Pulling a community venue back from the brink needs vision, commitment and cost-effective solutions for tackling commercial challenges. The Royal Hippodrome Theatre has harnessed all three, writes Claire Boot.
Politicians questioned major ticket resellers on their ability to distinguish genuine ticket buyers from ‘bots’ and why the industry seems plagued by low approval ratings.
“The largest set of aggregated data on cultural engagement anywhere in the world” is being made available for academic researchers.
London galleries were hard hit last year, as school children admissions fell for the fourth consecutive year.
Two reports commissioned by Arts Council England found that cost and lack of confidence are major barriers to youth engagement.
Since moving its box office system to the cloud, the Royal Welsh College of Music and Drama has increased online sales and started taking online donations, says Paul McGuinness.
The right approach to segmentation can drive sales and improve return on investment, as Tennessee Performing Arts Center in the US proved. David Reece and Timmy Metzner explain.
Hull Truck Theatre’s pop-up box offices in local supermarkets sell tickets to new audiences and also create valuable community relationships. Magda Moses tells the story.
Under a planned new law, people who use automated software to bulk buy tickets and sell them on at above the retail price will face unlimited fines.
With dynamic pricing already common practice in other sectors, Isabella Anderson examines what the arts can learn from the airlines.
When a production of Hamlet promised to be the hot ticket of the year, RADA embraced technology to make the box office experience fairer for customers and less stressful for staff. Helen Slater tells the story.
Arts organisations are failing to capitalise on in-person encounters to attract donations from ticket buyers, according to a new report
Constructing The Bridge Theatre from scratch has allowed the team to implement new box office technology and e-commerce best practice from inside the arts and beyond. Libby Penn tells the story.
Are free and discount ticket schemes key to reaching new audiences or do they simply benefit existing bookers? Michael Volpe shares Opera Holland Park’s experiences.
Performing in concert halls around the world makes setting ticket prices tricky. So, explains Jane Donald, the RSNO begins by asking one simple question.
Fed up with venues adding unjustifiable fees on to tickets for its shows, Birmingham Stage Company is taking drastic action. Neal Foster explains why producers should follow suit.
Dynamic pricing is all the rage, but is just one tactic amongst many. David Reece explains how organisations can benefit by placing dynamic pricing in a wider context.
Inspired by theatres, Bristol’s museums and galleries decided to try out a ‘pay what you think’ model for exhibitions. Philip Walker tells the story.
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.
Does dynamic pricing actually benefit theatre producers or audiences? Steve Rich isn’t convinced.