Turn one gallery into your highest-earning square footage.
Grant funding is tighter and less predictable than it used to be. Earned revenue has to cover more of the gap.
But most of the ways to earn more are big builds. A permanent attraction means a capital campaign, a board vote, a construction schedule, and technology you own for the next decade whether it holds up or not.
Our immersive theaters are temporary exhibits that ship in, build revenue, and ship out. No build. No purchase. No capital campaign. And because every experience is made with working scientists, it’s education, not entertainment.
Predictable, High-Throughput Revenue
Most immersive attractions move a handful of people per cycle. Pods, motion seats, flight simulators, single headsets. They all cap out at a few dozen an hour, so throughput becomes a real problem and limits revenue potential.
ALICE seats 10 to 150+ visitors in one show and is formatted for two shows an hour. We’ve designed our immersive experiences to maximize throughput.
Two ways to bring ALICE in.
Fixed rental. ALICE is rented at a fixed monthly rate. You retain 100 percent of ticket sales. There are no percentage splits, no performance thresholds, and no revenue escalators. Institutions with an exhibit rental budget generally prefer this, because the cost is known in advance and every dollar the exhibit earns stays in the building.
Revenue-share partnership. A mobilization fee covers freight, installation, and teardown, and ticket revenue is shared for the run instead of a rental fee. Institutions without a capital or exhibit-rental line generally prefer this, because the entry cost is a fraction of the fixed rate and our incentive is tied directly to how well the exhibit performs.
The exhibit, the installation, the support, and the film library are identical. Ask us which one fits your budget structure and we will tell you honestly, including when the fixed rate would earn you more.
Formats that rely on motion or standing come with restrictions. Visitors using wheelchairs or walkers, visitors prone to motion sickness, older visitors, pregnant visitors, and children under a height minimum can’t participate.
The ALICE has no moving seats and no standing requirement. Visitors sit down, the show plays, and everyone in the room sees the same thing at the same moment. A grandparent attends with the grandchild. A student using a mobility device joins the class instead of waiting outside. Every one of those people is a paid admission.
Every visitor you cannot seat is a ticket you cannot sell.
Revenue That Fits Your Exhibit Calendar
No capital burden. No construction. No surprise maintenance. No permanent footprint.
When the run ends, we pack it up and it comes back to us, and the gallery returns to whatever it was doing before.
Frequently Asked Questions
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Earned revenue from an immersive exhibit comes down to two things: how many visitors you can move through per hour, and how many of them can actually take part. Formats built around pods, motion seats, or single headsets limit both, since they serve a handful of people per cycle and carry restrictions on mobility, motion sensitivity, and age. A seated, shared theater removes those limits. ALICE seats 10 to 150+ visitors in a single show at two shows per hour, with no motion platform and no standing, so a full school group or tour books into one session and nobody is turned away at the door.
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Yes. Hammer & Anvil installs the ALICE theater with no capital outlay, available either as a fixed monthly rental where the museum retains all ticket revenue, or as a revenue-share partnership with a mobilization fee and a share of the gate.
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It depends on the format. Attractions built on motion platforms or standing experiences carry restrictions on mobility, motion sensitivity, and height. Seated, non-motion immersive theaters like ALICE are fully wheelchair accessible and comfortable for visitors of all ages.