Julie Bécaud, now a researcher at the Scottish Maritime Museum, explains her first steps into the arts in the UK.
Five London venues have jointly hosted a one-woman show – and then pooled the box office takings. Kaya Stanley-Money explains how it worked.
Bespoke segmentation modelling helps Sadler’s Wells talk to its audiences with personalised precision across venues and genres. Sebastian Cheswright Cater explains how.
With all the reliance on digital technology over the past decade, are arts organisations as digitally mature as they should be, asks Hannah Mason.
How do we get to the point where we are truly collaborating? Debbie Richards describes a project that sought the benefits of collaboration between fundraisers and marketers.
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.