Holly Mulcahy

“Well, if that’s your story, then classical music is cancelled!” That’s what I would jokingly say whenever someone lamented, “Nobody knows or even cares that there’s an orchestra in our city. Nobody understands us, our value, or our worth.” This sentiment is all too common among orchestras across the country. So, how can orchestras make their value and worth known, understood, and relatable? While having a logo and a well-designed website is a good start, the most powerful tool to capture attention and hearts is a compelling narrative. With all the social … Continue Reading

In my recent reflections, spurred by my own experiences with buying tickets (at full price, not comps!) for various events, I’ve come to a realization that might resonate deeply with those of us in the orchestra industry: we need to step out of our familiar world and experience what it’s like to be our own patrons. Walk in Their Shoes Imagine this: as a musician or someone deeply involved with an orchestra, you decide to purchase tickets for an orchestra performance. You navigate the (sometimes) cumbersome online ticketing process, figure out the … Continue Reading

Empowering children in classical music experiences requires more than just opening the doors to the concert hall; it demands thoughtful and tailored programming that resonates with children of all ages…and their parents! Tailoring Experiences for Children of All Ages Children encompass a wide range of ages, from the very young to adolescents, each with their own unique needs, interests, and capacities for engaging with classical music. Recognizing this variety is paramount in designing programs that resonate with children across different developmental stages. For younger children, interactive and hands-on experiences are essential in … Continue Reading

As I read through comments from my previous post about the idea of free tickets for kids at symphony concerts, I noticed that many assumptions about kids’ ages, expectations, and experiences were often shaped by personal biases rather than personal experiences. For instance, some suggested designing special concerts for children, overlooking the fact that such events already exist. Other suggestions included tailoring programs or adding entertainment to regular concerts to accommodate children’s attention spans. In my experience, such approaches often result in mere placation, and children can sense it. Automatically assuming what … Continue Reading

I’ve never been a fan of complementary (comp) tickets for orchestra concerts. I’ve written about that extensively and still firmly believe that having a value attached to a ticket purchase is good for the organization. Here’s what I wrote in 2018 about the comp situation: “Comp tickets are a bad habit! They are continually justified by people in the orchestra industry because: We want a full hall, no matter how. If people like this concert, surely, they will pay for the next. Comps are basically like a musician’s privilege or benefit; musicians … Continue Reading