Families are key to audience development, but how do you attract them? Patrick Spottiswoode reveals how Shakespeare’s Globe plans to market a new festival to family audiences.
Through the Circuit network, 15 to 25 year olds create arts events for other young people. Rachel Escott reveals what they’ve learned about marketing to this under-engaged audience.
How many theatres offer audio description services to blind and partially sighted people? Matthew Cock carried out some research and is disappointed with his findings.
Harlow Playhouse’s Pay What You Can pricing initiative is attracting new audiences, but is it too financially risky? Scott Ramsay reports half way through its first season.
Touring companies have trailed behind venues in their access to meaningful audience data, but new insight tools are now benefiting touring companies and venues alike. Rosie Hanley reports.
Frustrated by a shortage of touring opportunities for black and Asian theatre, Jatinder Verma and Jonathan Kennedy made it their mission to change the hearts and minds of artistic directors and inspire audiences across the country.
Realising that its audience members were all in ‘a stage of transition’ was a revolutionary moment for Jabberwocky Market. Caroline Pearce explains why.
As Sport England celebrates the impact of its ‘This Girl Can’ advertising campaign, is it time for the arts to come up with a new approach to audience development? Liz Hill examines the evidence.
What’s next in the fight against declining audiences and exclusivity in the arts? Clever pricing strategies are all well and good, but what we really need is market segmentation, argue Howard Buckley and Rosie Hanley.
Every year, 40,000 people are drawn to Sheffield’s Crucible Theatre for an event that is neither a play nor a musical. Bookey Oshin reports on an unusual partnership.
When audiences for her contemporary circus tours stagnated, Rachel Clare of Crying Out Loud realised a fresh approach was needed. She reveals how Circus Evolution has revolutionised circus marketing.
The RSC’s Dream 16 will involve 18 professional actors, 14 amateur casts and 58 groups of schoolchildren. As rehearsals begin, Erica Whyman explains why she is both excited and daunted.
