TRG Insights


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Mar06


Photo by bixentro (CC BY 2.0)

This season at Dallas Theater Center (DTC), a great love story unfolded; however, it was not presented on the stage. During a recent TRG Executive Summit, Managing Director Heather Kitchen shared a tale of romance which both inspired and invoked a bit of envy from the other participants. It was the story of her data manager and the two departments that loved her.

How was this data manager able to make such an impact on DTC? She is part of a larger organizational culture that believes in data and its power as an enabler. Once everyone in the organization is aligned around the need for quality patron data the real work can begin. The next question is: what can leaders DO to enable successful data-driven Key Performance Indicators (KPIs) and precision targeted marketing in their organizations? In the Summit, we usually talk through an assortment of enablers, but consistently the topic of having a dedicated data manager leads to the liveliest discussions.

When we got to that point in this past Summit, Heather raised her hand. With a big smile on her face.


Posted March 6, 2015







Feb23

Number of annual fund gifts up 51%, revenue up 28%


Addison (LeRoy McClain, left) clashes with his brother Frank
(Shane Taylor) over their family’s future as their aunt
Dorcas (Stephanie Berry) intervenes in the Cincinnati
Playhouse in the Park’s world premiere production of
  Safe House by playwright and Cincinnati native Keith
Josef Adkins. Photo by Sandy Underwood.
By the end of the 2011-2012 season, Cincinnati Playhouse in the Park had been slowly losing audiences for the last seven years. Although revenue had grown by 12%, admissions were down 18%.  

Believing patrons preferred more flexibility than a fixed seat subscription package offers, the Playhouse had expanded their focus on selling more Build Your Own (BYO) subscriptions and prospecting for new single ticket buyers. The BYO subscriptions were popular, but subscribers renewed at much lower rates. Total subscription units had dropped 30% since the 2008-09 season.

In turn, subscription declines had diminished the number of patrons likely to give to the annual fund. Declines in loyalty contributed to a 21% decline in donors who gave under $2,500 over the last five years. Although overall annual fund revenue was only down 1.7%, overall donor households had declined by 19%.

Posted February 23, 2015







Feb13

Why subscriptions still sustain the arts and ways to rescue your subscription program 



President & CEO
Jill Robinson

Thanks to everyone who attended this webinar. Click through to view slides and the recording.

Let’s face it; the subscription has been uncool for years. While disruptive technologies and changing arts consumer behavior have transformed the way arts managers see their business model, the subscription has declined and stagnated. “Subscriptions are dead” is now conventional wisdom in our industry. 

But, if subscriptions were truly dead, wouldn’t they have just disappeared by now? Inconveniently, subscriptions incentivize loyalty and provide sustainable revenue that's difficult to find elsewhere in any audience-centered business model. Many organizations that have tried to innovate in this area have found themselves in a state of subscription emergency. 


Posted February 13, 2015







Feb13

 Evolution of patron loyalty“Art cannot meaningfully exist without an audience. Loyal audiences build sustainable organizations.” That was one of the main takeaways in a blog post Jill wrote last month about the somewhat puzzling fact that subscriptions still exist in the arts. Jill contended that subscriptions still sustain the arts because they encourage patrons to attend and invest more, deepening audience loyalty.

Loyalty and its role in strengthening arts organizations is an idea we talk about often at TRG. Why? Sustainable organizations require sustained engagement and investment from patrons. That engagement and investment begins with the audiences who already—right now—support your art. Unless your organization is just launching, you already have a variety of patrons who lie somewhere on the spectrum of audience development.


Posted February 13, 2015







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