Community Leader Spotlight
Aaron Nichols, Executive Director, South Bend Civic Theatre
Tell us about your journey to the South Bend Civic Theatre—how did you land there?
It started with an audition almost 25 years ago. I was coming back from Chicago and looking for theater opportunities here in South Bend and auditioned for a production of Oklahoma that was at the Morris Performing Arts Center way back in 2002. I was cast in the role of Will Parker, who's the roping, crazy, secondary lead in the show. I learned how to do rope tricks and tap and all sorts of fun things for that show, and that started a relationship with the South Bend Civic Theatre that continued. I acted for a few years, and I started directing for a few years, and then I was on some committees for a few years. In 2017, I was asked to be on the selection committee for a new executive director. During that process, the search committee said, “Aaron, we'd like you to drop off the search committee and throw your hat in the ring for this position.” I was a little reluctant, but I said, “You know what? I love this organization. I know this organization, and I think I could hit the ground running.” So, I threw my hat in, was hired, and it's been eight years! In South Bend, I really feel like the nonprofits root for each other, and there's a collaborative spirit that's really powerful and gels with my ethos, which is that community is the most important thing. And I think we've done a good job in the last eight years to champion that philosophy.
How has marketing helped or contributed to the success of the South Bend Civic Theatre?
Well, first of all, I want to give a shout-out to our marketing manager, Abbey Platt. She's incredible and doing great work for the theater. When I started, my first hire was a full-time marketing manager, and I think that speaks to the importance I felt marketing has for an organization like ours.
One of the most important things an organization can do is raise awareness. And while that includes facts, it's also about philosophy. A good marketing manager speaks with the voice of the organization. I think previously there was a perception that the organization was a little old fashioned, like your grandparents’ civic theater, so maybe it wasn't for you. It was really important that we shifted that brand to be a little more current, a little hipper. Then we saw our demographics change, such that the average theatergoer was in their forties instead of their seventies.
Also, we want to make sure that we look like the city we’re representing, with our patrons, as well as volunteers and content. You often think of marketing as just “butts in seats,” but when you have a theater as small as ours (200 seats), you start to choose who you want those butts to be, and I wanted to make sure that they looked more like South Bend. Marketing plays a huge role in doing that.
What surprised you about working in an administrative role in the theater/arts industry?
I always thought people's buying decisions were based on quality—and only quality. “I know this is a good show and I'm going to go see it.” Right? But the more I've been in this position, the more I realize it's trust, and that theatergoers trust this organization. I've been to enough shows to know that, yes, of course quality matters, but that must be coupled with a relationship of trust and belonging with the organization, which is essential. There needs to be that personal connection. And that's why I come to every performance and open every show and say, “Hey, welcome! You're now part of the Civic family. Thanks for coming. Is there anybody new here? Thanks for taking a risk. You're part of it. You belong now!” And I think that kind of welcome drives people's allegiance to the brand.
Also, I'm consistently surprised by how many people don't know about us. I think that means just taking off your blinders and realizing how much work you have to do as an organization to continue to promote not just the shows, but the organizational branding.
What's on the horizon for the Theatre?
Some of the most important things we're doing are in the education field—we're really trying to get out and about. We hired a full-time engagement person for education outreach. We're doing afterschool programs all over, working with the library, working with Boys and Girls Club, and working with so many different organizations around town.
Another newer initiative is doing our best to share a diverse slate of stories. What are the stories we're telling, and why? I mean, we always tell a lot of great stories, but what are the stories we're telling, and why? And I think that's become more and more important to the organization to say, “Who's been left out? How can we tell those stories? How can we bring in folks who feel that their story hasn't been championed or uplifted?” And even though DEI is seen as poison right now, we're doubling down on that, because in a community like ours that is so vibrant, diverse, and beautiful, those stories deserve to be told. And when you've built your trust as an organization with the community, and then you tell those stories, it's remarkable how much empathy and compassion, and just “neighborliness” you build from telling those stories.
What was your first job?
My mother did crafting in the eighties—she made Amish dolls and little teddy bears and all kinds of fun stuff. And she was amazing at it! I helped her sell those at the Shipshewana Flea Market, probably from the ages of 6 to 10. I was quite good at it, and her profit margins went up when I was wearing the Amish hat and selling her dolls! My college education was subsidized by a lot of that revenue.
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