Ed Green demanded a lot of functionality when he tendered for a new ticketing system and now reports that the Spektrix system has exceeded his expectations.
A combination of technologies offers travellers the opportunity to book tickets for events at the same time as they book their travel arrangements. Bart van Schriek explains how.
The Ironbridge Gorge Museums Trust uses 450 regular volunteers in various roles from demonstrating crafts to litter-picking. Lucy Andrews Manion describes how she keeps them all happy.
Where would you see Juliet played by an English student and Romeo by a Polish cage fighter or ‘Much ado about nothing’ performed by serving sailors? In the Royal Shakespeare Company’s Open Stages initiative, says Ian Wainwright.
The success of Harrow Arts Centre’s 100% programme of events and festivals is based on the many young people involved in both production and performance. Cate Gordon tells how it has evolved.
Paul Richards recalls how a dedicated team of volunteers, including performers, created UpRise, London’s anti-racism festival, after the demise of its predecessor.
Groups in the voluntary music sector are often privileged to premiere a new piece of music. Henry Bird looks at how composers and voluntary musicians can best work together.
David Edmunds describes how funding will allow Dep Arts to develop new approaches to increase access to contemporary dance and theatre while programming original and inspiring shows.
How can venues encourage family audiences to ‘play less safe’ and try something new? Carey Fluker Hunt outlines how the ‘Culture Window’ project has created new family audiences.
When it opened in 2009 the cinema screen at the Grove Theatre in Dunstable saw average audiences of about 40 people, but data-led marketing has worked wonders, explains Claire McFauld.
What can we do about people who are positively inclined towards the arts, seem to have a good time whenever they go, but just don’t do it very often? Sarah Boiling explores the issue.
