Trading Time For Tickets

by:

Joe Patti

So here is a question which may seem obsolete in an age of internet and mobile apps: Who is more important, the customer at the window or the customer on the phone?

Even though you may not face this particular problem, the question is one about expectations.

The situation I recently faced arose because our local audiences tend to buy their tickets over the phone or in person from our ticket office rather than online, at outlets or the Ticketmaster 800 number.

A musical act has been doing their Christmas show here for a decade and generally packs the house. This year I had the bright idea to send out postcards to everyone who had ordered tickets in the past. The postcard told them to ignore all the public announcements of tickets going on sale Monday, they could order their tickets the Friday prior in recognition of their loyalty to the group.

That Friday we had a line out the door and the phone ringing off the hook. I had two people at the window and one in the backroom on the phones. So that people didn’t get frustrated by the lack of an answer, I was in another room answering the phone and taking number to call back since we only had so many terminals to sell tickets out of.

After a half hour, we cleared enough of the line at the window to move another person to phone orders and returned calls to everyone on the list within an hour.

The issue is that people on the phone generally had an expectation of parity with the people at the window. If someone left their number with me at 10:15, they expected to get their ticket order in before the person who got online at the window at 10:30 and certainly before the person who happened to get through to the person handling the phones.

The truth is, it is pretty difficult to treat everyone in a completely egalitarian manner. It is difficult to ask the next person in line at the window to wait while you call someone back who called 5 minutes before they got there.

At the same time, you don’t want to give precedence to everyone at the window just because they made the effort to drive in. Many people only have one car or can only make a call during their 15 minute break at work.

Back in the day when the Internet was new and landlines walked the earth, you could put people on hold, attend to the person at the window and then go to the phone and back to the window. I am not sure the people on the phone especially would have the patience for that these days.

I would like to hear about policies and practices people have implemented that made this process seem fairer to both staff and patrons.

But I also wanted to note that Seth Godin actually recently addressed this issue on his blog. (my emphasis)

It seems egalitarian, but it’s actually regressive, because it doesn’t take into account the fact that different people value their time differently. People with time to spare are far more likely to be rewarded.

Another example: Call the company that sells your favorite tech brand and ask for customer service. You’ll be on hold for one to sixty minutes. Why do they do this? They can obviously afford to answer the phone right away, can’t they?

Like the mom who waits for the sixth whine before responding to her kid, these companies are making sure that only people who really and truly need/want to talk to them actually get talked to. Everyone else hangs up long before that.

You can hear the CFO, “well, if we answered on the first ring, more people would call!”

Again, at first glance, this seems like a smart way to triage with limited resources. But once again, it misses the opportunity to treat different people differently. Shouldn’t the really great customer, or the person about to buy a ton of items get their call answered right away? The time tax is a bludgeon, a blunt instrument that can’t discriminate.

Godin straight out acknowledges that people with more free time will get advantages. I quoted some additional text from him to raise the point that most arts organizations aren’t in a position of having the resources to answer calls immediately, but can genuinely be struggling to cover the phones.

I wonder if his suggestion about treating different people differently might be even more valid for those who have fewer resources. It could allow them to prioritize and focus on who is served.

Instead of the preferential donor/subscriber hotline which reinforces the social stratification the arts are trying so hard to distance themselves from, the preference could be predicated, as Godin suggests, on providing service to society.

Putting literacy volunteers and Habitat for Humanity volunteers at the front of the line could certainly show an organizations commitment to serving and improving the community.

The Long Arc Of Artistic Growth

by:

Joe Patti

A few weeks ago the directors of the local museum invited me to an after hours talk by an artist whose work was showing in one of the galleries. Apparently the artist had floated the idea of doing a powerpoint presentation, but ended up talking about her work while walking around the gallery.

I am glad she opted for that because listening to her talk about how her process has evolved while referencing the different pieces in the gallery was much more engaging. Once she was done, everyone went scurrying back to the walls to look at the pieces in the context of her commentary.

For the last few weeks I have been wondering if a performing artist could be as effective and engaging talking about their process. A visual artist has a bit of a benefit in this regard.

When the artist I saw speak noted that she got more comfortable with the idea that she didn’t have to include the limbs in great detail when she was really interested in a person’s head and torso, the evidence was right before you as she compared an early work to a later work.

When an actor or musician says they did something one way in the past and now they do it this way and demonstrates the differences, you never know, they could be lying. Also the way they depict their style of performance in the past is informed (and perhaps infected) with everything they have learned since. They can’t perfectly reproduce their past imperfections.

This dynamism is what makes live performance interesting so we certainly don’t want people trying to ossify their abilities. It just doesn’t have the verifiable elements that visual arts have.

Ultimately, primary qualification for successfully talking about your process is being skilled at talking about your process in an interesting way. The artist I saw could have been just as terminally boring without a powerpoint as with.

I was reading an article in Boston Magazine about the incredible lengths to which a musician was going in order to audition for a percussionist spot on the Boston Symphony Orchestra. Every night he was sending excerpts of his practice to Christopher Lamb, the principal percussionist of the New York Philharmonic. At one point Lamb responds,

“in the case of Ravel’s Boléro, a piece with a famously repetitive snare-drum part — “You’re too young, this is too fast for this old guy … relax, be more inviting.’”

After reading that, I wanted to know what did too young sound like, what does relaxing and more inviting sound like?

Would I, as a layman, actually be able to discern the difference or would I need to be a percussionist practicing 20 hours a day as this auditioner was, to even perceive the nuance?

What is the impact on the rest of the musicians if he is playing too young versus more relaxed, and does it have an impact on the enjoyment of the audience? Or is it just the other musicians who will really notice?

If there was a demonstrable difference between the week before and the week after he got the note, (versus comparing how he played when he was 15 versus today), it might be interesting to audiences to learn about “the change that landed me the job on the BSO.” (Well, he isn’t listed as a BSO musician, but you get the idea.)

In regard to theatre performances, they are often intentionally directed in opposition to previous productions so an actor could be equally brilliant at the same role in entirely different ways simply because the productions had different focuses. There can be both maturation of skill as well as an increased flexibility of approach that an actor can talk about.

All this got me wondering if artists conducting performance talks should move beyond talking about what they did to create the present work and talk about that evolution. The frustrations, mistakes and choices that had been made over time might help break down the perception of talent and inspiration being absolute things that are doled out to some and not to others.

People may be better able to identify and connect with artists who talk about a process of misses, self-criticism and evolution that parallels their own experience. Not to mention realizing that careers are not usually made on reality television shows.

Again it wouldn’t work for everyone. Some people won’t be skilled at keeping the conversation from crossing from self-examination and deprecation over to self-pity and recrimination, alienating their audience.

Anyone have examples of artist talks that they thought were done very well?

SoHo On Erie

by:

Joe Patti

In the wake of Richard Florida’s advocacy for the creative class as harbingers of vitality in a city, a number of locales subscribed to the notation with mixed results.

Things aren’t as simple as providing fallow ground for artists, adding a little water and standing back to watch prosperity grow.

That said, I have been watching an effort in Cleveland’s Collinwood neighborhood with some interest. Maybe the long term plan is to spur gentrification and economic vitality, but right now it looks like they are looking to create an artist colony and inject some vitality into a neighborhood.

They adopted the most aggressive approach I have seen in getting artists there.

What initially caught my eye was their offer of assistance with transportation, hotels and meals to artists across the country to help them attend a Welcome to Collinwood weekend earlier this month.

When artists arrived, there were all sorts of tours and activities for them, including an opportunity to check out houses they could buy for $6500 and fix up.

“Our $6,500 house program is a perfect opportunity for artists who want to create their own live/work space and don’t mind putting a little rehab and TLC into their property. We select houses that are in moderate to good condition, houses where rehab costs will be relatively low, and then give artists 6 months to make any necessary repairs to the property. After those repairs are complete, you own the house outright.”

If you aren’t in to rehabbing a house, they will do it for you at a cost that is less than market price–with a $1500 allowance for appliances.

And it appears they may even give you some work to do via grants for community art projects.

I am not sure how many people attended the weekend and it is far to early to know if anything positive will develop since it only occurred a few weeks ago. Anyone who is interested can contact them to get involved.

Obviously I would like to see this succeed. There are Weed and Seed programs where they offer housing to police officers at low prices and mortgages in order to help stabilize communities. I have no idea whether Collinwood is a high crime area or not, I just draw the parallel in order to express a hope that the introduction of artists to communities is shown to contribute to a similar state.

It isn’t enough to feel secure in your community, pride and excitement are important as well.

Breaking Hearts Away From Broadway

by:

Joe Patti

Broadway Producer Ken Davenport wonders why Broadway doesn’t do an American Idol type audition either having open auditions or putting casting directors on a bus to tour the country.

The basis for this suggestion is that it would get a lot of people engaged in the process–not only the people who auditioned, but all their friends and family as well. And they would remain engaged over a longer period of time, keeping the show present in their mind during the rehearsal period, leaving them primed to want to attend once it opened.

“You don’t think all those people that audition in the coming months will be more enthused about watching Season 13 when it rolls around? They’ll tune in to say, “Who beat me?” And they’ll be proud to tell their friends, “I auditioned for that.” By involving people in the process, they expand their audience.

[…]

Why doesn’t every Broadway show have open calls, allowing anyone and their brother, Equity or not, a chance at Broadway stardom? We did it for Godspell, and we had lines around the block (and collected emails). So many people said it was their dream just to be seen for a Broadway show, and they would never forget it, even if they went back to their day job the next morning. Sure it’s a cost, but you don’t think you’d make that back in press and tickets? And just imagine if you found a cast member from that casting net. Oh the articles!”

One of first thoughts was about all those experienced actors that have been honing their craft and hitting the pavement for years. Where does this leave them? What message does it send about the performing arts?

There is a long tradition of unknowns being “discovered” so I am not put off by the prospect of someone getting a lead role with little effort. It has been known to happen. Much the rest of the cast would probably be comprised of experienced people and the producers probably shouldn’t be looking for the lead parts like You’re The One That I Want” did for the revival of Grease.

My biggest concern is that in an environment where people think orchestra musicians shouldn’t want to get paid for “having fun” performing, an American Idol type process for casting Broadway shows would send the message that just about anyone could circumvent the hard work involved with performance and just walk into a part.

Where most performers work to become suitable to be cast in a variety of roles and shows, the only thing you could say for sure about a person cast in this manner is that they are suited to play this character in the dynamics of this particular production.

Certainly, they might have the ability to do a credible job in many roles. My concern is that the general public would believe that success in this specific endeavor validated their ability to perform well in multiple roles. There is a big difference between what you need to bring to each role. But it will appear that anyone can be a performer after a few hours of competition and coaching.

Best situation would be if the process wasn’t televised because the meat of the casting and coaching process would be edited out leaving people with the wrong impression of the process. After watching someone get asked about the character choices they have made, why they reacted to another person in the manner they did and if they understood the time period in which the show was set, people would get the sense that there is work involved in preparing for a production.

As part of coaching, this makes for boring television. As the basis of biting criticism from a panel of judges, it might be very exciting, but it is rather far from the mind numbing reality of a real audition process. I am not sure anyone is well served in the long term by injecting that sort of unrealistic melodrama into an audition process.

But an untelevised national casting tour that mixed competitive drama with an emphasis on the fact that this was the exception rather than the rule to having a performance career could be productive.

The title of this entry comes from the old saying “There’s a broken heart for every light on Broadway.” I do agree with Davenport’s perception that people would be happy just to have the opportunity to try out for a Broadway show. That could be turned to a constructive end if an effort was made in conjunction with the auditions to encourage people to become more involved with their local performing arts organizations, reinforced the value of a liberal arts education and disseminated the idea that talented people didn’t/shouldn’t need to go to New York, Chicago or LA in order to work.

Of course, my agenda and that of television and Broadway producers probably don’t intersect in a lot of places.