To be achievable, relevant, and realistic, objectives must be coherent with one another, which requires a collective process of prioritization within the institution.
Careful formulation of objectives also helps avoid contradictory demands. For example, an objective might aim to diversify audiences toward social or youth sectors. Such a qualitative goal must align with any quantitative targets of the institution. In this example, if a significant increase in revenue is targeted simultaneously, doubling the number of young audience members-who usually pay lower ticket prices-may be incompatible. Objectives must therefore be clearly specified to remain realistic and achievable; otherwise, conflicting goals may set teams up for failure.
Financial objectives are also a necessary part of this process. Cultural institutions include revenue lines in their budgets, which must be co-developed with teams responsible for marketing performances and audience development. Without explicit, precise financial targets-whether per show, by audience segment, or by season-objectives cannot be effectively applied or mobilized daily.
Quantitative and qualitative objectives enable teams to make objective daily decisions. For instance, should a challenging-to-sell performance be prioritized for its visibility benefits, or another whose high production cost demands maximum attendance?
It is not always about prioritizing shows guaranteed to succeed; sometimes political choices supporting creation must be made consciously. The key is to avoid pursuing all objectives simultaneously without clear strategy.
Finally, strategic objectives must not remain theoretical. To become true drivers of action:
- They must be visible: displayed on dashboards accessible to teams.
- They must be regularly monitored: monthly meetings can be dedicated to their evaluation.
- They must be adaptable: objectives can be adjusted as circumstances evolve.