This article is related to a recently completed custom research project conducted on behalf of an ABA member. Our research team is always delighted to speak with members about tailoring research projects to your organization. To learn more or submit a custom research request, simply contact your member advisor or email us at info@advisoryarts.com.

A performing arts members was interested in understanding the opportunities and resources required to launch a programmatic family series- including designing the offer, staffing and resourcing, and marketing and promotions.

These questions, led to a qualitative research study comprised of interviews with seven arts and cultural organizations who have launched family series at their institutions. Our interviews ranged from organizations with a robust long-term offer, to a first-year pilot program and a newly revamped family series model.

Key findings include:

• Family programming is mission-driven work, not a revenue strategy. Across institutions, family series are framed as education/community commitments that are intentionally subsidized and supported through other indirect and/operating funds. Break-even is rarely the objective; the goal is to serve families and align with broader civic and educational mandates.

• Institutions choose between “dual-lane” and “parallel-track” models. Some use the same titles for school matinees and family shows, sharing costs and building a two-channel impact (classrooms + weekends). Others maintain distinct pipelines for curriculum-led school shows and more leisure-oriented family series.

• Experience design extends beyond the performance itself. Institutions increasingly design a holistic visit: pre-/post-show lobby activities, flexible formats that allow movement and noise, and partnerships (schools, early-childhood orgs, libraries) that add workshops, festivals or classroom resources. For school titles that also have family performances, educators get preparatory tools while families receive on-site activations.

• Prices are set for access, not cost covering. All institutions aim to keep family tickets low relative to their mainstage prices, recognizing the cumulative cost of multi-ticket purchases, transport and food. Accessible pricing is justified through mission and fundraising, not by devaluing the artistic product.
  

The full report is available to ABA members by clicking below.

This article is related to a recently completed custom research project conducted on behalf of an ABA member. Our research team is always delighted to speak with members about tailoring research projects to your organization. To learn more or submit a custom research request, simply contact your member advisor or email us at info@advisoryarts.com.