What Do You Sell Online?

Okay, this entry is more a question for readers than any sort of discussion of issues. Basically, I would like to know how many price levels of tickets do you put on sale online?

When I was working in Hawaii, my colleagues at the other campuses and I put most of our base ticket prices for sale online- Adult, Student/Senior/Military, Under 12 and University Student.

When I arrived at my current job, I noticed only the top level ticket price for each area was listed online even though we offer just about the same discount categories as we did in Hawaii. Thinking it a mistake, I asked my box office manager why that was and she told me the software vendor suggested we only offer the highest level because people would take advantage.

[N.B. From a question I received, I wanted to clarify that this listing was on the purchase screen. When it came time to buy the ticket, they were advised to only let people buy full price tickets and not make the other price levels available. The other ticket prices were advertised both on and off line]

This was not my experience at all in Hawaii or other places I worked which also offered lower ticket prices online. Most of the time people wanted to pay the difference when someone couldn’t make it and they brought a person who didn’t qualify for discounts.

I admit I was a little riled when I heard that the ticket office was given this advice because I think that making people call or walk in to buy discounted tickets places a barrier to entry to many. I felt like this went against everything I have been working toward with my own practices and adovocating this blog.

Not to mention that someone can call and misrepresent their eligibility for discounts over the phone as easily as they can place the order online so you really aren’t preventing people who want to from taking advantage.

It’s not that my ticket office can’t ask that the internet site be set to offer more price levels, I just felt this advice reflected big corporate indifference. And that there was no effort on the company’s part to help venues facilitate the process for their customers.

But as I started to look around, I realized that many performing arts venues only seem to offer the highest level ticket online, even if they don’t use the same vendor we do.

So now my question is, what are people’s experiences and practices putting multiple levels of prices online?

Standin’ In A Line To See Bob Dylan

Interesting piece in the San Francisco Chronicle via Artsjournal.com about Bob Dylan’s ticketless concert experiment that had a lackluster result. Basically, in attempt to avoid the high ticket fees tacked on by ticketing services and scalpers, Dylan decided to charge much less for tickets than at other venues. The catch was that you had to line up no earlier than noon, with cash only. Admission started at 5:30 pm for the 8:00 show, but you couldn’t leave because you had no ticket to gain readmittance with. According to the article, the 2250 seat event didn’t sell very well.

The folks at the Chronicle, and indeed many of the commenters on the piece, attributed the low turn out to the lack of a convenient way of securing tickets before going. Many people said the assumed they wouldn’t be able to get in by the time they traveled down to the venue so they didn’t bother. People wanted to be certain they could get in before making the attempt. It is likely also partially a statement about Dylan’s popularity with people that they frequently mentioned being able to get down there after work rather than saying they would have snuck out of work to attend. Other bands may have seen better attendance with the same plan if their fans were willing to go to extremes to attend.

But it also provides some insight into how people are approaching their entertainment experiences these days. There was a time after all that people would wait on line for hours and pay cash to get into a show. Granted, it was a few decades ago. Today people complain about all the additional fees ticketing services charge, but the way they prioritize their lives allows the ticket sellers to increasingly charge them for the convenience. It is somewhat interesting to me that the interactions with big ticketing services like Ticketmaster really shapes my relationship with my patrons and their expectations.

I get people who easily spend more in gas and time trekking in to avoid the $2 service fee, all of which goes to keeping the system running, vs. $10+ charged by Ticketmaster. We have no problem selling to people who walk in, but it often seems their righteous indignation is costing them more than it is saving. It may be the principle of the thing, but that principle is much more significant when the price is higher.

On the other end of the spectrum, we have people who often assume there is a restricted window of time in which they can purchase tickets and who are flabbergasted to learn the tickets went on sale months prior with all of our other events.

There is certainly great benefit to be derived from restricting access to increase the perceived value of the event. Scarcity can create demand. The question is whether this is a suitable procedure for an organization whose mission is to serve the community and cultivate understanding and appreciation. Sure everyone at the theatre needs to eat and anything that helps you keep ticket prices at a level that enables you to meet payroll is valuable. But do you really want to be engendering a sense of anxiety and distrust in your audiences to achieve that? Though since many people can’t discern profit from non-profit, the anxiety and distrust may be yours regardless.

There are probably a number of elements that contributed to Bob Dylan’s experiment having less than pleasing results, including having just played in nearby Oakland. (Though certainly no one in San Francisco goes to Oakland for their entertainment.) I suspect that one of the biggest factors was creating too many conditions to be met with too little certainty.

The Bad Makes Me Look Oh So Good

Dan Ariely did a talk for the 2008 TED conference about how irrational we are when making decisions. The whole talk is quite entertaining. What really caught my attention comes around 12:30 where he talks about how a useless option can make other options look more valuable.

He uses an example of a mistake on the Economist.com. They were offering an internet only subscription for $59, a print subscription for $125 and a print and internet subscription for $125. After talking to the Economist and learning it was apparently a mistake, he did an experiment and offered the subjects these options. The web and print subscription option was overwhelmingly favored and no one wanted the print only subscription.

Seeing that the print only subscription was not valued, he got rid of it and did the experiment with the internet only option and internet and print option. This time, the internet only option was the clear favorite. He said the print only option was useless “in the sense nobody wanted it. But it wasn’t useless in the sense that it helped people figure out what they wanted.”

He goes on to say that because we really don’t know our preferences that well, we are susceptible to all these influences.

He offers another amusing example where he has computer generated pictures of two men, Tom and Jerry and he asks people which one they would prefer to date. In half of the cases he adds a third picture with Tom’s face Photoshopped to look less attractive and the other half where is the third picture is Jerry’s face altered to look unattractive. In those cases with the ugly Tom, people preferred regular Tom over Jerry and those cases that offered ugly Jerry, people preferred Jerry. The less attractive option actually made the choice it most resembled appear more appealing than a dissimilar option.

These revelations made me wonder if these behaviors could be used in subscription and ticket sales. Offer people options that don’t have value to nudge them toward purchasing more a bigger subscription package than they might have. I don’t know that it would transform a lot of single ticket buyers into subscription buyers unless we are wrong about flexibility being more important than price. A mini-subscription that offered flexibility and appeared to be a great value might have some success in getting single ticket purchasers to commit.

I also wonder if offering non-premium options with your show helps make them look more attractive than your competitors’. Ariely talks about another experiment where they offered people the option of an all-inclusive trip to Rome or Paris. In this case it is really apples and oranges since the two cities are in different countries have have so many different attributes to value. Once they add the option of going to Rome but having to pay for coffee in the morning, suddenly people preferred Rome over Paris by a larger degree due to the lesser option being available.

It doesn’t seem logical to me to think that given the option between the symphony and a free cocktail at intermission and the opera and a free cocktail at intermission, that people would flock to the orchestra if a no cocktail option for the same price was offered. But as Ariely points, out the decision being made are not entirely rational.

One other element that gives me pause is that all these results seem to be theoretical. No one had to commit time or money to their decision. Still, it is an interesting thing to consider since being theoretically more attractive will help your organization remain in people’s minds if they don’t necessarily commit. Those who see your brochure this year may be struck by what a good deal your shows are. Even if they don’t commit to buying tickets this year, that positive impression may keep you near the fore when they are deciding to attend next year.

Is Your Price Right?

Via Bill Byrnes, Dean of the College of Visual and Performing Arts at Southern Utah University, I recently became aware of a company called The Pricing Institute. Their services seem to focus mostly on optimizing the pricing structure of arts organizations.

My initial thought was that price does not develop relationships. If I am going to have a consultant come in to help me improve my organization, pricing while important, isn’t going to solve my organizational problems over the long term. But what isn’t valuable to me as theatre manager has worth to blogger me because I know it may be of interest to my readers.

An observation made on the Pricing Institute website bears noting. Price may not develop relationships, but it can ruin them. “Excessive or irregular discounting practices can leave customers confused and even resentful,…”

Taking a look at the case studies, it is clear that they don’t just emphasize retail price points. One of the problems they saw with Huntington Theatre Company’s approach was that the “marketing messaging was focused on pricing vs. value.” For Philadelphia Live Arts, one step they took was creating a separate identity for the Live Arts performances versus Fringe performances.

Reading through the website, I can see the value of the the services they offer. I didn’t really doubt the importance of making wise decisions about pricing. Given that fund raising is becoming more difficult, effective generation of earned revenue becomes crucial. I readily admit that I could certainly use some guidance in making prudent pricing decisions. But as I said, I can see this sort of a examination as part of a larger consultant visit.

I suspect that most arts organizations would be of the same mind. They probably don’t hire a consultant until there are so many areas of concern that guidance in just one area isn’t enough.

Come to think of it, that might be why the Pricing Institute is structured the way that it is. It is a joint venture between three different consultant firms. The structure may allow them to give stand alone pricing guidance to those who just want that while also enabling three different consulting organizations to provide great pricing advice when addressing organizations with larger concerns by calling on the expertise of their partners. As I said, I don’t know if that is how they operate, but the ability to offer a sort of “value added” service could be advantageous to all.