Some Early Research On The Shift To Online Streaming

Rainer Glaap has enjoyed a long career as an arts marketing and box office authority. He’s based in Bremen, Germany and although recently retired, that doesn’t seem to be stopping him from being neck deep in one fascinating research project after another.

One of his recent endeavors has been studying how much audiences are engaging with the initial round of online streaming offers from traditional cultural institutions.

Granted, his subject base is German based, but I think that contributes a great deal of added value for US based arts administrators in the form of meaningful cross-pollination. The article is divided into several sections:

I found the section on willingness to pay especially engaging; it doesn’t shy away from examining the issues related to using streaming content as an earned income revenue enhancer. I won’t spoil anything about the revenue stream portion, but will excerpt something from the question Glaap posed asking respondents if the initial efforts were engaging enough to inspire ongoing use even after halls reopened.

In this context, the question was also asked about the willingness to take up further streamed offers after the end of the pandemic and the assumed reopening of the houses. 50% of those questioned denied this.

Keep in mind, the article is translated from the original German but you shouldn’t have any trouble getting the points. You can read the full article at ArtsHacker.

Theatre Streams: Who Uses The Offer?

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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