We’re delighted to announce our partnership with King’s Head Theatre - an iconic Off-West End theatre in Islington that celebrates the LGBTQ+ community, on and off stage.

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The collaboration reflects DynamO’s commitment to developing flexible products that support a wide range of performing arts organisations, from the West End to pioneering fringe venues, with ethical, data-driven pricing solutions that increase revenue and drive audience growth.

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A bold and historic venue

Founded in 1970, King’s Head Theatre has long been recognised for its trailblazing programming, championing emerging artists and staging daring new work. Now, as the theatre navigates an exciting new chapter with their new and improved space on Islington Square, DynamO is proud to play a role in helping the team build a sustainable future.

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Seamless integration, flexible tools

Thanks to our existing integration with King’s Head Theatre’s ticketing system, Spektrix, onboarding the team was a seamless and efficient process. Now, their event data is pulled through automatically from Spektrix - and vice versa - meaning they can manage their dynamic pricing without having to double up on data entry. Our dashboards provide real-time insights into how each of their events is performing, empowering them to make quick, impactful decisions informed by data. 

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Supporting their values

King’s Head Theatre has always put accessibility at the core of its mission. With DynamO’s built-in safeguards - including lower and upper price boundaries - the theatre can stay true to its concession policies and commitment to fair pricing, while also maximising all revenue opportunities. The additional revenue generated will, in turn, help the theatre retain and build on its commitment to accessibility.

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Driving sustainable growth

As the theatre world continues to navigate shifts in audience behaviour, King’s Head Theatre is taking a forward-looking approach to its commercial model. By working with DynamO, they gain the ability to proactively adapt pricing in line with real-time demand, while maintaining the transparency and audience trust that are vital to their ethos.

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Impact no matter the scale

This partnership highlights how dynamic pricing can support organisations of all scales - not just large commercial venues, but also independent and boundary-pushing producing houses that are essential to nurturing new creative talent.

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Interested in exploring dynamic pricing?

If you’re interested in finding out how a partnership with DynamO could help your organisation increase revenue and fill empty seats, get in touch using our contact form or email info@dynamopricing.com. We’d love to hear from you.

For DynamO’s first ever webinar, we led a panel discussion on how to balance organisational values and ticketing revenue, with thought leaders from arts and cultural organisations - including:

Leon Gray, Head of Ticketing and Audience Experience at Edinburgh International Festival

Dawn Farrow, Founder and CEO at On Sale Group

Monique Baptiste-Brown, Head of Communications and Audience Development at Brixton House

Bence Marosi, CEO at DynamO Pricing

Phoebe Cleghorn – Sales and Marketing Generalist at DynamO Pricing ‍

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As well as posting a recording of the session over on the DynamO YouTube - which you can watch free on demand - we’ve also summarised some key insights shared by our expert panellists.

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Why is it important to consider organisational values when it comes to how we approach ticket pricing?

“Values aren’t optional or situational.”

Bence set the tone: if organisational values only apply when convenient, they’re not values. Pricing decisions should reflect who you are - because they impact audiences, staff morale, brand trust, and long-term credibility.

Broadest possible audience - by design, not by accident.

Leon shared how Edinburgh International Festival embeds its mission directly into pricing, offering £10 affordable tickets for those who need them (self-selected) and ensuring that 50% of tickets are £30 or under - all while meeting and exceeding revenue targets and selling 88% of capacity this year.

It’s not just “cheap equals accessible.”

Monique emphasised value over price. At Brixton House, access is about audience belonging and brand clarity: creating a space and experience where local communities see themselves, not just adding a low-price category. Tickets typically centre around £22, with Pay What You Feel performances and targeted low-price allocations to bring the right audiences in at the right time.

Brand, experience, psychology.

Dawn urged a mindset shift: focus on the exchange beyond the ticket - the transformation, the feeling when audiences leave, the clarity from confirmation email to curtain up. Pricing is as much brand storytelling and customer psychology as it is maths.

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How can we drive an increase in revenue, while staying true to our vision and mission?

Start with audience truths; let pricing follow.‍

Brixton House builds from socio-cultural insight: What’s the story? Who is it for? How does it connect with them? What barriers exist? Early authenticators (those who feel most represented) are more likely to become advocates, helping to build momentum and pricing power organically. From there, dynamic pricing can lift later-stage revenue while protecting pockets of accessible ticket inventory.

Plan the balance sheet to fund access.

Edinburgh International Festival partners with DynamO to push premium seats where demand supports it, and reinvests that incremental revenue into Tickets For Good, the Young Musicians Pass and an extensive set of concessions. The balance is planned upfront using previous-year data, then tuned throughout the sales cycle.

Segment everything, then be brave.

Bence advocated for deep differentiation - by seat zones, performance types (matinee vs. weekend), demand curves and audience segments. Then apply meaningfully different strategies across those segments. ‘Flat’ pricing philosophies often ignore real differences in audience needs and willingness to pay.

Challenge legacy discounts.

Dawn noted that some traditional concession rules (e.g., universal OAP discounts) can end up misaligned with current ability to pay. Re-examining who qualifies - and why - can unlock headroom for funding access where it’s most needed today.

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How can we ensure our approach to pricing supports our work in access and inclusion?

Concrete concessions with modern reach.
Edinburgh International Festival has expanded and simplified eligibility:
Under 18s: 50% off
Under 30s & students: concession pricing
Arts workers: 30% off
Deaf, disabled & neurodivergent audiences: 50% off, plus an Access Pass that unlocks held seats (aisle, near exits/toilets) which are bookable online.

Translate the concept of access, not just the copy.

Monique flagged a frequent gap: many new or infrequent attendees don’t recognise access schemes as for them. Brixton House has been exploring multilingual captioned performances and communications to reach growing local communities, paired with held seat allocations and FOH/box office support that guides first-timers through the process.

Use premium demand to pay for equity.

Bence shared examples where clients introduced cheaper tickets than ever because premium tiers or high-demand performances were able to subsidise them. Other tactics include member presales with distinct price behaviour vs. general public.

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Key takeaways

Values and revenue are not mutually exclusive - when planned together, premium demand can fund inclusion.

Combine forward-planning and agility - decide your access commitments upfront, then finetune pricing as demand unfolds.

Access includes communication, not just price - ensure your access and inclusion efforts don’t begin and end with the price. Consider the end-to-end journey.

Audience first, always - when people see themselves in the work and the space, they become advocates - and that advocacy powers sustainable revenue.

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Interested in learning more?

If you’d like to learn how dynamic pricing could help your organisation balance values and revenue, get in touch using our contact form or email info@dynamopricing.com. We’d love to hear from you.

DynamO is proud to partner with  TRG Arts to help cultural organisations build stronger, more sustainable futures. While DynamO provides the tools for agile, real-time pricing decisions, TRG Arts brings decades of expertise in strategy and demand management. Together, we combine long-term structure with day-to-day responsiveness, ensuring every performance works harder for both mission and revenue.

In this post, Peter Ling - Communications Executive at TRG Arts - shares practical insights into how demand management works, and how it can transform audience behaviour, ticket yield and organisational resilience.

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Understanding demand

At, we believe that an organisation’s mission and revenue are inseparable: growing one strengthens the other. To achieve that, you need more than hope that audiences will turn up. You need to actively manage and build demand.
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That means using data to decide in advance how many seats to make available at each price, when to release them, and how to signal value so people feel urgency to book early. It’s about managing perception as much as product, and every campaign is a catalyst for behaviour change; when audiences believe something is in demand, they behave differently. By effectively managing this demand, our clients strengthen their earned income and attendance.

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What is demand?

In TRG Arts’ work, demand is the level of audience interest in a specific performance, series, or event; and the opportunity to shape that interest. Through data, it’s seen in how quickly tickets sell, which seats go first, and how much audiences are willing to pay. But demand isn’t fixed. With the right strategy, you can influence when people buy, how much they spend, and how full it feels when sat in their seats.

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Why is demand important?

Demand sits at the heart of your organisation’s success. High demand can optimise ticket yield (your average ticket price) and help you make the most of limited seating capacity. Managing demand effectively allows you to:

• Grow revenue without increasing costs by maximising high-demand opportunities.
• Protect accessibility by ensuring there are price points for a wide range of audiences.
• Build momentum and urgency that encourages earlier booking and repeat attendance.
  
  

When your mission and revenue work together, every ticket sale fuels both your artistic and community goals.

How does ‘demand management’ work?
Demand management is the process of strategically shaping audience behaviour before and during a sales cycle.

At TRG Arts, this means using data for:

• Setting your seat mix intentionally: deciding in advance how many seats to sell at each price; all based on historical sales.
• Holding and releasing inventory strategically to create urgency and control scarcity and the ‘perception of success’.
• Signalling value early so audiences act quickly.
• Increasing ticket yield / average ticket prices as demand grows, while protecting accessible entry points throughout a sales cycle.

Done well, demand management gives you a strong foundation. DynamO adds valuable real-time responsiveness through its tools, allowing you to fine-tune prices as audience behaviour unfolds; combining long-term planning with in-the-moment action.