Interest in a Swedish theatre’s subscription scheme was plummeting until it reworked it to reward frequent and early bookings. Jenny Bång outlines the changes it made.
If you only have one level of membership you’re missing a trick. Debbie Richards explains how Baker Richards helped Compton Verney gain thousands of additional members by expanding its offer.
A new approach to box office management has shifted the revenue balance at Blackpool Grand Theatre firmly toward ticket sales and greater commercial independence, says Libby Penn.
The Government is being called on to follow the example set by the New York State Assembly and crack down on the use of ‘bot’ software by ticket touts.
How can you make your box office a more powerful contributor to the success of your organisation and the happiness of your customers? Dana Astmann and Brooke Gallagher offer three suggestions.
Meet your customers’ expectations of mobile responsiveness and you will be rewarded with loyalty. David Wright profiles two arts organisations that are getting it right.
Online and mobile ticketing is the new normal. But the frustrations of ticket buyers – and box office staff – must be taken seriously if it is to be done well, says Ben Curthoys.
Your box office data could be key to unlocking a higher income stream from satisfied customers who are willing to pay more for your tickets. Rachael Easton explains how.
Cutting-edge technologies are bringing about a box office data revolution. Andrew Thomas and Roger Tomlinson reveal how arts organisations are increasing audience engagement and reaping financial rewards.
Sheffield Theatres was part of a regional consortium of box offices until it decided its audience development activities would benefit from going it alone. Libby Penn describes the painless uncoupling.
A new box office system has built a stronger link between London’s Dominion Theatre and its ticket agents, who can now sell directly from the live inventory. Libby Penn reports.
When Exeter Corn Exchange had to become financially self-sufficient, its busier programme required a fully rounded box office management system. Libby Penn reports.
To diversify income, Cambridge Live needed a simpler yet more versatile box office system. But would it be ready for the day the folk festival tickets went on sale? Libby Penn reports.
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.
