Corporate Entertainment & Teambuilding!
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We are dedicated to providing the best in corporate entertainment and teambuilding.
Thousands of successful events have been performed in virtually every major US and Canadian City; your satisfaction is our success!
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"A fabulous time had by all! Awesome! The crew was great and everyone really enjoyed the whole evening. Thank you!!"
- Honda -
Virtually every organizational or business function - teambuilding, client relations, creative design and development, sales, marketing, change management, organizational development, or customer service - can be enhanced by our unique implementation of these effective, rewarding and varied options.
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Ten GREAT Ways to Get FIRED Organizing Your Next Company Event! - B. Lindgreen & D.C. Jones -
...a primer on booking live entertainment.
What are you doing under your desk? Oh!--You're in charge of booking live entertainment for the company party. We understand; It's not easy. Corporate entertainers run from hokey to high-falutin', and sometimes it's hard to tell which is which.
Where to begin? Research indicates that the show is what everyone will be talking about-good, bad, or ugly.
You can spend from here to eternity on the venue and the menu, but think about it: do you ever hear people gather around the water cooler saying, "the lighting was just marvelous." Did you ever show a picture to your friend the next day to marvel about the appetizers?
...probably not.
But, the overall success of your corporate event, convention, trade show or party, does depend on the harmonization of three entities: audience, entertainer, and venue, with a million details in between. And if you're booking the event, guess whose job the details are? You may not like it, but the fact that you're under your desk tells us you know they're yours
That's why we've compiled this primer, after consulting with dozens of human resources managers and special event planners, and working with hundreds of entertainers. We've made the mistakes, seen it all, and lived to tell.
If you like it under your desk, and want to GET FIRED, here are the top ten ways to achieve that. But for those of you who would rather be ADMIRED, we have included research on that too.
So c'mon, instead of cowering under your desk, why don't give yourself the chance to actually enjoy your the event, and make it the most memorable and successful one all year! Here. it's a long primer. What can we say? ...we're frickin' smart. And while you're under there, can you get those paperclips? ...thanks.
The Audience
Get Fired
1. Book what you like, not what they like.
2. Think: short-term gain.
3. Get an unconcerned act that will make people cry
Be Admired
1. Who you book says a lot!
You know what you like and what excites you, but does everyone share your taste? One report we received spoke of a spectacular ballroom dancing act for an awards show. The first dance was truly amazing and warmly received, as planned. But as the dancers continued to perform routine after routine, the parade of people making their way to the bathroom or the smoking area was almost embarrassing. Now, this was a high-quality act, and it's impossible to please everyone, but when booking, you must think about the common denominator of the majority of your audience. What is the majority likely to enjoy? If you aren't sure, provide three choices and send out an email to get a consensus.
2. Memories...
Okay, we don't want to get too braianiac on you, but consider this: the memory centre the brain is the hippocampus-located next to the amygdala which controls emotions. It's true. That means events that provoke strong emotional reactions become strong memories: our first kiss, our first marriage, that horrible fight, that near-deadly accident-you don't forget those.
Another report revealed an event where a famous Broadway singer was booked. Who wouldn't be entertained, right? He and his wife sang a litany of show tunes-fabulous quality-but without engaging or even talking to the audience.
Entertainment that is experiential and happy like dancing or laughing provokes one of the most powerful emotions: joy! The endorphins released from laughter and fun makes people feel good. So, the best and least messy way to make a lasting impression is to make your guests-from the warehouse to the boardroom-laugh.
3. Shhhh! Don't Mention the War!
You remember that famous Fawlty Towers episode-the one where the German family came to the hotel and John Cleese keeps accidentally mentioning World War II in their presence, offending everyone
An immediate indication of the level of professionalism of your performer is if they ask beforehand if there are any unmentionables: expressions or topics that he or she should stay away from, and could not possibly know. We're talking about personal issues relating to the lives of individuals (recent death in the family), or inner-workings of the company. Not knowing this can lead to disaster, and not asking, means your performer doesn't care. And it happens!
Can the act guarantee no racist, sexist or homophobic content? Can your act handle sensitive content delivery? Do you get the sense that they're aware of political polarity? Respectful of religious differences? Do they speak with respect, and give you the sense that they're informed by an inclusive vernacular? Can they remain politically neutral? If they don't speak that way with you, how will they in their performances?
Even acts that were just supposed to sing or dance will sometimes chat to the audience. Do you know what they are going to say?
Finally, can they adjust the rating of their performance if you want something a little more raunchy or a little more family-oriented (Rating: General? PG-13? Unclassified!?)
The Entertainment
Get Fired
4. Hire an act without references or support material.
5. Process, process, who cares about their process!?
6. Hire a one-size-fits-all act.
7. Decide based on $$$.
Be Admired
4. Size them up!
You wouldn't hire your accountants on spec. You wouldn't even hire the cleaning staff without references. But the biggest entertainment disasters are usually prefaced with the following conversation. "Hey, I've got a friend who tells some jokes." "Really? What's his number?".
It's important to check the following:
"Does their web-site have a list of past clients? Are they companies you have heard of? ...companies like yours?
"Do they have quotes and letters of references? Can you see copies of the originals if you ask? (Paris Hilton says this top ten list is "hot". Really?...prove it!)
"Do they have a DVD or CD of their act? Does it show the audience and how they are reacting? Taped performances don't provoke the same feelings so it best to check out the people who were experiencing it live. Do they look happy?
"Do they have repeat clients you can call?
"Do they actively seek feedback and evaluation they can share with you?
5. If they don't ask, they don't care!
We've said this, but it requires emphasis. You should be able to separate the professionals from the meek simply by their interest in you, revealing a well-established process, or at least the makings of a fine attempt.
A professional entertainer (or agency) will immediately ask about your situation: do you know what you want? ...the plan for the day-the time, place, venue, technical requirements, other performers they'll be working with, or the tone of the occasion? Once they get this, then they should suggest something.
Do they just wait for you to give your speech and say, "Oh yes, we do that."? If they don't ask good, detailed questions, they're obviously not aware of what they need to handle the particular details of your show.
Remember: some performers are there to perform, others are there to make you look good.
6. Do they fit?
You have a unique company with a unique mandate and unique team players who each bring something unique to the success of your organization--why would you hire generic entertainment?
Do they inquire about your employees or organization? Do they ask how to pronounce names? Do they ask about the age or gender balance, or the (multi-)cultural make-up? Can they adapt their act so it can be enjoyed by an audience that contains English-as-a-Second-Language participants?
Can they, or their references, speak to how they tailored the show? Can/Do they speak the audience's language and use terminology and references that are specific to your company? Any audience likes to feel like they're understood. It provides that extra value to the show, and warms everyone's cockles, and: it REALLY reflects well upon you!
7. Money is the object.
Well...it's one.
After feeling each other out, you'll need to get to a quote. If they tell you the price before hearing the precise requirements, and/or at least providing some options for their provisions, they don't care. Be wary of any agency or performer priced way below the going rate. If they can only commend $75 for a one-hour show, there is probably a good reason. On the other hand, don't think that because someone is expensive, that they're necessarily good.
If you know only the high-priced act will do, tell your boss it's worth it in appreciation, increased productivity, workplace spirit, and establishing a great rapport for conducting business. There's not much worse than showing guests how much you appreciate them by booking Kenji's Amazing Bird Impression Act-especially when they were expecting (and know you can afford) something a little more showy. (No offense intended to Kenji. We loved the Pterodactyl!)
Another good question to ask is: what value do you get for the money? Do you get any added value from the act? Do they offer mementos, keep-sakes or complimentary services? Be wary of countless add-ons that jack up the cost. ("Oh you want him to face the audience? Kenji requires a bird-impressionist-watching fee! He's endangered!") There are legitimate expenses that go into producing a show, but they should all be declared up front.
A good act is usually priced between $1800 and $4000 depending what they are doing and for how long.
The Venue
Get Fired
8. Don't waste money on silly sound equipment.
9. Sit your boss next to the swinging kitchen door.
10. Just get the damn thing over with!
Be Admired
8. "I liked them, but what did they say?"
Technically speaking all expectations are on you. Even if all you did was book a planner, if something goes wrong on the stage then everyone is going to turn and look at you with those eyes that plead, Fix this! If you've seen The Apprentice, you know you can't plead to The Donald: "but they told me they would take care of it."
You were the one in charge.
Consider this: we all have been at an event where there have been sound problems-a mike cutting in and out or not working at all, the music is too loud, the voice too soft, only half the room can hear.
If you're in a hotel or convention center, is the sound controlled by a switch in the kitchen? This is often the case, and generally an indication of a poor-to-middlin' system. And if your performer is a one-some, s/he can't control it. Which means: if there are going to be over 100 guests, hire a sound technician. Some spaces conduct inherently poor sound quality. In malls and large ballrooms the sound careens straight up and NOTHING gets heard!
But if you can't afford one, double-check the needs of various acts sharing the same stage. We had one report where the band had done a sound check and everything was set-for them! When the comedian came on stage nobody had taken the reverb effect of the mike (mike...mike...mike) rendering his act incomprehensible, and not funny in the way he was hoping.
If it's a large or oddly shaped room you can't just use two speakers blasting from the front. This set up is fine for music because the sound will echo of the walls, but for anyone not singing, the result is the people at the back will talk because they can't hear (distracting), while people at the front will have to go home early because their ears are bleeding.
Often the sound company has not been told that there is going to spoken-word used in the system so he or she sets up like they would for a band. Different acts require different sound
Often sound techies come in, set up the space, and leave. Ask if they will be on-site during the entire program. Convention staff may leave sound up to the entertainment, and the entertainment may be expecting the staff to do it-leaving it up to you!
Don't skimp on the sound system, or operator, because the dollars you save will simply go to hiring your replacement. It is VERY IMPORTANT that your audience knows what's happening; otherwise they'll go home to save money on the babysitter which, again, will be funneled into your replacement.
9. Worry more about the center pieces then the people.
Don't cut-off guests from direct view. Balloon bouquets on the tables look great, and then you realize that half your guests can't see the stage.
Also, giant dance floors between the stage and your guests prevent a live performer from connecting with the audience. No connection-no fun.
Is the venue too big for the show, or the show too big for the venue? Your performers' famous pinky-trick won't work in a ballroom. Booking a close up act when trying to animate a trade show means twenty guests have a great time but the other thousand have no idea there was a show at all. Conversely, booking a 14-piece rhythmn & blues band in the Church basement is going to make for a crowded evening.
If there is going to be dancing as well as speeches or comedy acts, consider having two performance areas. Since most banquet tables are round anyway, half of your audience will have to turn around for half the show, and half for the other half. That seems fair, and gives everyone a chance to take it all in.
10. Have a traditional layout and predictable timing
Is your event in town on a weekday? Chances are once your guests have eaten and sat through whatever company-sanctioned presentation was scheduled, they are going to skittle out of there.
If your event is an annual one, using the same venue in the same way with the same agenda means only that your guest will stay long enough to see if the same people get just as drunk as last year.
To keep vendors or employees anticipating what's next consider how you are trying to engage them.
Try entertainers staggered throughout the convention floor in unexpected places.
If you have an early morning keynote address why not introduce them in a way that your sleepy guests would not expect. An opera singer, a masked clown, a man playing a turkey baster does a bit and then introduces so-and-so who walks out to an alert and wide-eyed audience.
You may not be aware of it, but your event may be better staggered in little snippets over an evening (to keep things moving), or large chunks, or delivered all at once. Any reputable entertainer can adapt to this possibility.
The timing of your show is very important and you should determine if, and when, it's necessary. Is your group going to be coming in from a hot, sweaty golf tournament (tired?), or coming from another event with an open bar (rowdy?) Both require special consideration, and potential program amendments. Does your entertainer ask? (We know. We know. We're getting tired of saying it!)
Assuming you're not fired yet-breathe...relax, enjoy the show, your accolades, and Kenji's truly astounding repertoire, including that recently returned-from-extinction Ivory-billed Woodpecker! (How does he stay so current?!)
Brian Lindgreen, writer / researcher, Fore.Eyes Consulting (fore.eyes@shaw.ca) with David C. Jones - "C" is for Comedy Events
Five Issues to Be Considered in Teambuilding
A group is "a collection of people who come together because they share something in common." (Solomon, Davidson, and Solomon, 1993). What they share could be as insignificant as desire to get on the next bus that will arrive at a particular stop. A team, however, is "a group of people who share a common name, mission, history, set of goals or objectives and expectations." A strategy that can help groups develop into real teams is teambuilding, "the process needed to create, maintain, and enrich the development of a group of people into a cohesive unit." Teambuilding exercises are very important in the development of teams that will work together for an extended period of time on a complex project or a series of activities. Teambuilding is not a silver bullet for fixing dysfunctional teams, or assuring that all of your teams will work well. But, teambuilding exercises can be helpful in developing effective teams, if they are selected to enable teams to explore the five critical issues identified in this outline.
Cohesiveness
This term refers to the attractiveness of group membership. Groups are cohesive to the extent that membership in them is positively valued, and members are drawn toward the group. In task oriented (e.g., learning or project) groups, the concept can be differentiated into two subconcepts: social cohesiveness and task cohesiveness. Social cohesiveness refers to the bonds of interpersonal attraction that link group members. Task cohesiveness refers to the way in which skills and abilities of the group members mesh to allow optimal performance.
Team building exercises that have a component of fun or play are useful in allowing social cohesiveness to develop. Examples include: designing a team logo, sharing information about first jobs, or participating in activities to discover characteristics that team members have in common. To develop task cohesiveness, activities that allow the group members to assess one another’s talents, strengths and weaknesses are useful
Roles and Norms
All groups develop a set of roles and norms over time, whether or not these are explicitly discussed. Norms are the rules governing the behavior of group members. The use of explicitly defined roles enables the group to cope effectively with the requirements of the task. The roles and norms that govern cooperative learning groups are often imposed by the instructor, but that does not preclude a teambuilding exercise in which those roles and norms, as well as some that are specific to a group, are discussed and accepted.
An example of a teambuilder which would help teammates to develop effective norms would be to ask them to develop team groundrules or a "Code of Cooperation." A teambuilder which would help teammates use roles effectively might ask them to select the roles which are most needed to accomplish the task at hand and to assign those roles to team members.
Communication
Effective interpersonal communication is vital to the smooth functioning of any task group. Norms will develop governing communication - do those norms encourage everyone to participate, or do they allow one or two dominant members to claim all the "air time?" Team building exercises can focus on skill development, communication network design, and norms, but even when the exercise is focused on another issue, communication is happening. Watch it! Shape it!
There are many ways of facilitating the learning of effective communication skills. Active listening exercises, practice in giving and receiving feedback, and practice in checking for comprehension of verbal messages are all aimed at developing skills.
Goal Specification
It is very important for group members to have common goals for group achievement, as well as to communicate clearly about individual goals they may have. Some teambuilding sessions consist entirely of goal clarification exercises. The process of clarifying goals may well engage all of the issues on this list. Indeed, shared goals is one of the definitional properties of the concept "team".
A simple, but useful, team building task is to assign a newly formed group the task of producing a mission and goals statement.
Interdependence
This is the issue of how each team member’s success is determined, at least in part, by the success of the other members. The structure of the cooperative learning task should be such that it requires positive interdependence: students in a team should "sink or swim" together. Functioning independently of other group members or competing with them should lead to poor performance for the entire group. Both cooperative learning tasks and teambuilding tasks should have such a structure.
A example of a teambuilding exercise designed so that the team becomes aware of, and experiences their interdependence is "Limo Hunt." In this exercise, teammates individually rank the importance of riddles & clues they will need to hunt for. The team then comes to consensus on the rankings of the items. Team rankings, almost invariably, are more accurate than most individuals’ rankings.
Written by:
Darwyn E. Linder, Department of Psychology
Susan Ledlow, Instructional Innovation Network
References
Solomon, Richard, Davidson, Neil, & Solomon, Elaine (1993). The handbook for the fourth r: Relationship activities for cooperative and collegial learning. Columbia, MD: National Institute for Relationship Training.
Some of the ideas in this article were adapted the work of University Associates (now Jossey-Bass/Pfeiffer http://www.pfeiffer.com/) by Darwyn Linder. He and Susan Ledlow further refined it for use in cooperative learning workshops they offer on the ASU campus.