Tessitura Network were headline sponsors of AMA conference 2017 and keenly engaged with The Value of Everything theme. Here, the Networks’s Brooke Gallagher tells us what she expects from her arts and cultural experiences and how thinking about ice cream isn’t a bad place to start.
I’ve been working in arts and culture for half of my life now. Fifty percent of my years. That is terrifying. And if you regard selling ice cream as art (which I most certainly do – I worked in posh ice creaming), then we are getting closer to two thirds. If you count performing in shows as work – and once I reached a certain level of ‘seniority’ at Fame (my musical theatre training school) I did get paid for all the school holiday shows we did so I’m counting that as work – then we’re now up to three quarters. Did I mention I got paid five Australian dollars more per show when I was the rear end of the cow in Fame’s school holiday production of Jack and the Beanstalk? I was working.
Growing up, not only in the arts but also in the world in general, my taste in things like ice cream and music theatre have changed and matured*. I’m no longer happy with a basic home brand imitation of vanilla – I want to see those little black flecks that prove how delicious it is. I don’t eat pre-sliced white bread any more – I’ll take the seeded rye sourdough thank you very much.
I have also developed in terms of what I expect from my cultural experiences. I don’t settle for basic home brand imitation vanilla any more. I want my experiences to be meaningful and valuable; I need them to make an impact on my thinking and my emotions. I’ve had the incredible luck to work for a variety of excellent arts organisations of different flavours and sizes throughout my career; from running operations for theSpaceUK at EdFringe to managing the brilliant box office team at the beautiful Richmond Theatre and more recently working cross-departmentally with Tessitura at the artistically unparalleled National Theatre. Throughout this journey I’ve worked with an array of business tools and what I’m happy to work with (or put up with) has also changed and grown.
“Tessitura has helped us in almost all aspects of our day-to-day work in the theatre. Our education team’s work is organised, our development team’s output is maximised, our ticketing operation is straightforward, and dynamic, and our data can be easily reported on in a multitude of ways.”
Sophie Beattie, The Old Vic
I want to work with passionate people in a thriving arts community. That’s how I ended up at the Tessitura Network. Every single person I work with is 100% committed to excellence. You can see it in the unparalleled technical support we provide. You can see it in the way we work with cultural organisations to implement Tessitura to fit your business processes (not force you to work ‘our way’). And you can see it in our annual learning and community conference where over 1800 people come together to talk marketing, ticketing and fundraising while also running 5k at the crack of dawn, popping off to a local baseball game and sharing their musical talents with the rest of the us at the final evening party.
I’m extremely proud of where I’ve ended up and of what we at the Tessitura Network do on a daily basis. We don’t settle for ‘good enough’ and – I’ll be honest – sometimes that is hard. Sometimes that is tiring. But that is why we’re here. Do you have a partner that works with you for your business critical systems like ticketing, marketing and fundraising? Or do you have a supplier who walks away at 5.01pm and tells you ‘Take it or leave it’? At the Tessitura Network, we’re always here for you.
Get in touch. email@example.com
*If you do not believe Grease 2 is the best musical movie of all time it is most definitely you whose taste in this particular area hasn’t matured. Yes it is.