TRG Insights


Search or browse our knowledge center for TRG insights and solutions that work for arts and entertainment organizations of all genres and sizes.



Most recent posts:

Mar22

David Brownlee of TRG Arts at the 2017 UK Theatre Touring SymposiumTRG's David Brownlee presents new data on touring productions at the UK Theatre Touring Symposium on March 23, 2017. David's research illuminates trends in ticket income from touring and non-touring productions over several years. 

One major takeaway of the study was that touring productions account for the majority of tickets sold and income across UK Theatre venues. The overall figure is driven by the performance of musicals at the largest venues, but the majority of revenues for plays in the UK now also come from touring productions.


Posted March 22, 2017







Mar15

The Results Group for the Arts (TRG Arts) has won the 2017 CREATE Award at the 30th annual Business for the Arts Awards, hosted today in Denver by the Colorado Business Committee for the Arts (CBCA).

Each fall, the Cultural Office of the Pikes Peak Region nominates at least one deserving business from our community for the statewide Business for the Arts Awards.

“We are proud that such an elite, for-profit consulting firm with an international reputation in the arts world has been based here in the Pikes Peak region for two decades. In addition to acknowledging TRG’s impactful work in the creative sector, this recognition from CBCA is an important opportunity to represent Colorado Springs in a positive light at the state level,” said Andy Vick, Executive Director of the Cultural Office.


Posted March 15, 2017







Mar09

Audience Data Essentials


Announcing a new online course from DataArts and The Results Group for the Arts (TRG Arts)! Would you like to better engage audiences? This course is designed to help arts leaders use data to build loyalty and increase revenue. 

You'll learn about:

  • Types of audience data and data capture techniques 
  • Setting goals and measuring progress with key audience metrics 
  • Segmenting your audience to more effectively engage constituents

 Who should take this course? 

  •  Anyone looking for an introduction to audience data capture and analysis, and audience segmentation. 
  • Arts leaders seeking to increase their comfort with key metrics related to marketing, patron loyalty, and patron revenue generation.

Posted March 9, 2017







Jan24

A new model for audience development


It started with a simple question: “If we’re working so hard to get new audiences, why haven’t audiences grown?”

New Wolsey Theatre was curious. Looking at their data, they found that they attract many new ticket bookers each year, but many of them were not returning to the theatre after their first visit, 75% of first-timers in 2014-15.

Because so many new audiences were not returning each year, New Wolsey Theatre still wasn’t seeing a net gain in total audience numbers.


Posted January 24, 2017







Jan23

 Jill Robinson, 
President & CEO, TRG Arts

Like many of you, I watched coverage of the inauguration on Friday. It is a time like none of us have seen; regardless of political affiliation, we all hang in suspense about the specifics of our collective future. Many marched (good!), others wring hands and despair, and many in our country are sanguine, even pleased.

Luminaries in arts and culture have spoken on the implications of the Trump era for our country and our field in more articulate ways than I can. Yet, I am moved to write, inspired by our field’s response to our divisive political reality.  

I’m inspired by initiatives like Arena Stage’s Power Plays, which in the next 10 years will develop 25 new plays and musicals exploring American stories of politics and power. I’m stirred by the cast of Hamilton’s thought-provoking demonstration. I talk daily to the leaders of arts and cultural organizations in this country, Canada, and the UK; I’m reminded of our role as a sector as I listen to their stories of the experiences they provide in their communities that create joy, learning, beauty, dialogue. 

The arts bring people together. In today’s polarized global climate, that’s more important than ever.


Posted January 23, 2017







Jan11

UK-based arts consultancy BON Culture is merging with US-based TRG Arts to create an international firm focused on increasing the resilience of the arts sector. From March 2017 the company will be known throughout the world as TRG Arts, with the former BON team establishing TRG’s UK and Europe office.

The integration of BON’s team enhances TRG’s position as the world’s leading experts in patron loyalty and demand management for the arts. A new office in London will better serve existing and new consulting clients in the UK and Europe. The new office will also continue to deliver major industry conferences and provide subsidized support services to the National Campaign for the Arts (NCA).


Posted January 11, 2017







Jan10


Dive into building a subscription campaign to increase "predictable recurring revenue" while boosting patron retention and creating a community. Despite popular beliefs, subscriptions aren't dead and continue to provide consistent revenue streams. Learn how to optimize your subscription packages to increase renewals and upgrades. See how other arts & cultural organizations are achieving great results from changes that are easy to implement and then start thinking about how you are going to increase: Renewal, Reactivating and Recruiting.

TRG Arts is collaborating with Blackbaud Arts and Cultural Group to bring you valuable tips and strategies with our new on-demand webinar series: Ignite.

Posted January 10, 2017







Dec22


Photo: Chris Devers via flickr (CC BY-NC-ND 2.0)

“What should we be paying attention to?”

TRG gets this — and similar questions — often. As a firm that operates in four countries with a variety of clients, we have a catbird seat to the latest industry trends each year. In 2016, the trends that caught our attention included:

- The importance of “integrated patron loyalty

- How to make a business model based on subscription thrive

- Why arts organizations should use data to program a balanced season

- The reasons that arts marketers still place low-return marketing ads, and what you can do stop the practice

Still craving more? Below are our most popular posts from 2016. We thank you, our loyal readers, who continue to inspire, teach, and engage with our content. And, we thank the many clients who have collaborated with us to tell their story of organizational change and revenue results.


Posted December 22, 2016







Dec13

The story of 3 arts organizations


Subscriptions succeed in 2016

Despite widespread reports of the subscription’s decline, these loyalty programs continue to generate a large amount of revenue for performing arts organizations. Knowing what we know about audiences in 2016, what strategies are proven to help the subscription succeed? TRG Arts is proud to bring you the stories of three arts organizations that have defied conventional wisdom by growing subscriptions:

  • The performing arts center with an already-strong subscription base…whose focused campaign has grown new subscription revenue by 36% over the last two years.
  • The theater that was selling more and more small packages each season…which upgraded 20% of their small package subscribers to full packages.
  • The orchestra whose subscriptions had been in decline for years…whose upgrade and renewal rates are now the best they’ve been in recent memory.

Their secret? A simple, radical idea: when you commit to selling subscriptions, arts lovers will subscribe.


Posted December 13, 2016







Dec05

Photo by Corey Balazowich (CC BY-ND 2.0)

In 2015, the consulting firm Oliver Wyman released a research study in partnership with the League of American Orchestras that grabbed my attention and hasn’t let go. The central question of their work: is the existing subscription model for symphony orchestras still viable? In the age of Netflix, Amazon, and Uber, does it need a small tweak, a substantial jump start, or a complete-and-total-tear-down-and-rebuild to remain a worthwhile offering?

The study illuminated a few key findings for the orchestra sector:

  • Subscription audiences are declining, not due to dissatisfaction with their experience, or to competitive forces in entertainment. Instead, they’re losing interest in programming (both how seasons are structured, and with classical music overall), and most of all patrons are dissatisfied with subscription products as they currently exist.

Posted December 5, 2016







Nov16

Ronia Holmes

Because it isn’t central to your mission. Period.

I hear you harrumphing as mission/vision/values/beliefs and goals statements are dragged out. Sure, your organization has been around for a century or more and these statements about your commitment to diversity, equity, and inclusion are barely older than the Gen-Z unpaid intern managing the Facebook account, but still, these statements are proof that your organization is committed to community.

No, they’re not. So put them down, and let’s #RealTalk about communities, new audiences, the past, and the future.


Posted November 16, 2016







Nov02

The need to deepen relationships with current stakeholders and build relationships with new audiences is a compelling question for us at Forklift Danceworks. When we are asked this question, we often answer with a question: Who loves Elvis?

In 2007, Forklift’s Artistic Director Allison Orr choreographed The King & I—not the Rodgers and Hammerstein musical, but an evening-length, contemporary dance performance work to address her curiosity, “Just what does Elvis Presley have to do with you and me, anyway?” In making the work, Allison knew she needed to find a way to get input and inspiration from the Elvis community. She sought out to find, “Who loves Elvis?”

Meeting the dedicated Elvis tribute artists and hearing stories from fans, Allison decided to loosely structure the performance of The King & I on Elvis’ last concert. Thinking even more about the fans who love Elvis (who also love to get together to talk about their love for Elvis!), she decided to perform the dance over three weekends around the 30th anniversary of Elvis’ death. Through collecting stories about Elvis’ life and work, performances of his songs and of course, choreography that included his iconic moves, this show with three professional dancers and five Elvis Tribute Artists was really a collaboration with many others, with inspiration and input from the Elvis-loving community.

In the years since The King & I, we have choreographed dances for trash collectors and their vehicles, electric utility workers and their equipment, forestry technicians and a heritage pecan tree, and baseball players and a historic field. The key to the success of each project has been asking, “Who loves Elvis--or recycling, or electricity, or trees, or baseball?” and finding the community that already has a stake in the dance we are making and inviting them to join us in the creative process.


Posted November 2, 2016







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Upcoming Events

Conferences

National Alliance of Musical Theaters (NAMT) Spring Conference - March 28-April 1, 2017; Los Angeles, CA

American Alliance of Museums - May 7-10, 2017; St. Louis, MO


CultureNEXT, The Canadian Arts Summit - May 12-15, 2017; Charlottetown, PEI




Professional Development Workshops

Killer Group Sales Campaigns - July 14, 2017; Online

Measuring What Matters: Building my Report Toolkit - August 7, 2017; San Diego, CA

Sales and Service on Steroids - August 7, 2017; San Diego, CA


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