Drew McManus on the Orchestra business | est. 2003

Variances, Exceptions, And Special Considerations! Oh My!

Fri, Oct 10, 2015
Adaptistration People 023
Imagine for a moment that you’re passionate about Haggis, so much so that you went to school to study everything you could learn about Haggis and earned a degree in Culinary Arts with the goal of launching your very own startup food truck that does nothing but produce Haggis dishes, let’s call it Pluck You*.

Time To Open Up A Big ‘Ol Box Of Getting Stuff Done To Make Your Email Marketing More Efficient

Thu, Oct 10, 2015
Adaptistration People 166
One of the most frustrating and expensive problems arts managers deal with is email subscriber inactivity and no matter how hard you work to avoid it, just as sure as the sun will rise in the morning, your email lists will have inactive users, commonly referred to as non-responders. They drive up your email marketing

Following Up On The Movement To Improve Workplace Satisfaction

Wed, Oct 10, 2015
Adaptistration People 094
Several weeks ago, we examined the value of improving workplace satisfaction within the orchestra field via grassroots efforts; specifically, increasing the quantity and frequency of reviews from arts administrators and staffers about their respective institutions at GlassDoor.com. Since then there has been a noticeable increase in reviews with 10 new entries at seven orchestras. Of

The Oft Overlooked Value Of Grass Roots Outreach

Tue, Oct 10, 2015
Adaptistration People 079
More often than not, whenever we talk about outreach and making connections with our community, those conversations unfold in a very top-down prescribed manner, not unlike a list of boxes to tick off on a grant application. Although there are plenty of good conversations to have within those parameters, they tend shortchange meaningful grassroots efforts

Making Sure You Don’t Forget What You Know About Peer Review

Mon, Oct 10, 2015
Adaptistration People 125
There’s a fascinating article by Peter Dobrin in the 10/18/2015 edition of the Philadelphia Inquirer that casts a frank eye toward the orchestra’s current state of strategic limbo. There are a number of thoughtful items but one in particular jumped out; specifically, the issue of what the orchestra does with musicians that no longer play