What if theater could be both accessible and challenging? That’s the daily reality at Het Nationale Theater in The Hague. With five venues across three locations, an in-house theater company, and more than 1,200 events per year, it is one of the largest cultural institutions in the Netherlands. Yet its ambitions are simple: make everyone feel welcome while inviting them to look beyond the familiar.
“We don’t just program shows because they sell out,” says marketer Rio. “It’s just as important to present work that isn’t an easy sell — keeping that in our program is what makes a season truly successful.”
A smart mix
Het Nationale Theater deliberately opts for a wide and varied range — it’s embedded in both the mission and subsidy policy. Claire, who focuses on email marketing and customer relationships, enjoys studying orders during seasonal pre-sales:
“I love seeing someone book a popular show alongside one by a new maker in our smallest hall. That’s the combination you want: to entice visitors to try something unknown next to something familiar.”
Balancing income and artistic risk is delicate but essential. Bo, who coordinates ticket sales and audience service, explains:
“We program certain big names four times so that we can also give space to new — often lesser-known — makers whose work matters but may attract fewer audiences. That way, we can represent the entire landscape.”
Affordable and inclusive
Affordability is another key principle. Bo describes the pricing strategy:
“We only raised prices in the higher ranks, so lower ranks remain affordable for people with smaller budgets.”
The introduction of a plus rank made better seats slightly more expensive, which allowed cheaper options elsewhere. Another success is the try-out ticket: “You can see all our tryouts for ten euros. That’s for everyone — no matter what you earn or can spend. A tenner for all,” says Rio. “And suddenly, every tryout sells out.”
Accessibility is more than low prices
Het Nationale Theater's accessibility mission goes beyond the price. “We are the only theater in the Netherlands with a dedicated department, HNTOnbeperkt, which does everything in its power to make the theater accessible to people with a visual or hearing disability,” says Bo. “As an extension, we have now launched a world first.”
He refers to smart glasses with AI-driven, real-time subtitles — not only useful for the deaf and hard of hearing, but also for people who don’t understand Dutch. The subtitles are available in 223 languages.
This accessibility goes beyond technology. Another example is the sensory-friendly room, intended for people who are sensitive to sensory stimuli. “This initiative grew out of the personal experience of a former colleague, who saw great opportunities for Het Nationale Theater to better facilitate visits for sensory-sensitive audiences,” explains Bo. “It actually started as a personal mission and has grown into a department with four colleagues, who now also receive dedicated funding for these projects.”
Challenges with new formulas
While traditional subscriptions are disappearing in many theaters, Het Nationale Theater experiments with thematic series that focus on discovery and encounter.
Claire gives the example of the new ‘Non-Dutchie’ series, aimed at people who don’t understand Dutch:
“We’ve chosen shows that don’t need any language. For example, a dance performance or a show without spoken text.”
Another notable formula is the theater discovery series. For a fixed fee, a group of visitors attends multiple shows, often accompanied by a staff member. Rio explains: “Then you go to the show together with 30 people — the same group every time — so you also have real social contact. And even if you’re alone, you can go to a show without feeling alone.”
The Mix & Match action also stimulates audience expansion: “You buy three shows, one from each location, at a discounted price,” says Claire. “That way, visitors discover new venues in addition to their favorite theater.”
Sometimes these successes bring new challenges. “Now that more and more people are coming to our flat floor theater, partly thanks to these efforts, we also need to start seating that hall,” says Bo. “We’ll do that for the first time this season, hoping it reduces queues at the entrance and helps visitors enter more relaxed.”
Collaboration as key
Many initiatives at Het Nationale Theater don’t originate top-down, but through close cooperation between departments. The creative interplay between marketing and programming is crucial. Rio: “We work very well together. So when an idea comes from marketing, it’s fully embraced.”
A striking example is Patatje Met, a combination of a show and fries at an accessible price. “We first came up with that in the marketing department using shows already programmed,” she explains. “The following season, the programmers actively looked at what could be offered as part of Patatje Met.”
Theater as a meeting place
Het Nationale Theater proves that a big house doesn’t have to be distant. On the contrary: it combines accessibility with exceptional performances in a way that both attracts and challenges audiences. From low entry prices to personal communication, from thematic series to technological innovation — everything is about connection. Not only between people and performances, but also between people themselves. As Rio puts it: “We simply want everyone to feel welcome, to mix, and to meet people they might never otherwise encounter.”
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