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Presenting social issue dramas and storytelling events in a pub in Newport is reaching audiences looking for entertainment rather than art. Julie Benson tells the story.
Does dynamic pricing actually benefit theatre producers or audiences? Steve Rich isn’t convinced.
Data shows that audiences for many artforms are ageing. Anne Torreggiani calls on the arts sector to anticipate and accommodate the changing needs of younger generations.
After updating its approach to data collection and sharing, Sadler’s Wells noticed a surge in email sign-ups for its visiting companies. Sebastian Cheswright Cater and Matt Kirby tell the story.
Joe Hallgarten proposes a new solution to the uncomfortable fact that attendance at taxpayer-subsidised arts events remains stubbornly skewed by social class.
Many international dance companies tour the UK thanks to the Dance Consortium, but venues, young dancers and many others also benefit from its work. Ros Robins explains how.
In a bid to listen more to its audiences, Manchester’s Royal Exchange Theatre launched a collaborative project that resulted in an ‘audience manifesto’. Amanda Dalton shares the surprising results.
The concert-going experience is the same as it was over a century ago – it’s time to make some changes. David Taylor shares five suggestions.
Watershed in Bristol has learnt from its customers with hearing impairments how to be more welcoming, including by learning basic signing. Louise Gardner tells the story.
Graeae has successfully developed D/deaf and disabled audiences across the UK. Richard Matthews explains the principles and strategies that guide their marketing work.
PR is about so much more than column inches, but how do you measure a campaign’s success? Amy Finlayson guides us through her straightforward approach.
Catherine Bradley reveals five things you might not know about classical music audiences, discovered through Audience Finder data.
The Watermill Theatre’s new box office management system has increased ticket sales and donations, and encouraged customers to book earlier, says Libby Penn.
Is your organisation’s Facebook page failing to gain traction? Paul Taylor shares ten essential tips to boost your profile.
Taking inspiration from the local community for a new musical about a nightclub proved so successful for Oldham Coliseum that they’re doing it again. Cathy Crabb and Lindsay Williams tell the story.
Selling new work to audiences and venues can be difficult enough, but how do you sell a new artform like storytelling? Naomi Wilds explains how Adverse Camber has faced up to the challenge.
The Orchestra of the Swan has found a formula for boldly commissioning new works that pleases both composers and audiences. David Curtis explains his approach.
Facebook Live has helped The National Gallery get closer to a worldwide audience. Tamara El Assawi shares what they’ve learned conducting online tours.
At the end of a three-year project touring contemporary theatre to small venues in the north east of England, Annabel Turpin and Kate Sanderson share the lessons they have learned.
Is it possible to double the response rate you get from your direct marketing and save money at the same time? Tim Baker explains how the CBSO did just that.