Planning a successful benefit has never been an easy task, but planners say that the demands these days are higher than ever. "It's not enough just to sell tickets anymore," said Marcia Stein, executive director of Citymeals-on-Wheels, during a recent roundtable discussion among seasoned benefit planners organized by BiZBash in private dining room in the wine cellar of the 21 Club. "Now you need to get good reviews after your event, too. It's like theater."
In order to get the good reviews that mark a successful fund-raising event, planners say they are working harder than ever to differentiate their galas from all the others on the calendar. Bruce Sutka of Florida-based event company Sutka Productions International said, "Palm Beach now has 600 events, so creativity plays a huge part in what gets noticed." For instance, at one event Sutka used custom-designed ladies' hats as centerpieces, which he sold for a nominal fee when the program concluded. It's an example of a simple idea that can go a long way to offset costs and improve the bottom line.
Of course, selling centerpieces alone can't make an event profitable. And live auctions, although great money-making tools, can also lead to long, boring events that cause guests to tune out. So how do experienced planners reconcile the problem? Stein advised limiting the live auction to biggest items, and relegating the less expensive ones to a silent auction in order to keep the program moving briskly. Toby Boshak, executive director of the Princess Grace Foundation USA agreed, citing Sotheby's maxim that guests can only tolerate a maximum of 15 to 20 items before they lose interest.
The key to a successful live auction is not only its brevity, but also its high level of excitement. If you're auctioning off a safari in Africa, why not bring in the tickets on the back of an elephant? (Probably because such a stunt would be difficult and expensive, but you get the idea.) Private consultant Jane Emerson, whose high-profile clients include the American Ballet Theater, remembers an auction item at one of her events that brought in a great reward for her client: a cameo spot on a float in the Macy's Thanksgiving Day Parade. "It went for a fortune," Emerson said, adding that she believed the success of the item was part of a new trend of guests wanting to bid on more unique, priceless items, rather than the fine art objects that were once popular.
Amy Rosi, a former Escada exec whose firm Aros Communications now works with clients like Saks Inc. and the Madison Avenue Business Improvement District, provided perspective from the other side of the business: the sponsors' side. "I resist donating to auctions because sometimes the brand message isn't clear, making the donation a bad marketing decision for my client," she said. "Other products in an auction can muddy a sponsor's brand message. I'd rather give money toward sponsorship of an event where there is more likely to be brand recognition."
Both planners and sponsors agree on the importance of communicating to ensure a mutually beneficial relationship. Barbara Tober, chairwoman of the Museum of Arts and Design, said, "We always have to ask ourselves, 'What are we going to give back to our sponsors?'" One way for benefit planners to give more back is to incorporate sponsors' brands into the entire fabric of their events, including kickoff cocktail parties and other smaller fetes leading up to the main event. "The gala is the final moment, the fireworks. But it's immensely important to send out the publicity over the course of several months," said R. Couri Hay, president and CEO of Creative Public Relations. "The smaller events support the gala. They allow you to get it in the paper even before it actually happens."
And benefit planners can't underestimate the power of junior philanthropists—big-name donors in their 20s and 30s—to get the press involved. Jennifer Rosenblatt, director of special events for the March of Dimes Greater New York chapter said, "Juniors really have the power to bring in new publicity," because of the fashion and prestige they bring to events,
even if their involvement alone doesn't bring revenue. And with all the galas on the calendar, the planners at the forum agreed that publicity is a critical element of success. With so many years of experience on the cutting edge of the business, they should know.
—Alesandra Dubin
In order to get the good reviews that mark a successful fund-raising event, planners say they are working harder than ever to differentiate their galas from all the others on the calendar. Bruce Sutka of Florida-based event company Sutka Productions International said, "Palm Beach now has 600 events, so creativity plays a huge part in what gets noticed." For instance, at one event Sutka used custom-designed ladies' hats as centerpieces, which he sold for a nominal fee when the program concluded. It's an example of a simple idea that can go a long way to offset costs and improve the bottom line.
Of course, selling centerpieces alone can't make an event profitable. And live auctions, although great money-making tools, can also lead to long, boring events that cause guests to tune out. So how do experienced planners reconcile the problem? Stein advised limiting the live auction to biggest items, and relegating the less expensive ones to a silent auction in order to keep the program moving briskly. Toby Boshak, executive director of the Princess Grace Foundation USA agreed, citing Sotheby's maxim that guests can only tolerate a maximum of 15 to 20 items before they lose interest.
The key to a successful live auction is not only its brevity, but also its high level of excitement. If you're auctioning off a safari in Africa, why not bring in the tickets on the back of an elephant? (Probably because such a stunt would be difficult and expensive, but you get the idea.) Private consultant Jane Emerson, whose high-profile clients include the American Ballet Theater, remembers an auction item at one of her events that brought in a great reward for her client: a cameo spot on a float in the Macy's Thanksgiving Day Parade. "It went for a fortune," Emerson said, adding that she believed the success of the item was part of a new trend of guests wanting to bid on more unique, priceless items, rather than the fine art objects that were once popular.
Amy Rosi, a former Escada exec whose firm Aros Communications now works with clients like Saks Inc. and the Madison Avenue Business Improvement District, provided perspective from the other side of the business: the sponsors' side. "I resist donating to auctions because sometimes the brand message isn't clear, making the donation a bad marketing decision for my client," she said. "Other products in an auction can muddy a sponsor's brand message. I'd rather give money toward sponsorship of an event where there is more likely to be brand recognition."
Both planners and sponsors agree on the importance of communicating to ensure a mutually beneficial relationship. Barbara Tober, chairwoman of the Museum of Arts and Design, said, "We always have to ask ourselves, 'What are we going to give back to our sponsors?'" One way for benefit planners to give more back is to incorporate sponsors' brands into the entire fabric of their events, including kickoff cocktail parties and other smaller fetes leading up to the main event. "The gala is the final moment, the fireworks. But it's immensely important to send out the publicity over the course of several months," said R. Couri Hay, president and CEO of Creative Public Relations. "The smaller events support the gala. They allow you to get it in the paper even before it actually happens."
And benefit planners can't underestimate the power of junior philanthropists—big-name donors in their 20s and 30s—to get the press involved. Jennifer Rosenblatt, director of special events for the March of Dimes Greater New York chapter said, "Juniors really have the power to bring in new publicity," because of the fashion and prestige they bring to events,
even if their involvement alone doesn't bring revenue. And with all the galas on the calendar, the planners at the forum agreed that publicity is a critical element of success. With so many years of experience on the cutting edge of the business, they should know.
—Alesandra Dubin
Museum of Arts and Design chairwoman Barbara Tober addressed a group of top benefit planners in the wine cellar of the 21 Club at the luncheon organized by BiZBash.
Marcia Stein, executive director of Citymeals-on-Wheels, shared her insights on successful benefit planning.
Aros Communications' Amy Rosi provided perspective from the sponsors' side of the fund-raising business.
