Although the marketing practice of theaters, among others. Has improved a lot in recent years, the basis of the marketing approach has remained unchanged. The focus is still on promoting individual cultural events, time and again. Season ticket holders without a subscription This observation seems inconsistent with the presence of ‘subscription holders’ in most theatres. Do these theaters actually work with subscriptions, including a recurring stream of fixed income?
Although cultural organizations sometimes
Unfortunately not. In the eyes of theaters, a season ticket holder is someone who has bought an x number of tickets prior to the new Biotechnology Email List season (during the presale). In other words, the subscription holder has not committed to anything in advance. During the pre-sale, he determines which performances will be placed in the shopping cart. Strictly speaking, of course, there is no real subscription here, let alone a recurring and predictable income.
The problem with unlimited tickets
Subscriptions and memberships hardly seem to form part of the revenue models in the cultural sector. However, there are exceptions, usually initiated by umbrella cultural organisations. One example is the We Are Public platform, which gives members access to a range of exhibitions, films, shows and concerts for a fixed monthly fee. Another successful setup is Cineville: a pass that gives unlimited access to the range of 40 film houses in the Netherlands.