the theatre of doors

EXECUTIVE SUMMARY
The Theatre Of Doors is a collective of artists that dedicate their time and talent to communicating Truth, using the purest form of art we can attain through meditation, focus, study, and teamwork. We believe the value of live theatre is immeasurable. Through keeping high standards and respect for ourselves as well as each other, we maintain high production value in all of our productions. Through creative marketing and innovative concepts at communication, we will keep and maintain nancial success as well as artistic integrity. We have formed this congress to reveal, as the People of California, the power and necessity of keeping Truth alive through History, Literature, and Art, as well as keeping ideas of Independence and Liberty alive in the minds of ourselves and our posterity forever.

SITUATION ANALYSIS
We believe that we are on the verge of a real and deep human need for communication in and among the community. With the Rights, Powers, and Consciousness vested in us by our Creator, We the People are equipped and prepared to engage both the Sub Conscious and Super Conscious mind that we may aect the neurosis created by the chaos and spiritual hysteria promoted by mainstream popular consensus and media. Our goal is to assist ourselves and our community to maintain Focus and Clarity that we might emerge in Victory Together. It is now our responsibility to shake our sleeping consciousness so that We as a species can collectively experience a Sudden Awakening into Direct Realization. It will be done because it must be done.

The Power of Opportunity

The need for live theatre has never been higher. The desire to experience more powerful mediums of communication is the perfect stage to cast a Theatrical Journey across a Modern Art Revolution. There is more than a desire for live performance, there is a hunger for it. This opportunity now presents itself at our feet. But entertainment alone can no longer succeed as being the incentive for a live theatre experience. The truest and greatest theatrical experience to be had, is for one to Discover the Awakening of the Great Archetypes that Exist In the Human Consciousness. With this goal in mind, our market expands upon several frontiers. While there has always been a very faithful live theatre community in Los Angeles, there are also many people that have become disenfranchised with popular television programming and the usual movie experience; for them, the theatre will prove to be a more exciting option; an investment that they may continue to gain from as long as their memory may serve. A live theatre experience is by far a grander event on a whole, and a terrific theatre experience may never be forgotten for a lifetime. The greatest way to transfer this fact into marketability is to transfer our work ethic, spiritual energy, self awareness, and faith into all those that wish to be a part of our congress, either artistically or technically, who will then transfer it to the audience.

Market Demographics
Marketing Grounds - Geographics: Within and by the very nature of this Collective as a Theater Production Company, we resourcefully maintain exibility for the access of a greater audience by The Collective's commitment to the Community of the People of The Greater Los Angeles Area who which are of high priority in this Collective. You can say that this region is our "targetdemographic," though this term is used loosely; We have much condence that by the intense focus of this Collective is with the hopes of future growth and the spread of the ideas within this Collective out for the Knowledge, Harmony, and Abundance for the people of California Republic and the surrounding global community. Social Media can now more closely connect every individual to a global community.

ARTWORK AS EDUCATIONAL INFLUENCE

To Educate means bringing out what is within. We nd that the behaviors of our demographic to be much like our own. As Artists, we are always looking for new ways the express our message of Truth, and we only want people who have the cognitive capacity to appreciate such a message. Therefore (needless to say) Theatre-goers, are loyal customers. They have made a conscious choice on how they wish to be entertained, and have found that the more you meditate on the Art, the more information that is received from it. This is the very nature in the heart of every dedicated artist; The driving force that maintains loyalty from our market. Even educators encourage more (live performance) exposure for their students to energize their curriculum, which makes the call for theatre ONE OF HIGH FREQUENCY. They have found that artwork has a special kind of educational inuence on the human mind and it's curiosity.

SIMPLER DEMOGRAPHICS - BY ARTISTS, FOR ARTISTS

The motivations behind creating works of art is very simple and well known. It has become a growing human desire to share experience through expression of one's self; and as many already know, Theatre-Arts concentrates various mediums of self expression (Visual, Musical, Language, even Martial Arts) to create an EPIC Live Theatre Performance that will not only Blow People's Minds but, as a result, open their eyes to NEW DOORS OF PERCEPTION, may be deeply moved and, through their own volition, will mindfully take responsibility upon themselves to Pay it Forward by Word of Mouth. The common phrase, a picture is worth a thousand words, explains this concept perfectly. This is but one of many natural mechanisms that are at the very core of Art Appreciation. What good is A TRUE AND BEAUTIFUL WORK OF ART if nobody has the capacity to appreciate it(If a tree falls in the forest....)? With this understanding, we can simplify our demographics, and know them to the extent of which we know ourselves (as Artists within a Collective). So then, what can we say about our 'demographic' that hasnt already been well known to everyone who considers themselves to be artists? Highly value the arts. Hi-level of education Constantly seeks exposure to and education of the arts Ages Vary (all walks of life)

GLOBAL GENERATIONAL MARKET

We are in a NEW TIME where the people have the ability to stay more socially connected then ever thought possible. New technology, now widely available to artists everywhere, can inform people of events occurring ACROSS THE WORLD within an instance. There are NEW GENERATIONS of people strongly connected via social media. I.E. If Facebook were considered a country, it would have the 3rd largest in population(Third to India and China). Social Media has become so big, that it has over-taken pornography as the #1 activity on the web (Hallelujah!) Though it may seem so to critics, These Statistics are not "broadbrush generalizations" with little practical usefulness; These Widely-accepted facts have helped us to more clearly see our Target and Identify them as individuals(as opposed to a categorized "group"), as fellow artists that are all equal parts of the Collective Consciousness. Critics may disagree, but this new understanding can be utilized to bring VALUE in ABUNDANCE to the L.A. Community as well as offer new insights in CREATING HARMONY, even on a GLOBAL SCALE. World Cultures are closer now then ever before.

Marketing Plan
So, how are we going to sell the tickets? We have meditated on this question for some time as well as other questions we must answer, such as, How do we compensate the crew and actors? In discovering the answer to the rst question, we have found the answer to the second. Allow me to elaborate: The initial projected ticket value was set at 15 dollars, which would GUARANTEE a substantial return on the entire production investment, even at a 50% attendance rate per show. In a 98 seat theatre, If we sold out every show for our projected six week run, the gross return would be $26,460. At 50% attendance the gross return would be $13,230. Projected production cost: approx. - $9,000. This means that at 50% attendance we would make a Prot of nearly 50%. Now although this is considered an excellent prot margin, it doesnt produce the dividends that allow us to pay our actors and crew. Although this is not a major problem, as most of the actors and crew are happy to volunteer their time to the arts, we here at The Theatre of Doors want to provide a medium for one to ourish with artistic integrity, AND also have the ability to benet nancially from their work. Now for a bit of marketing innovation: We believe the best way to boost ticket sales is to put the incentive in the hands of the artists as ticket vendors. We believe that the focus, faith and value we nd in ourselves and our production is HIGHLY MARKETABLE, and that paying a commission to the cast and crew as ticket vendors would be an action to prove that. Now this can be done at no cost to the theatre, simply by adding a 5 dollar commission to the cost of each ticket. The faith the vendors/actors/crew members have in themselves and in their production is displayed in their desire to sell the tickets which now have, attached, a nancial incentive to them. The result is that the tickets will be sold at a higher cost, and the vendors, who are now further motivated by the commission incentive will have a greater desire to sell tickets. Selling tickets has now become a protable enterprise for ANYONE who is a part of the production, and the higher cost of the ticket is balanced out by providing the purchaser with an experience of tremendous artistic value with a matching production value.

most ticket sales would earn a 100 Now for a little clarication: Firstly: the vendors will always have the option to waive their commission while selling a ticket, and collect 15 dollars instead of 20 per ticket, so long as the 15 is delivered to the theatre treasury. With this option they now have some bargaining power. Secondly: bonuses for high ticket sales would add a competitive edge to boost ticket sales even further, i.e. 100 ticket sales would earn a 100 dollar bonus, Thirdly: returning patrons with a ticket stub could purchase another ticket for 15 dollars instead of the requested cost of 20. This would help promote returning to see the show a second time, or the ability to purchase a ticket as a gift for someone else at a lower cost. Which brings us to our next point. dollar bonus. Adding 2 or 3 bonuses to be earned or competed for would be a slight and marginal cost that would have a profound effect on ticket sales.

Word of Mouth and the Pay It Forward concept:

Here at The Theatre of Doors we have a strong and fundamental understanding of powerful metaphysical concepts such as The Law of Attraction. We are also very aware of the fact that The Road To A Greater Awakening is a beautiful gift to give. With these thoughts we have concluded that it would be a very compelling action to give 2 tickets for our Preview Show to every associate of The Theatre of Doors so that they may give it to two people of their choice. At the end of the Performance we are going to suggest that if our guests, who were given tickets to the preview show, are moved by our performance that they Pay It Forward. Those who are moved by our production are and will be encouraged to share it with someone else by either suggesting to a friend, family member, student, or teacher that they come and share the same experience; or even going one step further and purchasing a ticket or multiple tickets to give the experience as a gift to someone they feel should like to have it. We believe that receiving a ticket, and experiencing the show as a gift will make it even more powerful than paying for ones own ticket. Once our minds are open, it then becomes our responsibility to offer the opportunity to another to open their own. This play is not only a fantastic and riveting experience, it is an impactful and challenging recreation of a Dark Episode of American History that should not be ignored, as it stands to be a striking parallel to several things that are happening in our society once again. Raising awareness and education is the only hope for the future of our nation.

Interesting Facts:
1. With a cast of over 20, each actor would have to sell less than 5 tickets per show in order to fill every seat. 2. Including a crew of 10 and 5 at management, every person involved would have to sell less then 3 tickets per show in order to sell out. 3. By providing each vendor the incentive to profit from vending tickets, selling less than 50% percent of our tickets becomes a near impossibility, and anything over 35% is a profit. 4. The option to buy tickets directly from The Theatre of Doors gives the organization the opportunity to make a maximum profit from each ticket sold directly, instead of through a vendor. 5. By focusing on these opportunities the problem shifts from being able to sell the tickets to being able to sell the tickets before the show sells out! The question is then, Who will profit most? The answer: Those who took the initiative to sell tickets.

PRODUCTION COSTS:
PRODUCTION RIGHTS At $100 per performance and for 18 shows. LIGHT DESIGN AND PRODUCTION Including equipment rental, design, installment, and operation. COSTUMES Including design, creation, maintenance, or rentals. STAGE CREATION Including design, materials, and construction. SPACE RENTAL 16 weeks: 1726 N. Spring st. Los Angeles, California, for rehearsals and performance. PRODUCTION MANAGEMENT Including Production Manager, Production Designer, Director, Stage Manager, Sales Coordinator. THEATRE SEATING Estimated at $10 per seat. SET DRESSING Including furniture, paint, props, dressings, backdrops. VARIOUS THEATRE ACCESSORIES Including curtains, lobby sofas and decor, intermission refreshments. TOTAL PRODUCTION COST: $1,800 $1,200

$800

$1,200

$2,800

$2,000

$980

$600

$1,000

$12,380

MARKETING OPPORTUNITIES to offset production costs:

SPACE RENTAL for food and product vendors. At $100 dollars per night for 18 shows. THEATRE OF DOORS MERCHANDISE Shirts, sweatshirts, jackets, cloaks, photo booth opportunities, buttons, stickers, Daniel Roxburgh Action Figure. Projected average $100 per night.

$1,800 RETURN $1,800 RETURN

EST. MARKETING OPPORTUNITIES RETURN

$3,600 RETURN

PRODUCTION COSTS after return: $8,780

HOW CAN YOU BE A PART?

We know that we are not alone in this desire to engage a Great Medium of Communication. We know that we are not alone in our passion to create Powerful and Inuential Works of Art. Many people would love to be a part of so daring an adventure, but often times we nd something lacking(power and courage?). Often times one might have the team, and not the vehicle; or the vehicle and not the team. Could it be that the only thing keeping us from creating an innite ripple in the minds of those who have witnessed our Call to Reason is the gap between Will and the Resources? Many have responded to this casting call, offering all they can contribute in the forms of Time, Money, Research, Equipment, Talent, Skills, Labor, Materials, and Networking Opportunities. The real question here is, how do you WANT to be a part? As stated above, there are several ways to contribute to this project and each way fullls a specic need that must be fullled.

Whos A Part Of This Now

Lets take a look at Our Community, here at The Theatre of Doors, and the shoes that have been lled. The Crew: Directed by Emanuel Rose

The Cast:

Ian Youlin Steven Leaderman

Stage Manager: Arthur Guerrero Production Manager: LaCreatia Wilson Marketing Management: Patrick Moore Jeanette Perez Production Design: Destiny Haddox Construction Management: Manny Produced by Patrick Moore Jeanette Perez Daniel Roxburgh Emanuel Rose Arthur Guerrero

Jim Cox Gayle DeCosta Michelle Stratton Martha Velazquez Hank Mastermaker Concetta DeLuco Daniel Roxburgh Kelly Renee Miller

Russ Andrade Michael Palma Kimberly Turner Joseph White II William Goldman Alina Chorna Shalonda Shaw Jackie Solis

Orion Moya Haig Khatchikian Richard Mason John William Alicia Marie Troy Michael Derek Workman Christopher Judd Bryan Diaz Ryan black-ops Hale

So, what shoes are left for lling..?

Try This On For Size

With many people already contributing to what we have, lets talk about what we are on our way to obtaining; shoes to be lled, so to speak. Investors - Those willing to put forward the capital required to accomplish the task at hand, who expect their investment to return with interest. Contributors - Those who have materials, equipment, or services that they wish to contribute temporarily towards our production. Grantors - Those who believe in our purpose and wish to empower us nancially or technically by donating funds beginning at $500 or usable equipment valued at in order to see us fulll our Executive Statement more effectively. Grand Patrons - Those who believe in the power and appreciation of art and wish to share the experience with others who might not be able to enjoy it due to nancial circumstances. Generally they Gift the experience to a small or large group of people. Lenders - Those who have the ability and will to put forth the capital required to fund this project and expect that all funds lent will be returned with no interest attached. Angels - Those who wish to fund or extend our entire budget, with the goals of expanding our effect and achieving and employing the greatest medium of communication we can hope to attain through art and archetypal embodiment with abundant resources.

WHAT WE HAVE TO OFFER YOU

For Investors: If you are interested in
investing in our production, we are offering a return of The Principle with an added 10%. Both Principle and attached interest will be returned no later than June 5th, 2012, or sooner. Investors will receive their returns according to investment size and the order in which the investments were made. I.E. an investment of $2,000 will be returned before an investment $1,000. If there are 2 investors at $2,000, they will be paid in the order at which they came in. An investor at $5,000 or more will receive a 12% return on their investment. The result is a prot of $600 in less than 10 weeks. Choosing to be a part of our production by any of these means would also extend to you the option to operate as a TICKET VENDOR: You would have the ability to make 25% on any tickets you sell to others, and you could purchase tickets for the rest of the run at a %25 mark down. Selling 10 tickets would make you a $50. If you could sell 10 tickets a day, you would make $250 in a work week by Promoting the Art of Live Theatre.

For Contributors: If you wish to contribute

materials or equipment, or services assessed at over $200 to our production we would love to show our gratitude by giving you 4 free tickets to a performance on the night of your choice, and we would also offer you the option to be a Ticket Vendor with all Benets. That is 4 free tickets and the ability to purchase or sell tickets as a vendor.

For Grand Patrons: If you believe in the

power of art and live theatre and would like to extend the opportunity to experience a powerful and compelling performance that stands as a call to reason and self-accountability to a group of 12 people or more, we would love to offer you a group rate at a discount of 10%. For a group of 20 or more we would offer a discount of 15%, and 2 free tickets for a scheduled performance on the night of your choice. For a group of 30 or more, we would offer a discount of 20% and 4 free tickets for a scheduled performance on the night of your choice. If you wish to fully sponsor a performance, you would be given 98 tickets, which is a full house, for any available seats on any nights you wish to have them for. I.E. you could invite a class of 30 students to a performance on Saturday, April 28th, and two classes of 30 on Sunday, April 29th, and a group of 8 on Friday, May 4th; plus 4 free tickets also for the night of your choice. Of course this is all according to availability, and while ticket supplies last. All Grand Patrons will be credited in our program, Grand Patrons purchasing 30 tickets or more will also receive a business card sized advertisement space on our sponsors page. Anyone who wishes to sponsor a full performance will receive a full page advertisement in our program.

For Lenders: All loans will be returned by

June 5th, 2012, if not sooner. If you wish to lend any amount of money beginning with $100 dollars and up to $250 you will receive 2 free tickets to any scheduled performance Loans beginning at $250 and up to $500 will receive 4 free tickets for any scheduled performance on the night of your choice. Loans beginning at $500 will receive 4 free tickets and a business card sized advertisement space on our sponsors page. Loans beginning at $1,000 will receive 8 free tickets and a half page advertisement space in our program. Loans beginning at $5,000 will receive 48 free tickets and a full page advertisement in our program.

For Grantors: If you are interested in

donating $500 dollars or more, or donating equipment assessed at a value of $350 or more, we would be delighted to show our appreciation by offering you 8 free tickets to a scheduled performance on the night of your choice, as well as Ticket Vendor Benets. We would also be happy to credit you on the program as one of our Grantors, and assign a business card sized space on our sponsor page for your business advertisement, or any message you would like to attach to our program, if you wish to use it. For Grants at $1,000 we would offer 40 tickets and a half page advertisement space in our program. For Grants at $2,000 we would offer 98 tickets which is a full house selectable from any available nights between May 18th, and June 3rd, 2012. That is one full performance in your honor, or divided up any way you like between any scheduled performance dates with available seating.

For Angels: Any Grantors at $5,000 or more,

will receive 2 performances in their honor. That is 196 tickets to do as you wish with, perhaps to give to a school class, or friends and family, or to give freely to anyone who would wish to see the show but might not be able to afford to pay for a ticket themselves. These Angels would also receive a full page for advertisement, and a full page biography, with any attached personal messages to our program. To be a Lifeline to the Arts is one of the Greatest Gifts to the Theatre as well as the Community; an Eternal Ripple through Time and Consciousness.

The Shoe Fitting Room

Name: _____________________________________________________________________________________________ Company Name: ____________________________________________________________________________________ Mailing Address: ____________________________________________________________________________________ Phone Number: _____________________________________________________________________________________

Which Shoe ts you? Investor---------------Contributor-----------Lender-----------------

What Size Shoe? Please enter amount here: $______________________

Business Card Attached: yes or no

__________

Grantor---------------Advertisement Design Attached: yes or no __________

Grand Patron--------Private message Attached: yes or no __________

Angel-----------------Biography Attached: yes or no __________

Advertisement Design Requested: yes or no __________

Question or Comments: ______________________________________________________________________________________ ____________________________________________________________________________________________________________ ____________________________________________________________________________________________________________ ____________________________________________________________________________________________________________ ____________________________________________________________________________________________________________