Listening To Your Voices

by:

Joe Patti

It is always a good idea to periodically review how your front line points of contact are interacting with your patrons. Even if you think those supervising these people are on the same page as you, you may find that it is not the case. I know that some people call their own organizations and use an assumed identity to assess how patrons are being treated. Many times you can just walk in the room and keep an ear open, of course.

I bring this topic up because I came across a situation which dismayed me a little. For some reason we have been receiving many negative comments about our $2 handling fee lately. It is the only fee we assess in addition to the face value of the ticket. Some people have outright taken the ignorance is bliss approach and encouraged me to add it to the ticket price so it is invisible to them.

I have considered doing so except that next year I hope to become integrated into a centralized ticketing system which has a mandatory $2 handling fee. It would be even worse public relations to eliminate it for a season and then appear to be re-instituting it.

A number of people have accused the clerks of not informing them about the fee. The ticket office manager urged all the clerks to remember to inform people of the fee.

I was listening in recently and realized that the new approach the clerks were taking was actually encouraging people not to buy tickets. While I don’t encourage a hard sell approach of doing anything you can to keep someone on the phone until they buy something, I do expect that if someone calls with the intent of committing to attending a performance, our employees aren’t waving them off.

The first thing they were telling people was that if they bought tickets, they would be charged a handling fee. Most callers said they would call back or come the night of the show without buying. When I pointed out that the approach they were using was giving people the message that they shouldn’t buy, I was told that they wanted to make sure people knew about the handling fee. There was some sense in their response that it was unethical to wait until later in the transaction.

I told them there was nothing unethical about the standard procedure where they told people the price, cited the handling fee and then gave the total with the handling fee. (I suspected they may have departing from it a little which may have been the source of complaints.) I told them I had no problem with them going through the procedure before they took a person’s credit card number. The existence of the handling fee is a regular point of information just like the recitation of the no returns/exchanges and no recording devices policy and didn’t need special attention called to it prior to even finding out how many tickets a person wanted.

I was pretty amazed to then be subjected to rolling eyes and sighs of frustration as if I were asking them to hide a charge that appears in either 10 or 12 point type and no later than third on our list of policies in our brochure and web pages. As no one said they were going to refuse, I let the sighing go.

I have been keeping my ears open since then and as best I can tell everyone is generally keeping to the general procedure. Advanced ticket sales have increased. Though that may have more to do with the appeal of the upcoming artists than a less alarming approach to the existence of our handling fee.

We will see how things go as the rest of the season runs. At some point I think I will bring up the topic again and ask people if they feel more comfortable using the standard procedure. First I will listen a little closer to see if they are using the standard procedure or have strayed a little and also check if they sound comfortable and natural using it.

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Author
Joe Patti

I have been writing Butts in the Seats (BitS) on topics of arts and cultural administration since 2004 (yikes!). Given the ever evolving concerns facing the sector, I have yet to exhaust the available subject matter. In addition to BitS, I am a founding contributor to the ArtsHacker (artshacker.com) website where I focus on topics related to boards, law, governance, policy and practice.

I am also an evangelist for the effort to Build Public Will For Arts and Culture being helmed by Arts Midwest and the Metropolitan Group (details).

My most recent role is as Theater Manager at the Rialto in Loveland, CO.

Among the things I am most proud are having produced an opera in the Hawaiian language and a dance drama about Hawaii's snow goddess Poli'ahu while working as a Theater Manager in Hawaii. Though there are many more highlights than there is space here to list.

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