How to organise a ticketed historical re-enactment day

You've found a historical group with wonderful kit, a venue that looks the part and a date everyone can make. Now comes the question that decides whether you have a paid event. What will someone who knows nothing about the period actually enjoy doing there?

A historical re-enactment day needs a public programme people can follow. Choose a specific story, book knowledgeable participants who can explain it, and turn their skills into scenes and demonstrations with clear times, viewing arrangements and admission rules. Then check that the site, permissions and ticket income support the day you've promised.

For a first edition, I'd start with a compact programme of living history and short staged scenes. Visitors can watch people demonstrate a trade, explain an object or act out a documented situation without you immediately taking on a large battle production. If combat is central to your idea, bring experienced specialist organisers into the project before choosing the site or announcing tickets.

This guide walks through the historical brief, participant agreements, visitor programme, site and commercial decisions. We'll use an invented example to connect them. The example isn't a real historical case, a supplier quote or a recommended attendance. Legal and safety requirements depend on where you operate, and the sources below identify their own scope.

Choose the history people will come to understand

Start with a question a visitor might find interesting. How did goods reach a town before modern transport? What happened when a household prepared for a public celebration? How did ordinary people respond to a particular local change? A focused question gives your contributors something to explain and your buyer a reason to come.

A period label alone leaves too much work for everyone else. "Eighteenth-century history day" could mean almost anything. A day about work and trade in a port town gives you a basis for choosing occupations, objects and scenes. You still need proper research to decide the place, dates and claims. The description is a starting proposition, not permission to invent the history.

For our fictional planning example, imagine a one-day event about how a particular port community prepared goods for sale. The programme combines a short staged negotiation, demonstrations of approved reproduction objects and conversations with costumed interpreters. There are no firing demonstrations, combat, animals or public tool workshops. Those choices define this edition's scope; they aren't a claim that other formats can't work.

Tell contributors what visitors should understand by the end. Perhaps they should be able to explain who handled the goods, why different workers depended on one another and how the evidence helps us know. That is a better booking brief than asking each group to bring whatever looks impressive. You can assess a proposed demonstration against the question you're answering.

Keep the event's identity distinct from a general costume festival. Our guide to planning a Renaissance fair covers a broader mix of entertainment, traders and themed participation. A historical re-enactment day asks visitors to trust what you're presenting about the past. Make that trust part of the offer, alongside a day they can enjoy.

Choose your audience at the same time. Enthusiasts may want detailed discussion of equipment and sources. Families arriving for an afternoon need understandable scenes, practical facilities and ways to ask basic questions without embarrassment. You can welcome both, but don't write the whole programme for the people who already know the subject.

Test the description with potential buyers outside the participant groups. Ask what they think happens after admission, how long they would stay and which part would persuade them to travel. Listen for confusion as well as enthusiasm. A group keen to attend in costume is useful programme evidence, but it doesn't establish demand from paying spectators.

Agree what is known, reconstructed and invented

Appoint someone with the relevant historical knowledge to review the programme. Pay for that work and agree its limits. A specialist in clothing may help with clothing; that doesn't automatically make them the right reviewer for local trade, language or a contested political story. Match the questions to people who can answer them.

Prepare a shared record of the claims that matter. For each major scene or demonstration, note the claim, supporting source, reviewer and any uncertainty. Keep it usable. A presenter needs to know whether an object reproduces a surviving example, illustrates a common method or represents a practical modern substitute. They shouldn't have to search an unorganised folder during a visitor conversation.

The American Historical Association's standards for historical museum exhibits emphasise scholarship, review and engagement with stakeholders. They address museum exhibits, rather than certifying commercial events, but provide a useful basis for reviewing public history. Ask whose perspective your programme includes and what your evidence can actually support.

For the fictional trading scene, the review record might distinguish a documented commercial practice from dialogue written to explain it. The audience can still enjoy the scene. The presenter simply introduces it as a reconstruction based on research, rather than claiming the conversation happened word for word. Have someone review the script before performers learn it.

Don't use "authentic" as a substitute for explanation. A reproduction may use a modern material for a sound practical reason. A scene may combine evidence from several accounts. Describe those choices honestly when they affect what the visitor learns. You don't need to interrupt every sentence with a qualification, but your team should be able to answer a reasonable question about the reconstruction.

For subjects involving violence, enslavement, dispossession or other difficult histories, involve appropriate historians and relevant communities early enough to change the programme. Agree how context, language and visitor questions will be handled. Surprise humiliation of an audience member is a poor substitute for explaining a painful history, whatever a performer thinks it adds to the scene.

Historical presentation also doesn't require discriminatory casting. The US National Park Service's account of equality in living history explains how challenges to exclusion shaped its practice, including attention to the information presented rather than an interpreter's race or sex. That's an institutional history, not a complete statement of your local employment law. Set fair participation arrangements and obtain appropriate advice for your operation.

Book participant groups to deliver a public experience

Ask prospective groups about the public work they've delivered, not only the period they portray. Can they explain their equipment to a beginner? Have they worked to a timed programme? Who makes decisions for the group, and what happens if fewer members attend than expected? Beautiful photographs don't answer those questions.

Invite a practical proposal. Ask for the subject, named lead, expected participants, demonstration length, setup needs and what visitors can watch or do. Request a description of their technical requirements and relevant competence. If a proposal includes activities outside your agreed scope, review that change before accepting it. An additional display can alter the permissions, insurance and site arrangements.

Distinguish a contracted public performance from a gathering participants attend for their own enjoyment. Both can contribute to an event, but you need to know what you're buying. A group receiving travel support may agree to specific public sessions. A group paying to camp may have a different relationship. Neither arrangement should depend on assumptions about unlimited availability.

Write down the public work the group agrees to provide. That might be a named demonstration, a reviewed scene and staffed interpretation during agreed windows. Confirm who provides narration and how breaks work. If the group can deliver only when all its members are together, don't also book those members to run separate stations at the same time.

Pay attention to the group lead's workload. If every visitor question, missing prop and access issue reaches the same person, the performance will suffer. Give groups an event liaison who can resolve practical matters without pulling the lead away from a session. The liaison also needs a route to the event manager when a request affects the agreed plan.

Confirm replacement arrangements before tickets go on sale. A group losing a specialist may still be able to offer a discussion, but that isn't necessarily equivalent to the advertised demonstration. Agree when they must notify you, what alternatives they can genuinely provide and who approves the public description. Don't publish an unconfirmed substitute because you need the programme to look complete.

Keep recruitment and marketing permission separate. Get agreement to use names, logos, images and footage. Ask what the material actually shows and whether identifiable people have the necessary permissions. Footage of an unrelated battle can make your non-combat day look like a different event, even when you have permission to use the clip.

Put the practical agreement in writing

Your booking agreement needs to describe the work clearly enough that the participant lead and your delivery team reach the same conclusion. Have the legal terms reviewed for your jurisdiction. The operating information should still be plain enough to use on the ground.

A useful booking record covers:

• The historical subject, approved activities and named group lead.

• Confirmed participant numbers, the process for changes and any support people attending.

• Public sessions, interpretation windows, breaks and rehearsal commitments.

• Arrival, unloading, changing, storage and removal arrangements.

• Equipment, services and facilities each party supplies.

• Fees, agreed expenses, deposits, balances and cancellation terms.

• Required evidence, permissions, insurance and the deadline for checking them.

• Authority to pause work, reporting arrangements and restrictions on additions.

Separate participant access from public admission. A reenactor entering with equipment needs a different arrival process from a family arriving with tickets. Record the people expected through the participant gate and check the agreed route. Friends, photographers and extra helpers need an allocation decision rather than becoming an unrecorded addition on the morning.

If children take part with a group, establish the applicable safeguarding arrangements and responsibilities before accepting the booking. Don't assume the group leader provides childcare or that a parent arriving somewhere on site resolves every issue. Keep public participation, contracted performance and care responsibilities clear in the brief.

For a first edition, I'd avoid onsite overnight camping unless it's essential and properly provided. Participants may reasonably need accommodation, but an overnight site creates another operating period, facilities demand and set of responsibilities. State whether accommodation is included, independently booked or outside the offer. Don't describe a field as accommodation simply because a group owns period tents.

Agree ordinary comforts as carefully as costume requirements. Drinking water, suitable toilets, meal arrangements, changing space and rest affect whether people can deliver the public work. If the programme requires someone to stay in costume for the whole public period, discuss how breaks and personal needs work. A visitor should never have to discover that your only interpreter has been working without relief.

Keep one approved version of the booking record and ask the group lead to confirm material changes. A casual message about bringing an extra cart can affect unloading, storage and public routes. The person approving it needs to check those consequences. Clear records help you say yes to useful ideas without quietly changing the entire event.

Choose a site that supports the demonstrations

Assess the proposed activities before falling in love with a historic backdrop. You need permission to use the land, suitable visitor routes, practical services and space for each approved demonstration. A beautiful building doesn't guarantee that deliveries can reach it or that your audience can see and hear what happens inside.

Walk the complete route with the relevant leads. Include arrival, ticket checks, toilets, viewing, rest, refreshments and departure. Then check the participant route with the actual equipment in mind. A doorway that works for a person may not work for a large reproduction object. Find that out before you've printed the programme around its location.

At a protected historic site, discuss your proposed work with the owner and appropriate heritage authority early. In England, Historic England's scheduled monument consent guidance explains that most works to a scheduled monument require prior written consent. That doesn't mean every event automatically needs the same consent. Explain proposed fixings, ground disturbance, structures and vehicle movements so the correct requirements can be established.

Use the conservation rules when planning the event. If you can't peg a tent, drive over a surface or attach a sign, find an approved alternative before booking equipment. Ask suppliers to confirm the arrangement with the responsible specialists. Improvising a fixing on opening morning can put both the site and the event at risk.

Map the public areas separately from working and storage areas. Demonstrators may need somewhere to prepare objects, secure equipment and change without visitors following them. Keep service movements out of public circulation according to the agreed plan. A historically convincing camp still needs clearly managed boundaries where the public should not enter.

Specialist activities require specialist planning. Firearms, black powder, combat, archery, animals, open flame and similar additions need the relevant competent providers, approvals and site-specific controls. This guide doesn't set operating distances or technical methods. Don't assume a participant group's experience elsewhere establishes permission or suitability at your venue.

For our fictional edition, those activities remain outside the booking. That lets the organiser concentrate on a narrower programme, but it doesn't remove the need to assess object handling, temporary equipment, weather or crowd movement. Confirm any required licensing and approvals with the relevant authorities, including arrangements for food, music or other services you choose to add.

Make the demonstrations visible and understandable

A visitor paying admission needs more than a chance to stand near someone doing something interesting. They need to see the relevant action, hear the explanation and understand why it matters. Check all three during a trial in the proposed viewing arrangement.

Think about the smallest important detail. If the point of a demonstration is a small mark on an object, only the front row may see it. The answer might be a separate enlarged illustration, a different demonstration method or a repeated small-group explanation. Choose a method the demonstrator can deliver accurately and the site can support.

Plan viewing before deciding how many people to admit. Total site space doesn't tell you how many visitors can use the main attraction. If a headline scene has limited viewing, arrange and describe how access works. Repeat sessions only when the performers, schedule and operating plan support them. Don't assume everyone will spread themselves evenly around the site.

Great Britain's HSE guidance on using barriers at events explains that their selection depends on the purpose, site, conditions and expected loads. A rope that helps indicate a boundary is not automatically suitable protection from a demonstration hazard or crowd pressure. Have competent people establish the actual arrangement and integrate it with stewarding and movement plans.

Accessible viewing needs to work as an experience. Consider the route to it, the sightline once other visitors arrive and whether companions can stay together. Check how someone leaves without crossing a working area. Don't announce accessible viewing before the responsible team has assessed what you can provide and how visitors use it.

W3C's accessible events checklist addresses meetings and presentations, including accessible materials, visibility, sound and communication needs. Apply those communication principles to your demonstrations alongside appropriate outdoor-site advice. For example, describe the object you're holding rather than assuming everyone can see it, and provide a readable explanation of the central historical question.

Prepare a short delivery brief for each session. Name the question, what the audience will see, what the presenter will explain, the evidence behind it and how the session ends. Add the agreed viewing arrangement, reset needs and person responsible. Keep it with the current programme so a replacement presenter can understand the booking before agreeing to cover it.

For the fictional trading scene, the visitor question might be why a buyer and seller disagree about a delivery. The scene shows the disagreement, then the narrator explains the relevant practice using the reviewed sources. Questions follow after the performers have stopped acting. Written dialogue and invented characters are identified as teaching devices. The team also agrees which reproduction objects visitors may handle, if any, after a separate assessment. That brief gives the public something to follow and gives you a concrete performance to rehearse.

Give presenters permission to speak plainly. A visitor who asks what an unfamiliar tool does shouldn't need a long performance in period language before getting an answer. For a first event, explaining in the present day is often the clearest choice. You can use a staged scene, then step out of the scene to explain its evidence and take questions.

Build a timetable that works for visitors and participants

Don't begin by filling every minute. Identify the main scenes, the demonstrations that need a gathered audience and the conversations that work as drop-in interpretation. Then schedule the people and spaces needed to deliver them. Time spent preparing, moving equipment or resting is part of the booking even when visitors don't see it.

Here is an invented programme for public opening from 10am to 4pm. At 10.15am, a host introduces the historical question and explains the site. The first staged trading scene runs from 10.30am to 10.50am, followed by questions until 11am. A separate demonstration runs from 11.20am to 11.50am. The times illustrate a sequence, not an operating standard.

A second topic is demonstrated from 12.10pm to 12.40pm. The main scheduled programme pauses for lunch from 12.40pm to 1.30pm. Different contributors staff agreed drop-in interpretation windows during the day, with a rota that preserves their breaks. Don't promise every display is staffed continuously if your budget and personnel only support those windows.

The trading scene repeats from 1.30pm to 1.50pm, with questions until 2pm. The two demonstrations repeat from 2.20pm to 2.50pm and from 3.10pm to 3.40pm. The host closes the programme from 3.50pm to 4pm. Visitors can choose a visit around the published repeats instead of being told they must arrive at opening to see anything useful.

Allow for the real distances between locations. Check the route with people moving at different speeds, and account for leaving a viewing area as well as walking. If a visitor has to choose between two activities, make that a deliberate programme choice. Don't advertise a complete sequence that nobody can physically attend.

Repetition needs preparation too. The second scene should begin with the correct equipment and a rested team, not whatever remains after the first performance. Check reset time with the group lead. If a session uses consumables, include both performances and the trial in the order. Repeating the timetable doesn't make the second delivery free.

Publish the programme with ordinary location descriptions and clear access information. Keep a version visitors can use without a reliable mobile connection. Mark any material change consistently at the entrance, on the current programme and through your visitor communications. One member of the team should own the public version so several well-meant edits don't create conflicting start times.

Test whether ticket income pays for the actual day

Work out the cost of the agreed programme before choosing a sales target. Include research, coordination, the trial, setup and removal, as well as the public hours. An organiser working unpaid can make an event look profitable while leaving the business unable to repeat it.

Consider this invented example, entirely in US dollars. Assume a site-specific operating plan allows an allocation of 400 public visitors, including 20 complimentary places. That leaves a maximum of 380 paid admissions. Performers, staff, contractors and other authorised people are accounted for separately in the overall site assessment. These are arithmetic inputs, not a capacity recommendation.

The fixed budget is $10,000. It comprises $2,800 for participant groups and agreed travel, $1,800 for venue hire and services, $1,200 for historical review and programme coordination, $1,000 for public-facing staff, $900 for production and signage, $800 for agreed medical and access provision, $600 for promotion, and $900 for insurance, administration and cleanup. Obtain actual quotes for your own event.

The example includes paid preparation, trial access, setup and removal within those lines. Purchase taxes and delivery are included where applicable. It excludes income tax and borrowing costs. There is no assumed sponsor income, trader rent, bar profit or future booking income, and no separate contingency expense. You would still need additional available cash for unexpected costs and any refund obligations.

Assume each paid admission leaves $34 after sales taxes and payment and ticketing charges. That is an invented retained amount, not a checkout price or a Loopyah fee quote. Allow another $2 in visitor-related cost for every admitted public visitor, including all 20 complimentary guests. The fixed commitments remain unchanged at each attendance tested.

Each paid visitor therefore contributes $32 toward fixed costs. The complimentary places add $40 of cost, so ticket contribution must cover $10,040. At 313 paid visitors, the result is a $24 loss. At 314, it's an $8 surplus. That's the first whole-ticket attendance producing a non-negative result under these assumptions.

At 250 paid admissions, the loss is $2,040. At 300, it's $440. At 350, the surplus is $1,160, and selling all 380 paid places produces $2,120. Use our event break-even guide to develop your own calculation, especially if adult, child and family prices leave different amounts per visitor.

Check discounts, family tickets and payment dates

A family ticket is a price for a defined number of people. It isn't one person in the attendance plan. State who qualifies, how many admissions it covers and how each person is recorded. Recalculate what the bundle leaves after charges and visitor costs before deciding how many to offer.

Don't assume your full-price result survives a generous discount. In the example, if 50 paid admissions leave $5 less each, the sold-out surplus falls by $250 to $1,870. If you also receive an extra $900 supplier bill, it falls to $970. The event can sell every public place and still produce less than half the original projected surplus.

That doesn't make discounts inherently wrong. It means they need a reason. A lower price that generates additional admissions can contribute toward costs, provided it doesn't add costs you haven't counted. A reduction given to someone who would have paid the original price simply leaves you with less. Don't use a large early release to avoid investigating why the offer isn't selling.

Record complimentary allocations before distributing invitations. Participant guests, press, partners and access arrangements can affect attendance and costs in different ways. Establish the appropriate policy, then include the resulting places in the plan. Don't quietly add more invitations after you've used the full paid allocation in your profit forecast.

Check payment dates separately from final profit. Suppose $3,000 of the example's commitments falls due before you can use ticket receipts, and you have $2,200 available. You need another $800 of secured funding or an agreed change to payment timing before making those commitments. A forecast surplus at the end doesn't pay an invoice today.

Deposits are part of their underlying booking totals. If you pay a $700 group deposit against the $2,800 group budget, the remaining group balance is $2,100, assuming no changes. Recording the deposit and then the full booking fee as separate costs overstates spending. Counting a customer's early payment again as later revenue creates the opposite mistake.

Set review dates before the next major non-refundable commitment. Compare actual sales, credible remaining demand, available cash and the cost of each decision. If you cannot afford to proceed, deal with that while options remain. Don't make the public launch depend on selling every place unless you have a convincing basis and can fund the downside.

Sell visitor admission and manage participation separately

Write the public ticket around the experience a visitor receives. Identify the date, public hours, included scenes and demonstrations, and any limits on participation. Explain whether admission includes access to the historic venue itself, where relevant. The venue's ordinary ticket and your special event ticket may cover different things.

Make costume expectations easy to understand. Tell buyers whether everyday clothes are welcome and publish the agreed policy for props and restricted items. Approved reenactors follow the participant process; a visitor arriving in costume doesn't automatically become a performer or gain access to working areas. Brief the entrance team on that distinction before opening.

Describe the age and supervision arrangements for children. Watching a demonstration is different from joining an activity, and neither should imply a drop-off service unless you've deliberately provided one. If an activity requires a separate booking or has an age restriction, say so beside the activity rather than hiding it in general terms.

Loopyah's ticketing tools let you set ticket types and release quantities, show current prices and send buyers confirmation links to their QR tickets. Use those quantities to implement the allocation you've already agreed. Where several types or releases share an overall visitor limit, check their combined quantities before selling them.

Avoid creating a ticket type for every historical group. Public customers need an understandable buying decision. Participant accreditation, equipment checks and technical permissions belong in your operating arrangements. A valid admission ticket establishes the purchased admission; it doesn't approve a demonstration or resolve the site's capacity assessment.

Confirm how re-entry works and how staff handle exceptions. Visitors may want to return to a car for clothing or leave for lunch. Publish the actual arrangement and give staff a way to check it without blocking the main queue. Also decide who can resolve a missing confirmation or an incorrectly purchased ticket, and where that conversation happens.

Explain programme changes and cancellation in terms reviewed for your jurisdiction. Our guide to writing an event refund policy helps organise the customer information, but your terms still need to reflect applicable rights and the offer you sell. A broad right to change the programme shouldn't be treated as permission to remove its central attraction without considering the consequences.

Market what a first-time visitor will experience

Lead with the experience, using the historical question to make it interesting. Show a brief, accurate preview of a confirmed demonstration and explain what the presenter is helping visitors notice. A beautiful costume image can attract attention, but it should lead to a clear answer about what happens during the day.

Use material from your actual contributors where possible, with the required permission and an honest description. If footage comes from their previous work, identify it accordingly. Don't imply that another site's setting, audience size or production is part of your edition. Especially avoid promoting a battle when you're selling a civilian living-history programme.

Give local partners a description they can share accurately. Museums, historical societies, educators and the venue may reach interested visitors, but agreement to display a poster isn't a guarantee of sales. Ask which audience the message reaches and track actual bookings. Several contributors can share the same followers, so adding their audience counts together exaggerates your likely reach.

Answer the practical questions that delay a booking. Can visitors come without specialist knowledge? How long should they allow? Is food available, and does it cost extra? What can someone arriving after lunch still see? Describe the real surfaces, facilities and viewing arrangements, with a contact for specific access questions.

Send useful pre-arrival information once the details are confirmed. Loopyah's attendee email tools support ticket-holder updates and test emails. Use them to share the correct entrance, arrival instructions and current programme, then check the message yourself before sending. An attractive email still creates a queue in the wrong place if the gate information is wrong.

Don't mix the participant briefing into the visitor message. Contributors need unloading windows, equipment instructions, contacts and their working schedule. Visitors need the information required to enjoy their booking. Keep both current when a programme change affects them, and make sure the person answering customer questions knows which version is approved.

Rehearse the handovers and make changes deliberately

Run a trial that includes explanation and movement, not only the performance. Can a presenter finish the scene, answer questions and clear the area in the scheduled time? Can the next team prepare without moving equipment through the departing audience? Test the conditions that connect one successful session to the next.

Check the historical explanation with someone unfamiliar with the subject. Ask what they think happened and which detail helped them understand it. If they remember only the costume or an amusing line, improve the explanation before adding more content. You may need a clearer introduction, an object shown differently or a shorter scene with more time for questions.

Before opening, bring the venue lead, event manager, group leads and relevant contractors together around the current plan. Confirm readiness, unresolved problems and who can authorise changes. Great Britain's HSE guidance on managing an event describes coordination and monitoring through setup, public opening and removal. Apply the requirements relevant to your location with competent people.

Give everyone a clear way to report a problem and stop an activity when necessary. A performer should be able to step out of character immediately. Stewards need to know whom to contact when a viewing area becomes difficult or someone enters a working space. Rehearse the communication rather than assuming everyone will hear a shouted instruction.

Prepare for weather and contributor changes with the responsible specialists. Establish site-specific decisions, who monitors conditions and what visitors are told. Moving an outdoor demonstration inside requires confirmation that the new space and activity are suitable. Don't replace one problem with an unassessed arrangement because the audience is waiting.

Record material changes during the event. Note the time, decision, responsible person and public communication needed. If a demonstration pauses, the entrance team and programme host need the same information. A revised start time should come from the person authorised to confirm it, not from several contributors making reasonable guesses.

At closing, follow the agreed departure and removal sequence. Public departure, tired participants and vehicles collecting equipment create different demands from the middle of the day. Confirm when vehicle access can restart, who checks the site and who accepts the handback. Include this work in the staffing and supplier bookings you pay for.

Use the first edition to decide what to repeat

Reconcile the actual income and costs before judging the event by photographs. Count paid admissions, complimentary visitors, refunds and final bills against the original assumptions. Separate a good turnout from a good financial result. In the example, selling out after discounts and an additional bill can leave much less than the opening forecast suggested.

Review whether visitors understood and enjoyed the history. Ask which scene or demonstration helped them learn something, where they couldn't see or hear, and which information they needed before arriving. A complaint about missing a session may reveal a timetable problem, an unclear admission promise or a late change. Find out which before booking an extra performance.

Talk to participant leads about the work behind the public programme. Did the agreed numbers attend? Were breaks usable? Did the facilities and liaison support delivery? Were historical questions answered confidently, or did contributors need better preparation? Pay outstanding agreed balances and resolve discrepancies while the evidence is fresh.

Make the next edition specific. You might repeat a well-understood scene, replace a weak demonstration, improve viewing or reduce the number of separate locations. More reenactors won't automatically solve a visitor's difficulty hearing the narrator. Match the proposed change to the problem you observed and cost the whole change before announcing it.

Keep the reviewed historical brief, corrected scripts and confirmed operating records for authorised future use. Check permissions again when the venue, subject or activity changes. Repeating a programme can save preparation, but it doesn't make an old approval suitable for a different site or turn a contributor's previous availability into a new booking.

Before reserving another date, ask whether the same audience would receive a better day and whether the business could deliver it profitably. If the answer depends on unpaid preparation, invisible extra admissions or an attraction you haven't secured, revise the plan first. Confirm the programme, responsible people and workable budget before you ask the next visitor to buy.