Julie Bécaud, now a researcher at the Scottish Maritime Museum, explains her first steps into the arts in the UK.
Purging inactive subscribers from Chichester Festival Theatre’s email list has helped improve the effectiveness of its marketing campaigns. Alice Young explains how.
London’s West End is full of receiving theatres, but the Jermyn Street Theatre has recently rebranded and restructured itself as a producing house. Tom Littler tells the story.
How did Sadler’s Wells manage to increase its membership and ticket sales while cutting discounts and other incentives? Sebastian Cheswright Cater shares the secrets of their success.
Messages to arts audiences tend to focus on getting people to attend, but do little to trigger the strong feelings that will create long-term loyalty. Ron Evans explains why – and how – this should change.
Fabrica in Brighton has raised extra income through venue hire for some years, but it needed a more commercial approach to maximise its potential. Anne Rupert tells the story.
It’s inevitable that you will get some bad reviews and customer complaints on social media, but how should you respond? David Burns offers his advice.
To achieve true customer relationship management all marketing activities should be turned upside down, focusing much more on the customer than the product, says David Reece.
Fans of touring companies are perfect customers – booking early and often in large groups. Sian Dudley reveals how a receiving venue like Cast in Doncaster works with visiting companies to make the most of ‘fandom’.
Are you certain you are reaching your widest possible audience through Facebook? If not, you may need to consider paid advertising, advises Katie Moffat.
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.
The rise of the selfie has created new problems for those managing ‘dark tourism’ sites, such as Auschwitz-Birkenau. Félicie Kertudo examines how they can promote themselves ethically.
How does the Director of a PR firm juggle staying in touch with clients, getting to press nights and meeting journalists by the fireside? Chloé Nelkin offers a peek into her working life.
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.
Soak up the world around you and find time for the things that matter, advises Marketing Manager Monique Baptiste-Brown.
What happens in the week of a Communications Manager? Nicola Osmond-Evans of RIBA fills us in.
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.
Aside from pockets of innovative practice, many arts organisations are at a loss as to how to engage young people, who behave and think quite differently to older marketers and programmers. Lucie Fitton offers an insight into their world.