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>> My name is Mike Carnes and I'm a
Broadway producer and a social media manager.

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Yeah, so, I consider what
I do digital story telling.

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I like to take the story that's happening
on the stage and the story happening

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around the show itself and find
ways to tell that story online.

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So, we create content, we come up with
campaign ideas, we shoot video, edit video,

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we do cast activations, we oversee all
of the content that rolls out on all

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of the social media channels
associated with a Broadway show.

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The first and most important thing is to analyze

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and decide what the tools
are that we're working with.

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So, for example, we look at see, okay,
who are the people involved with the show

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that might have large social
followings that we can rely

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on who are big supporters
and champions of the show.

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What are brands that might be affiliated
with different aspects of the show?

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Things that we can tie back to and work
with in order to amplify the message

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and the story that we're trying to tell.

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So, we do everything from Facebook lives and
different new technologies that are rolling

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out to we go and we shoot video
of press things that are happening

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or interviews that are taking place.

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I have a fulltime graphic designer that's
just building content and editing video

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and putting things out that
are aesthetically consistent

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with the overall aesthetic of the brand.

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It's something that's important
to us in the social strategy.

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Hamilton is without question the best
comparison to make of the use of social media

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as far as the amplification of a brand.

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We have found that only 1300 people a night when
the show is on Broadway were going to be able

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to actually sit in that theater and see
that show, whereas we have 1.5 million fans

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on the social media fans that we have.

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So, we recognized that social media was going
to be the way that we were going to be able

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to connect with those fans and to give them
an experience that would be invaluable whether

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or not they were able to see the show.

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So we are always looking for these initiatives
and trying to find ways that make people feel

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as though they are in the action, that
they're in, to use a line from the show,

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the room where it happens, with us, whether
or not they're able to buy a ticket.