News and Discussion

Launched in 2010, The Ticketing Institute’s aim is to give commentary and a place for discussion on the new opportunites for buy lamisil once online ticketing, marketing and CRM, for digital marketing and social media integration.

Our news and discussion area is a home to press releases on stories affecting the industry as well as our own blog posts on the issues, trends and news of Sports and Entertainment ticketing / customer engagement.

Eventim UK Launches FanSALE

Eventim UK Launch FanSALE, the Validated, Fair Value Ticket Resale Platform

 

LONDON, 8 January 2018. Eventim UK are pleased to announce the launch of FanSALE (www.FanSALE.co.uk), the fan-to-fan, fair value ticket resale platform. The platform has been launched in a bid to help ensure tickets get into the hands of genuine fans, as tickets are verified against Eventim UK’s ticketing system and cannot be resold at a highly inflated price.

 

There are occasions where genuine fans can no longer attend the event they’ve purchased tickets for, and previously there wasn’t a fully integrated platform that would verify the tickets as legitimate. FanSALE facilitates this to ensure tickets sold are genuine, and that there’s a fair deal for the seller and buyer, protecting both parties.

 

FanSALE has a unique integration with UPS, which enables the tracking of tickets from the sellers preferred pickup point, to the delivery address. Fans will also be able to see the exact location of the seat they are purchasing, including the block, seat row and seat number.

 

Dale Ballentine, Eventim UK’s Director of Development says “FanSALE is about Fan First Thinking, we want to make sure fans get tickets for a fair price. We know that sometimes fans cannot attend their event as planned. FanSALE will help solve these problems, and ensure tickets are not sold at an extortionate price, making events more accessible for the real fans.”

 

In a marketplace where more and more artists are taking steps to protect their fanbase, Eventim UK’s validated fair price solution offers a trusted platform to purchase secondary tickets. Eventim UK look forward to working alongside more artists, promoters and venues to ensure tickets get into the hands of real fans.

 

Adam Webb of FanFair Alliance says “Research commissioned by FanFair last year highlighted that the majority of music fans would like a mechanism to resell their tickets if they can no longer attend an event. They don’t want to profit, just to recoup their costs in a safe and efficient environment. It has been hugely positive to see a growing number of responsible ticketing companies, like Eventim, listen to consumers and move in this direction – and we hope more will follow in 2018.”

Syx Ticketing launches enviso trade

 

Syx Ticketing, a technology leader in the leisure industry for more than 30 years, launches enviso trade, easily connecting venues with resellers to boost ticket reselling

 

Ypres, 18 January 2018 – Syx Ticketing launches enviso trade, a new cloud reselling platform that easily connects venues with resellers.

 

The traditional way of establishing partnerships and managing resellers involves lengthy, manual processes. Resellers typically get a large volume of ticket barcodes for reselling. This makes venues lack real-time insights into sales performance of resellers and they can’t manage their reselling channels in real-time. This is where enviso trade comes in.

 

Enviso trade provides recreatex customers with a pre-built cloud connection to distribute their tickets to a global ecosystem of resellers. With our ‘no cure, no pay model’, our customers can also easily start distributing tickets to new resellers channels. An open API can be used to connect new resellers or other ticketing back-office systems.

 

Venues can add their existing resellers to the enviso trade portal. This way, traditional resellers can download barcodes or order tickets on demand. Using this self-service approach, customers can already optimize and streamline their reseller processes, providing an easy transition from an analog to a fully digital reselling process. Venues can easily monitor reseller performance and optimise their sales in real-time. The reseller gets access to direct-to-gate admission tickets. This saves the need to exchange barcodes at the front office and also provides a seamless visitor experience.

 

Last but not least, enviso trade excels in social deal-making:  discovering and closing deals with the speed and ease of social networks! Once connected, venues can easily categorize their partners, allocating reselling capacity and commissions per category, changing ticket distribution in real-time. Venues can also partner up with other venues, bundling their offers as ‘digital combi-tickets’.

 

Dimitri Degraeve, CTO Syx Ticketing, adds: “We are proud to announce enviso, our new software product line that is built on cutting-edge cloud technology and designed to easily scale with future customer needs. Enviso is a modular cloud platform, enabling us to add new innovative cloud apps on top of our core recreatex platform. We also work with trusted partners to automate our software delivery and provide 24/7 support, critical for global reselling. With enviso, our team has built a next generation solution that enhances the visitor and operator experience end-to-end, making sure that every visit matters.

 

For more information about enviso trade and to know how it works, visit www.enviso.io

 

About Syx Ticketing

Syx Ticketing has been providing ticketing and leisure management solutions for the arts and cultural sector, visitor attractions and leisure industry customers for the last 30 years. 150 ticketing professionals work closely with international clients offering superior technology and fully customisable software aligned to each individual organisation’s specific needs.

ReCreateX is the state-of-the-art software application that processes high volume ticket sales, memberships and event bookings. The software includes bespoke modules such as sophisticated CRM and has an easy to use Point Of Sale front end which processes ticket sales including invoicing and itineraries, retail, food & beverages and course bookings management.

We are proud of our + 800 customers using ReCreateX and these include: The Tower Bridge, The View from the Shard, The Rijksmuseum, Van Gogh Museum, Pairi Daiza, Amsterdam-, Rotterdam- and Antwerp Zoo, the Royal Museums Greenwich plus many more spread across the UK and mainland Europe

 

What Difference Does 2% Make?

Well for that matter any percentage? Well the bigger the number, often the bigger the focus. We hear about people achieving 15% year on year growth, which is great, but for how many of us is that achievable in one year, or sustainable year on year?

 

In terms of income, of course, we can gain false positives if we look just at income levels. Having more shows on sale, more seats, more top price seats or a whole host of other factors, such as raising pricing in line with inflation. All of these may give us the belief our businesses are growing or performing better.

 

Let’s be clear, hosting more shows and selling more seats for er…. more IS success, and we should defiantly be striving for this. For now though let’s, look at this year’s income target or perhaps this year’s income to date.

 

Would you like it to be more? Of course you would. In the world we live in of limited resources, perhaps long term investment or being able to book 12 nights of lady Gaga – can we reasonably expect double digit growth? I don’t think so.

 

We could however look at setting ourselves small focused goals. Perhaps just in our own department or ways of working. We all know the danger of telling the board about our plans or targets, as they often hear these as guaranteed deliverables!

 

Using the 2% as an arbitrary, relatively small number what could we apply this to?

 

2% increase in online bookers? Going to be hard to quantify our actions on that one. The steady rise of online commerce means you’re probably going to see an increase anyhow.

 

2% increase in revenue. As mentioned above, with number and type of shows it will prove difficult to perhaps to correlate revenue and tasks undertaken.

 

2% in average order value? AOV has continued to grow as a metric I see ticketing operations using. Part of this can be effected by higher ticket prices, but it has some legs for our 2% project.

 

The two areas I think we have real opportunity as technologists and ‘ticketers’ are Conversion Rates (CR) and Extras in Basket (EIB)

 

Conversion Rates

Most of you will be familiar with conversion ratios. The number of people who achieved your desired outcome from a website visit. For most of US that will be buying a ticket. We must remember thought that not all people visiting the site will have THEIR desired outcome to buy a ticket. They may be simply wanting to find out ‘what’s on?’ or when is it?

 

At last year’s Ticket Professionals conference, which Booking Protect generously supported, we heard from Craig Sullivan ( https://twitter.com/OptimiseOrDie ) about making small incremental changes to our sites through subtle wording and colour variations. Through the use of tools like optimizely we can effectively run A/B tests to serve up different look and feel to customers on a 50:50 basis and measure which ones see the best ticket sales. Many ticketing companies have interfaces to optimisation tools, if you haven’t looked into it I suggest you do.

 

 Extras in Basket

Away from the science of optimising your website for maximum conversion, I am a fan of extra items. Here I am talking about tubs of ice cream, programmes or refund protection.

 

What are we talking about income wise? £2.50 a tub, £5 a programme, £3 per ticket for a £35 face value?

 

So on the refund protection, that is 10% – but not everyone is going to update take are they? But if JUST 1 in 5 did – we would be hitting our personal target, with out a paper cut or sticky fingers!

 

Whatever we are selling, or offering as additions at basket level, they have a cost, either in materials or service.

 

So is that 50p per tub of Rum and Raisin we are making or just 25p? To a CERTAIN extent, we don’t care, it’s extra revenue we are realising. Let’s look at retailers like WH Smith – most of us will have been offered that giant bar of fruit and nut when buying a paper. Why? Well revenue is the answer, either as extra spend or to terminate stock. But it must work. So if they are doing it why aren’t you?

 

Where do I start?

The New Year is a great chance to explore new opportunities and put your revenue house in order. Get in touch with Booking Protect by visiting their website here https://bookingprotect.com/contact-us/

 

 


This work has been made possible by support from Booking Protect
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Ticketplan / April Travel Collaboration

TICKETPLAN CREATES COMPELLING PROPOSITION VIA MAJOR INITIATIVE WITH APRIL TRAVEL PROTECTION IN UNITED STATES

 

MIAMI, FL (Jan. 16, 2018) –TicketPlan Group, the leading provider of ticket cancellation protection in the UK, and APRIL Travel Protection, the rapidly growing U.S. division of a global insurance conglomerate, have recently announced a strategic alliance across all 50 states within the United States. Co-branded as TicketPlan powered by APRIL Travel Protection, the new partnership paves the way for the development of a global network serving the insurance needs of event ticketing professionals worldwide.

 

Ticket cancellation is now a standard customer requirement in all areas of the event ticketing world and TicketPlan is the premium brand in the sector. Its alliance with APRIL—an innovator in the U.S. supported by the international presence of the 30-year-old APRIL Group—creates a compelling proposition for the event ticketing industry.

 

“APRIL’s strength in the U.S. coupled with the international backing of its parent company will make TicketPlan an even more valuable resource for entertainment ticketing professionals seeking a one-stop-shop for international event protection solutions across the global marketplace,” said Jason Schreier, CEO for APRIL Travel Protection.

 

The collaboration launches at the INTIX Conference in Baltimore, MD on Jan. 23 following an extensive research and operational effort undertaken by both companies due to the complexities of U.S. regulatory requirements which differ across all 50 states.

 

“APRIL has the in-depth regulatory knowledge and expertise to bring new ticket insurance facilities to market quickly, efficiently and professionally,” said Graham Berg, CEO of the TicketPlan Group.

 

“TicketPlan pioneered the concept of ticket cancellation protection within the UK and is now the accepted benchmark for ticket insurance and protection in many overseas markets as well,” Berg noted. “This partnership with APRIL marks an exciting new stage in our mutual development.”

 

“Our collective relationships will be an asset for industry players looking to globalize without having to develop operations and navigate regulatory compliance in each international market,” added Schreier.

 

TicketPlan policies for ticket cancellation insurance in the U.S. will be underwritten by StarNet Insurance Company or Berkshire Hathaway Specialty Insurance Company, and will be administered and marketed through APRIL.

 

The product and sales teams from TicketPlan and APRIL will collaborate on ongoing projects to generate leads and raise awareness throughout the industry of the opportunities created by the joint venture. TicketPlan Powered by APRIL Travel Protection will be officially unveiled at the 38th Annual INTIX Ticketing Conference at the Hilton Baltimore, Jan. 23-25, 2018.

 

Visit www.apriltravelprotection.com/ticketplan for more information.

 

About TicketPlan

TicketPlan was established in 1999 enabling ticket sellers to provide an added value service to their customers and to develop a new and valuable incremental source of income. An ever increasing number of ticketing organisations across the UK and Europe now trust TicketPlan to provide their ticket cancellation facilities. Visit www.TicketPlanGroup.com for more information.

 

 

About APRIL Travel Protection

APRIL Travel Protection is owned by APRIL, an international group with operations in 31 different countries.  APRIL is listed on Euronext Stock Exchange and has yearly sales of more than $1.1 billion. With Insurance Made Easy as it guiding principle, the APRIL Global Assistance Network benefits from an extensive organizational structure servicing more than six million policyholders worldwide. The company’s U.S. division is headquartered at 11900 Biscayne Blvd. Suite 610, Miami, FL, 33181. Visit www.AprilTravelProtection.com to learn more.

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Yesplan on Tour with More Solutions on Show

Event and Venue Planning system Yesplan have announced more of their Yesplan on Tour events for February, along with a number of webinars.

Read more

XMAS 2018 Lists for Entertainment Venues?

 

What did you ask for for Christmas? If you are like me you may have just asked for plain and boring socks. Those of you with children or nieces and nephews may have had quite a list.

 

My youngest son had devised a novel weighting system of ‘top presents’ and ‘these would be nice’ – I guess subconsciously he has picked up on the great many procurement projects I’ve worked on this year!

 

Just like Christmas lists many organisations weight their priorities when devising specifications for new suppliers or technology. On our functionality builder tool we list those as either essential, desirable or possible items.

 

In the last four years I have seen some items of functionality giving greater weightings, with some now being deemed less important. 

 

Many digital tools are now top  priorities for organisations,  while older technologies such as magnetic stripe cards are deemed far less important

 

Occasionally, we hear or see dramatic changes in these priorities.

 

Working with a client in late November (2017) we heard just one of these. 

 

As we discussed the organisation’s needs, focused around scenarios and business practices, one senior member of staff stated 

 

any system we look to move to must integrate with booking protect, we cannot consider not having this

 

I was quite taken aback by what is normally an afterthought being a headline functionality demand, so I queried whether it was absolutely essential. 

 

I’ve projected that we could make £40-£50,000 in 2018 with Booking Protect” came the answer.

 

“Wow” I replied. 

 

I have known for some time that many venues make considerable revenues by offering optional refund protection on ticket bookings. I don’t think I’ve ever heard of the figure being that large (but this is a large regional performing arts group).

 

Away from Booking Protect as a specific provider, or even the type of product, for me, this was quite a watershed moment. It shows us as arts organisations that, in difficult times, perhaps our imperatives and attitudes to technology are changing from functional descriptions to more strategic desired outcomes. 

 

As entertainment organisations, whether in performing arts or sports, we must start to think in this way.  For some, survival, for others success, may depend upon it.

 

By placing where we want to go and/or how we want to engage with our fans at the centre of our thinking, in either technology or service provider roles, or even the offerings we make available, we will ensure that we stay relevant, and continue to develop our audiences as well as protecting our revenues.  

 

Of course, an extra 50 grand a year wouldn’t go amiss either eh?

 


This work has been made possible by support from Booking Protect
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New Year Resolution should be ‘User Experience First’

This article has been updated.  Fairly obviously, for most organisations selling tickets, they rely on ticketing system suppliers and their Internet ticketing engine developers to make sure that their on-line sales front-end is optimised, so ticket purchasers get the best experience and are most likely to buy.  However, organisations selling tickets must take some responsibility for pressing their suppliers to develop better solutions that meet the needs of the marketplace in 2018.

Ever made the mistake of answering a stranger’s “what do you do?’ question with “ticketing”? Common reactions are either the stories of how difficult it is to buy tickets (usually referring to high demand events), especially parents buying tickets for their kids, with websites getting a lot of blame, or you are talked to as if you’re a white collar criminal working in a fundamentally corrupt business! I can usually explain both, but it seems increasingly hard to do so over the justified complaints about the on-line ticket buying experience.

enable customers to buy tickets the way they would want

I always remember a colleague Richard at Dataculture in 1999 (taken over by Tickets.com), as we agonised about adding on-line ticket purchase to the Databox ticketing system, saying it would be different if, instead of enabling current ticket sales methodology on-line, we were looking at how to enable customers to buy tickets the way they would want using a web browser.

As far as I can see, reinforced by my own on-line purchase experience, the perspective hasn’t changed much in 17 years. There has been a benefit from increased broadband speeds, though too many on-sales are marred by poor server responses even at modest traffic levels. But we haven’t seen the purchase flow improved and optimised that much, or reoriented to how attenders might want to go about it. The “why don’t they remember me?” complaint seems very valid. Retail stores have adopted on-line selling and gone out of their way to help the buying process, with reminder emails when customers exit without purchasing, or advice on new discounts or time-limited purchase offers, and an effective e-marketing dialogue.

lessons to learn in how not to do it

If we extend ticketing experiences to include railways, it can give us lessons to learn in how not to do it. Ticket machines at stations are effectively on-line front-ends, and watching passengers trying to purchase tickets from them is salutary. The transaction flow process is plainly not what the passengers expect. OK, it is straightforward to start with selecting a destination and then ticket type, but it goes wrong here. Where do I choose Off-Peak which I know to be valid but is greyed out? Where do I choose a Railcard?

At Cambridge, UK there are two routes to London, with different fares, but the destination of London according to route is not presented  in a way that passengers immediately see. Fortunately there is a ticket counter and the staff don’t mind that the machines are poor, because they get a queue of people who have purchased the wrong ticket-type/fare and need refunds and a replacement purchase, which keeps the staff in work. Apparently the on-train guards have to be forgiving of the numbers of people who have bought the tickets for the wrong route.

there is room for improvement

Are we much better in arts, entertainment and sports? Fundamentally, Yes, since despite the arguments of the secondary ticketers, most people don’t end up buying tickets they didn’t want. But compared with how on-line purchase in other sectors has moved on, there is room for improvement.  And customers are judging us by their on-line and digital inter-actions.  Are we behind the times?

What about the What’s On search? Can I choose to search by date or week or month or time of performance? What about ticket availability? Does it obviously tell me, searching for 2 tickets, when it is down to singles? Can I seek a specific seat location?  Can I choose a price and a number of seats and search across a run for availability? When do I specify the make-up of my party so I can see child and pensioner discount availability, before selecting prices and seats?

Note I started at the ‘What’s On search’, but what about recognising me as a returning customer? Why does Virgin Trains remember me, wants to check on my Railcard status, and keeps my credit card purchase details etc., but my local venue does not? This is going to become significant because General Data Protection Regulation in Europe from May this year (2018) is going to require a very specific permission and recognition regime, ironically in the interests of the venue as much as the customer. We should make it possible for the ticketing engine to know if people are members or subscribers, frequent flyers, etc., perhaps even remember their preferred ticket type and seat location?  This takes us into Segmentation, but that’s a separate topic.

optimise to help people buy tickets

Of course, the number of people purchasing on mobile devices means we could recognise them even more easily, and simply offer near one-click purchase, perhaps optimised for last minute and near door sales. And tickets could always be supplied as on-device or print-at-home.

But how many systems enable a group to reserve seats and pay separately? This may seem a big ask when some systems haven’t yet got a shopping cart for multiple event purchases!  And my experience of dedicated Apps, such as the Picturehouse cinema chain’s, is that these are a step back, not forward.

So can the New Year Resolution be to put ‘User Experience First’ and optimise to help people buy tickets?  Bound to be a topic at Ticketing Professionals Conference, this March too.

 

Roger Tomlinson

2 January 2018

How is Ticketsolve Getting Ready for GDPR?

 

GDPR // Ticketing System Readiness Series

How are leading systems responding to changes in EU Data Protection? In the latest in this series we take a look at Ticketsolve

 

 

System

Ticketsolve

 

Back Ground

Ticketsolve have continued to add to their already substantial customer base in the UK and Ireland. With over 260 customers in the arts and culture sector they are one of the major providers of ticketing solutions.

 

Their view

As ever, Ticketsolve have considered the importance of design and usability as well as compliance in their development of GDPR compliant tools. They have decided to deliver both best practice advice as well as a comprehensive set of tools for their customers to use to help them ensure compliance.

 

What we saw

During our session, we were shown the latest iterations of the Ticketsolve interfaces looking at the customer record, audit trail as well as new options to shape the tone of voice to be used in collection of permissions, expanding the ‘Ok to Email?’ labels seen in other systems to a full explanation of how the information will be used.

 

Great to see

The journey around the features and tools in Ticketsolve did have me saying ‘nice’ on a number of occasions. Whereas there was nothing in functions that stands out too far from others, it was the intelligent design and extra touches that caught the idea. Specifically, a key word search in audit trails – imagine a customer of x years – how long would their audit trail. Simply type ‘permissions SMS’ in the search box to filter all changes in that specific permission. I was also impressed that Ticketsolve appear to be one of only a few systems that offer a third party log in for safe and secure data transfer – perhaps GDPR will bring an end to those customer spreadsheets being emailed between companies!

The use of Keywords to narrow Audit Searches

 

 

What we didn’t see ……. but is coming

As with every system we have seen as part of this series – there is still work to be done by Ticketsolve. Key delivery dates in January are already inked in to roll out a new named third-party permission option – based on the contents of the customers basket. As well as these dynamic opt ins – there will also be the ability to add an unlimited number of fixed consent requests – allowing the ability to recorded consent for marketing and fundraising separately in the system. The extended audit of the customer record will also be printable to produce Data Subject Access Requests with one click.

 

The Production Company Portal Offers Direct Access to Consented Data and Sales Profiles

Transition Services and Issues

The result of Ticketsolve taking their time to consider all of the issues before starting to deliver the solutions that we saw, is that they have invested heavily in research but also staff training.  Our call to look at the features and functions had a number of support staff actively involved all with a good working knowledge as well as practical ways in which features could and should be used to ensure compliance. These staff will be taking the lead to work with existing (and new) customers to help them get the best from the tools.

 

Issue to consider

The move to offer ‘unlimited’ anything is always a worry. It’s nice that Ticketsolve will give their customers a chance to create multilevel and purpose permissions, but venues will need to consider which ones are relevant and help the customer understand their communication preferences. The danger is that venues, or new staff may be tempted to add ‘just another one’ and the list suddenly becomes unwieldy.

 

Stand out feature

We have seen a fair amount of innovation during this series, with some great new tools. My stand out feature for Ticketsolve is an ‘old’ one – one they have had for years – which is their tight integration to Mailchimp. It is one of the best integrations we have seen in terms of granularity and synchronised data. The use of the API allows real-time consents to be used in email campaigns and unsubscribes written back to Ticketsolve.

 

Overal

Ticketsolve deliver some solid tools to their customers already. There are some more to come, which should hit the user base in January, allowing venues to get fully up to speed ahead of May. Our key take-away from the look we had though was clever, clever design.

 


This article gives information in relation to what we consider to be best practice. However, compliance is context and fact sensitive and as such following any guidance does not guarantee regulatory or statutory compliance.

The Information Commissioners Office will judge any complaint on its own merits, and organisations in need of context or situation specific legal advice should seek it from an appropriately qualified source.


This work has been made possible by support from Arts Council England

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Syx Ticketing Announces Plopsa Amusement Parks Deal

Plopsa amusement parks selects Syx Ticketing for its innovative ticketing solutions

Syx is very excited to announce its partnership with the Plopsa amusement parks. As of 2018, Syx Ticketing will provide the Plopsa parks with an innovative cloud-based ticketing and booking system. Over 30 ReCreateX POS systems will be implemented across the six Plopsa venues:

–          Plopsaland De Panne (B)

–          Plopsaqua (B)

–          Plopsa Indoor Hasselt (B)

–          PlopsaCoo (B)

–          Plopsa Indoor Coevorden (NL)

–          Plopsa Holiday Park (D)

 

The Rheinland-Pfalz based Holiday Park comes as Syx’s first customer in Germany, from where it will launch its further growth into the German-speaking countries.

To avoid long queues at the ticket desks and to grant its visitors quick access to the park, Syx will deliver Plopsa’s first 4 self-service kiosks in De Panne. 

Plopsa also selected Syx as its partner for online ticket sales, payment gateway and the brand new 3rd-party reseller platform. ReCreateX will be hosted from Syx Automations’ ultramodern new ISO27001 certified data centre in Amsterdam.

 

Edwin Hemkes, Sales Director at Syx: “We have been in contact with the Plopsa team for over 15 years and are thrilled to finally have them on board. Our recent Gantner merger provides us with a global network of offices from where we can support customers like Plopsa with a cross-border growth strategy.  The partnership with Plopsa also gives us the opportunity to translate and prepare our ticketing solutions for the German-speaking countries. We are accelerating our further international growth which is beneficial for all our software users – it allows us to further invest in continuous innovations, which in turn provide our customers with tools which focus on increasing revenues and enhancing visitor experience.

 

Steve Van den Kerkhof, CEO Plopsa Group: Plopsa selected Syx Automations because of its innovative integrated total solutions, the extended functional possibilities, open API and its elaborate services: 24 hours a day, 365 days a year.

 

About Plopsa:

The Plopsa group, as part of Studio 100, exploits six spectacular theme parks located across Belgium, The Netherlands and Germany.

In Belgium, Plopsaland De Panne opened its doors in 2000 and Plopsa Indoor Hasselt opened in 2005. In the same year, Plopsa took over Télécoo and renamed it Plopsa Coo in July 2006. Plopsaqua, the first themed waterpark of Plopsa, was proudly opened in 2015. 

In 2010, Plopsa went abroad with the opening of its first indoor theme park in the Netherlands: Plopsa Indoor Coevorden and in 2011 Plopsa took over Holiday park in Germany.

The parks welcomed three million visitors in 2015. They all provide great days out for the whole family, with numerous attractions and entertainment to serve all age groups.

 

About Syx:

Syx Ticketing has been providing ticketing and leisure management solutions for the arts and cultural sector, visitor attractions and leisure industry customers for the last 30 years. 150 ticketing professionals work closely with international clients offering superior technology and fully customisable software aligned to each individual organisation’s specific needs.

ReCreateX is the state-of-the-art software application that processes high volumes of ticket sales, memberships and event bookings. The software includes bespoke modules such as sophisticated CRM and has an easy to use Point Of Sale front-end which processes ticket sales including invoicing and itineraries, retail, food & beverages and course bookings management.

We are proud of our + 800 customers using ReCreateX and these include: The Tower Bridge, The View from the Shard, The Rijksmuseum, Van Gogh Museum, Pairi Daiza, the Zoos of Amsterdam, Rotterdam and Antwerp, the Royal Museums Greenwich plus many more spread across the UK and mainland Europe.

More Traction for Make it Social

Edinburgh tech company makes the A-list

 

Edinburgh-based start-up, Make it Social, whose software enables people to book as a group but pay individually, has extended its West End reach with ticketing for its first play – ‘Glengarry Glen Ross.’  The iconic production, staged first in 1983, was later made into a film in 1992 starring Jack Lemmon and Al Pacino.

 

Audiences going to see Christian Slater, who plays a cut-throat salesman and stars in this latest revival in London’s Playhouse Theatre, are now able to take advantage of the technology for the first time.

 

Earlier this year Make it Social partnered with Ambassador Theatre Group (ATG) for the musical ‘Wicked,’ also in London.  The company’s software is now being rolled out to productions of the show in all major cities across the UK – those going to see it in The Edinburgh Playhouse can already ‘Make it Social.’

 

Established in 2013, Make it Social now employs 16 staff.  Two months ago it announced another significant partnership with Ticketmaster enabling it to move into ticketing markets in Europe, Australia and New Zealand.

 

Founder Eddie Robb said:  “Make it Social is delighted to be associated with such a high profile and popular play and it’s hugely satisfying to see people using our online vehicle to get offline and do more things in the real world.”

 

Charles Bruner of ATG added:  “Make it Social takes the hassle out of group booking making sure the organiser isn’t out of pocket.  We are always looking for ways to make life easier for, and thus enhance the experience of, our audiences.  We look forward to using the software for more ATG productions in the coming months and have a planned programme to achieve this.”