ABSTRACT
Most not-for-profit theatres in the United States operate on a subscription series season. Audiences buy a slate of plays (usually between three and seven) in advance at discounted prices. Benefits of this model are documented elsewhere, but include: greater financial stability and ability to plan based on known income; retention of audience rather than expensive acquisition of new; and cultivation of donors because of continued contact. Changes in the way we make and receive art have raised significant questions about the benefits and sustainability of the subscription model. In the face of greater competition for leisure and entertainment attention, and the shift from a passive recipient to self-curating and co-creative culture, it is incumbent upon artistic leaders to seize opportunities subscription-based seasons allow. If the model is beneficial but now endangered, what can one do as a dramaturg to help save and transform it?
