Peepshow’s music is an original track written by Ori Lichtik (Batsheeva Dance Company) with an interlude of Sweet Dreams (originally by Eurythmics). Peepshow lets audiences see the world from the other side of the mirror and turns cabaret on its head, literally.

Playing with the extreme physicality of this troupe of phenomenal acrobats, Circa blur lines between movement, dance, theatre and circus. Exploring the concept of looking and being looked at, Peepshow uses circus to explore themes of gender and sexuality on the stage.

Circa presents Peepshow at Underbelly Festival 2018 (Photo by Pedro Greig) (2)
Peepshow’s acrobat Ela Bartilomo |Pedro Greig

Millennial London spoke to one of Peepshow’s performers, acrobat Ela Bartilomo to find out more about the production:

Describe the show in three words.

Perception, Reality, the-space in-between

What part of the show amazes audiences the most?

Whilst the solo moments allow the audience to get to know each performer, and vice versa, the large pyramids of people stacked on top of one another seems to astound the audience. Especially when they appear under the stunning lights designed by Jason Organ.

What do you enjoy about being part of the production? 

There is so much I enjoy about the show – the shift of worlds, the challenging of expectations and the representation gender. Most of all I enjoy having the ability to truly be myself onstage. Though it’s great to step into a show someone else has performed before you and experience their world, there is something awesome about knowing you can show the audience as much of you as you want.

What does being an acrobat as part of Circa mean to you?

Being a Circa acrobat to me means being part of a family with one unanimous goal which is to make our audiences feel something. I am honored to be part of a company that is so respectful, kind and caring to one another, though there isn’t really another way to be in this kind of work. As our director Yaron Lifschitz said, “we are not male, female, young, LGBT, old, experienced, or new; we are all just acrobats, unique acrobats of course, but equal”.

What current themes are reflected in Peepshow? How are they explored?

The biggest subject we explore throughout the show is the way that our society perceives women, and men. Inspired by the world of a Peepshow, where men come to look at women to fulfill their own sexual desires and women come to make money and pay the rent. Through a cabaret/ burlesque inspired first half we portray an image of beauty and desire. However, in the second half of the show, we learn that our perceptions are not our realities and come to the great realisation that the image of sex is a façade, and that sexuality is not what we see when we look for it, but something that we find when we express ourselves. This is where our acrobatics have the ability to be raw and unfazed by any expectations we have set up earlier. In fact, we don’t even give our audience a chance to see the fast-paced toss sequences, or 3 back saults in a row as things move fast, that’s reality.

What do you want the audience to take away from the show?

In an ideal world I would love the audience to look back at the show, obviously impressed by the skills throughout, but more importantly, inspired to look at things differently, and realise that things that conflict our existing beliefs are genuine opportunities. Uncertainty and discomfort should be places to dwell and let your perceptions explore, like visiting a marketplace in a foreign country, our assumptions are our greatest downfall.

 

Circa’s Peepshow runs at Underbelly Festival until 18 August 2018

Paper Creatures Theatre: Section 2 – an honest portrayal of mental health

A year after their successful debut production Flood,Paper Creatures Theatre are back at it again. This time they’re showcasing their play, Section 2, about mental health as part of the Breaking Out season at the Bunker Theatre.

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Section 2 | Paper Creatures Theatre

Jon Tozzi and Nathan Coenen, the founders of Paper Creatures look back at their first year: “We knew that it was a great show and that we had a great team behind us. Having a sellout run, with lovely reviews confirmed to us that we need to keep doing this and that it wasn’t just a one off for us. We were passionate about it. We met loads of new people and hopefully gained new audiences and now is our chance of spreading that net wider and reach new people”.

For their new show, the duo found playwright Peter Imms. Section 2 tells the story of Cam who is sectioned and how this affects him and the people around him.

 “When we read the script, both Jon and I were really blown away by how glaringly honest it was – a portrayal of what being in a mental health facility and being sectioned was.”

Coenen continues: “There’s a lot of mental health plays being done right now, but something about sectioning specifically and doing it in such a realistic way, really piqued our curiosity”.

Their goal for this new production is to demystify potential misconceptions about sectioning and the people that are sectioned. “People who’ve been sectioned have told us that they don’t really want to talk about it publicly because they’re afraid it might affect their careers or relationships. The desire to do this play has now spiraled into this passion to be able to hopefully create a piece of theatre that has a lasting effect on the audiences that come to see it, and hopefully create more of an awareness of this subject of sectioning”.

Jon: “We were very keen that it wasn’t just a production about what it’s like to be a patient. That’s something that Peter Imms wanted to address, that it should be a piece about the people around them as well and the importance of that and how it doesn’t affect just one person but it affects so many people.”

Paper Creatures got director Georgie Staight on board.

“They sent me the first draft and it was the writing that spoke first and even that first draft was completely beautiful which meant that I wanted to work with them.”

Jon: “I think it’s a very educational piece. The audience will come out of this knowing a lot more than they did before going in. The audience should feel like they’re a fly on the wall with this production. That they’re watching a real situation just pan out, because it’s coming from a place of such honesty”.

Director Georgie on working with the space in the Bunker Theatre:

“The story focuses around these people surrounding Cam. You see Cam in different kind of stages of distress and comfort. I’m interested in how we stage and play out Cam’s mental state. A lot of it can be portrayed physically and metaphorically and through sound and staging. The Bunker is an interesting space, you have to tailor it specifically”.

Another thing that was important to them was to raise awareness and start a conversation about mental health and being sectioned. “We know with the play there has to be an element of outreach to it. So from the get go we got in touch with the charity Mind and they’ve been so generous with their time. I’ve spoken to about eight individuals who’ve previously been sectioned. We have some short films for the public to see and open up the conversation. We’re also going to do post-show talks with the creative team, people who have been sectioned and charity representatives so we can contribute to this debate.”

Section 2 plays at the Bunker Theatre on Tuesdays and Fridays from 11 June to 7 July. Tickets can be booked here.

Five shows to see at Ed Fringe 2018

The sun is out and the city is booming with people enjoying ice cold drinks. This can only mean one thing, Edinburgh Fringe is around the corner. If you find yourself in Scotland’s theatre city, these five shows could be perfect for you:

3 Years, 1 Week and A Lemon Drizzle

3 Years, 1 Week and A Lemon Drizzle - courtesy of The Other Richard (5)
3 Years, 1 Week and a Lemon Drizzle | The Other Richard

3 Years, 1 Week and a Lemon Drizzle examines the relationship between two sisters and how their close bond was affected when one of them was diagnosed with a severe eating disorder as a teenager. Recalling touching memories, laugh-out-loud anecdotes and Mars bars, this searingly frank and painfully funny two-hander examines what it’s like to live with a loved one and their mental illness. 3 Years, 1 Week and a Lemon Drizzle seeks to show the powerful bond that endures throughout mental illness and reinforces the enduring message – you are not alone. Underbelly McEwan Hall (Jersey) from 1st August at 14:25 (not 13th).

Feed

Feed - courtesy of Michael Wharley (2)
Feed | Michael Wharley

Welcome to the stimulating world of Feed where emotions are the currency and your passions and fantasies will be indulged… for a price. After the sell-out successes of The Marked and The Fantasist, Theatre Témoin return, bringing their vibrant visual style to the world of click-bait culture, fake news and cyber gluttony. Using the incisive and gleeful spirit of bouffon, Theatre Témoin explore the dark absurdity of today’s media landscape and what capitalism has turned it into. Aided by Mentoring Dramaturg Chris Thorpe, Feed looks at how algorithms and capitalism are shaping the information we receive and consume online and how this information is, in turn, shaping us. Pleasance Dome (King Dome) from 3rd August at 14:00 (not 15th).

 

Hunch

Hunch - courtesy of Libby Burke Wilde
Hunch | Libby Burke Wilde

Written and performed by Kate Kennedy (BBC One’s Midsummer Night’s Dream, Channel 4’s Catastrophe and The Win Bin), produced by Edinburgh Fringe favourites DugOut Theatre (Replay, Swansong, The Sunset Five and Inheritance Blues) and directed by Old Vic 12’s Sara Joyce (Dust, Edinburgh Fringe and Soho Theatre; Hedda Gabler, The Bunker and The Scar Test, Soho Theatre), Hunch is a dark new comedy about a superhero and her power to make gut decisions. After using this power to save the lives of others, she starts calling the shots to save her own life. This funny and heartfelt piece celebrates the individual and restores one’s faith in oneself while teaching us that, more often than not, our own gut feeling is right. Assembly Roxy (Downstairs) from 1st August at 17:05 (not 13th).

Tamar Broadbent: Best Life

Tamar Broadbent - courtesy of Christine Coquilleau
Tamara Broadbent: Best Life | Christine Coquilleau

Award-winning songwriter Tamar Broadbent is back and this time she’s asking – how do you know if you’re living your best life? If you’re not, how do you go about changing it? This exciting musical comedy about ambition, anxiety and avocados promises to be her best show yet. Developed by Tamar and Sara Joyce, Best Lifebrings together mesmerising musical theatre, beautifully written songs and highly relatable observational comedy for which Broadbent’s dedicated Edinburgh audiences love her. Tamar is best known for her funny, catchy songs about single life in your twenties which she has toured around the UK and internationally. Underbelly Cowgate (Belly Laugh) from 2nd August at 14:20 (not 13th).

The Journey

The Journey
The Journey

The exciting world premiere of The Journey, written and directed by critically acclaimed stand-up comedian Stuart Laws comes to Pleasance this summer. Co-directed by Phoebe Ladenburg and starring Will Brown and Phoebe Sparrow, The Journey is a romantic comedy about a breakup, set on a spaceship. A play about self-obsession and toxic relationships, The Journey is a funny, relatable and surprising comedy following two people on the unstoppable journey of their relationship. Pleasance Dome (Ten) from Wednesday 1st August at 17.40 (not 3rd).

Tickets for any Edinburgh Fringe show are available here.

Inside Pussy Riot | Review

★★★★☆ Les Enfants Terribles, Saatchi Gallery

Inside Pussy Riot is a powerful and relevant immersive production that needs to be experienced.

Inside Pussy Riot - Les-Enfants Terribles - Production Shot
Roseanna Brear| Kenny Mathieson

In all honesty, I was very nervous before going into the play. Having previously read about Pussy Riot and Nadya Tolokonnikova, I couldn’t imagine how this would be turned into an immersive production.

Naturally, when being led into the first room, I was nervous. Surprisingly, Inside Pussy Riot starts out light and funny, when the audience are led into a room and an ‘incapable’ tour guide welcomes everyone. This was great as this made all of us feel more relaxed and it was a nice ice breaker to the experience.

Then we are led into a cathedral and encouraged to take part in a short protest, to show what we believe in. We get caught and arrested, interrogated and sentenced to labour camp and experience things similar (but toned down) to what Nadya went through during her time in the penal colony.

Inside Pussy Riot - Les-Enfants Terribles - Production Shot
Kenny Mathieson

However, having been to other Les Enfants Terribles productions, this one slightly dissapoints. Some things feel a bit forced and not as natural as in previous productions. There are also parts that slow down the story-telling.

Nonetheless, Inside Pussy Riot feels contemporary and right at the time, hinting at a Trump-led America and the Weinstein scandal that led to the uncovering of countless of other sexual abuse cases in the entertainment industry. It sets up the audience with just the right amount of anger before we are encouraged to vocalise our beliefs.

Another great thing is that it feels like a very millennial way of showing people social issues around the world. Instead of reading or hearing about those issues, we get to experience it, which has a much deeper impact. We walk away finding ourselves thinking: Would I stand up for my beliefs? How would I react in the same situation? Would I be brave enough to stand up for myself and for others?

Inside Pussy Riot - Les-Enfants Terribles - Production Shot
Kenny Mathieson

It seems as though the intention was to raise awareness of oppression, the judicial system and injustice, what happened to Nadya and other members of Pussy Riot and how quickly basic human rights can be taken away from you. As well as adding that typical Les Enfants touch of quirkiness to it, this was completely achieved.

Inside Pussy riot is an immersive production that needs to be experienced. It raises attention to important issues and shocks the audience, so be prepared!

Inside Pussy Riot runs at the Saatchi Gallery until 24 December.

@LesEnfantsTerr