The View from Australia: Lessons from Our Arts Sector’s Reopening
For the last eight months, I’ve been based in Sydney and able to experience a live performance industry reopening in real time. Australia has managed to avoid the worst impacts of the coronavirus pandemic by virtue of being an island – as well as swift and decisive action by the government in March 2020. For most of 2021 we have had zero community transmission, and life has very much returned to normal, including for arts companies.
On my return to Sydney in 2020, I was keen to support some of our local companies as they made that slow return. My first theatre experience in Sydney was at one of my former employers, Belvoir, who were presenting a one-woman show in their 338-seat venue with social distancing in place. I estimate at that performance, I was joined by 60 fellow masked theatre lovers (and a couple of cameras that were capturing the performance for distribution to schools). We were temperature checked, had to scan in on a government app, and there was no loitering in the lobby pre or post performance.
At the same time, Sydney Theatre Company, also one of my former employers, reopened its 896-seat theatre with a new Australian play featuring a starry cast (playing to around 160 people per performance) and Griffin Theatre Company moved their performances out of their small home theatre to another venue where they could socially distance the audience.
Since that first visit to Belvoir, I have consistently attended live events (and frequently museums) and observed the changing protocols and audience attitudes, and here are some trends I’ve noticed that might be helpful to friends in the US and UK planning for their own reopenings:
Not for profits led the way: All of the companies I mentioned above reopened their doors knowing that they would make a loss on performances but also knowing that they needed to reengage with their audiences. While arts institutions in Australia have some level of government funding underwriting operational costs, box office is still a significant revenue source for most companies. The willingness of these companies to make it work at limited capacities paved the way for commercial theatre in Australia – Disney opened Frozen when it could play to 80% houses and when Hamilton opened in Sydney last month theatres were back to 100% capacity.
Audiences are ready to return – and they are willing to pay: Anecdotally I have heard that most productions since reopening have met or exceeded their targets, and most everything is back at regular prices. As an attendee I’ve been thrilled to see theatres and galleries operating to (the designated safe) capacity. Opera Australia’s Opera on the Harbour, which usually relies on strong sales to tourists, is currently playing to local audiences only with a top ticket price of $369.
Reinventing marketing timelines is a must: Most of the not for profit companies have released their 2021 seasons in multiple parts. Both Belvoir and Sydney Theatre Company only announced the first half of their season late in 2020, and much later than they would normally announce. Again, from my conversations with industry colleagues, this approach has not hurt subscriber renewal rates significantly, and it has given them the ability to react to changing realities as government restrictions changed.
Communication is key: As a patron of many companies in Sydney, I have been consistently impressed with companies’ openness with customers about their reopening plans including safety and contingency plans. Knowing what to expect and what precautions a company is taking has certainly put my mind at rest and helped me plan for the evening (for example, Belvoir still suggests early arrival to account for temperature checks and check-in).
Collecting Customer Contact Information is essential: As a marketer I’ve always advocated for collection of customer data at all times! Now, though, it truly is essential. Around Christmas, there was a small outbreak in Sydney requiring companies to cancel performances – and advise customers – overnight. Never before has email and SMS been so critical a tool for companies.
I am certain that some of the lessons learned during this period – particularly around breaking traditional seasonal announcement models and being more open with audiences – are certain to stick. Most importantly, not being able to access cultural activities for six months has seemingly strengthened the relationships that audiences have with their favorite companies, and I foresee that the coming years will result in record subscriptions and donations.
Photo Courtesy of Sydney Theatre Company / Brett Boardman
Rani Haywood is the Vice President of Tom O’Connor Consulting Group. TOCG is a New York City-based arts consultancy offering strategy, assessment, executive search, and leadership coaching services to organizations across the US—all with a focus on audiences and revenue outcomes. For over fifteen years Rani has held senior marketing roles at an array of performing arts and cultural organizations in Australia and the United States, including at The Metropolitan Opera, Roundabout Theatre Company and Sydney Theatre Company.
