Systemically, this also is tricky, since every ticket is priced individually. Generally what we recommend when wanting to discount based on “family” is to simply make a group discount that applies beginning at a set # of tickets. So maybe you build a “family” discount that simply applies when the order includes 4 or more tickets to a specific performance on a single order. That way there is flexibility of what the group of people might include, and you’re not in the potentially awkward position of having to tell patrons that their particular family unit doesn’t fit your family definition.

As for membership, that functionality is designed to apply to the individual who makes the contribution payment(s) toward the membership with benefits then extending to their related household members. The membership level is entirely based on how much money they have contributed to your organization. The benefits then generally increase as their amount increases. So something like having an “individual” membership level at $50, vs a “family” membership level at $75 really doesn’t work, functionally. Since the system doesn’t really care if they are an individual or family… it only cares how much money is applying. Bob Smith might be an individual and donate $75… he then would be at the “family” level. Where as Dave and Marie Jones and family might decide to donate $50 to your organization… their level would be “individual” due to the amount.

The Ticket Turtle fundraising system was designed based on industry standards for fundraising for the performing arts as interpreted by our experienced staff that have used several systems and worked for various arts organizations that actively fundraise. While it’s certainly not absolutely comprehensive and we have several small and large enhancements we hope to make in the future, we do feel it has a great deal of flexibility and power to be taken advantage of by our clients. We will continue to ponder this issue of “family” benefits, since it does continue to come up. But we’d urge clients to consider the implications of “family” definition, and maybe avoid this as a defined unit for purposes of benefits and discounting. As mentioned above, it opens an awkward can of worms to your patrons, and creates levels of complication that might otherwise be avoided. Instead, consider groups, instead of “families” as your method of discounting to attract families and groups of friends.

This is no longer the case. Now, with all the entertainment options patrons can choose from, including staying home and watching movies streaming in HD on demand at the click of a button, why oh why would they want to have to try to decipher a form a mile long just to attend a show. They already know they’ll have to figure out parking, and maybe a location for dinner before hand, and possibly child care, and…. It’s overwhelming.

So the trend we’re seeing among our clients, and frankly what we are recommending, is to try to revise your sales options toward simplicity. Streamline the process and options. $x for adult, $x for student and senior. x% discount if you purchase the entire season, and maybe a pass option as well for flexibility, and DONE. No extra fees to calculate (these are worked into the ticket price). So all patrons really need to decide is which show, which performance and where to sit.

Oh… and consider including recommendations for parking and dining on your ticket design, or in the confirmation email. Patrons will love you!

- Patrick Spike, Product Manager – Ticket Turtle

So let the sunlight pour through your own windows this weekend and possibly throw down a stomp or two if you feel so inspired.

A great video on life / work balance, I really liked this guy.

Nigel Marsh: How to make work-life balance work

Enjoy!

There’s a remarkable symphony orchestra in the Congo, 200 musicians defying the poverty of their war-torn country and creating some of the most moving music we have ever heard. Bob Simon of 60 Minutes reports.

Joy in the Congo

Customer service supports loyalty development at every step of the way.

A patron’s experience, then, is a set of related interactions that, together, determine future buying and donating behavior. Viewing customer service the way a patron sees the experience is the very definition of patron-centric customer service. The experience arts patrons have unfolds in a variety of ways–the marketing materials they see advertising an event, the interactions they have with box office staff or online ticketing, the ease or difficulty of parking, the way they pick up tickets at the venue, the manner in which they are seated by the ushers, and, of course, the artistic experience.

But it’s not over yet–they’ll also remember how crowded the bathrooms were at intermission, the interactions they had with staff or other patrons in the lobby, and how the traffic was on the way home, when—or whether—the organization thanks or even acknowledges them for coming. They remember these aspects of the experience time after time, for every event they attend.

Customer service is everyone’s job. Good experiences and connection with the organization at every stage of the game helps cultivate patron loyalty, and that loyalty sustains organizations. Each department – not just the box office or front of house staff—has a role in fulfilling patrons’ needs. Departments working together provide the kind of service and experience that move patrons up the ladder.

What customer service means in the digital age. Since ticketing technology allows patrons to order online, fewer patrons are choosing an interaction with a live person. As TRG consultant and resident customer service expert Todd Scarce says, “Why would you call the box office when you can order online at 3 a.m. in your boxer shorts?” Those who call nowadays have a reason to pick up the phone—they are looking for someone to listen and help. That’s why arts organizations’ staff—the box office in particular needs to be more customer service saavy than ever before. Best practice customer service requires the ability to offer service that’s tailored to the patron’s expressed needs and past experience with the organization.

TRG research consistently corroborates one fact: It’s critical to keep arts patrons coming back for more. A big contributing factor is patron-centric service. Customer service can no longer be about meeting expectations, but, as Todd Scarce counsels, we must exceed them.

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Perviously published in our Jan and Feb 2012 newsletter – Article reprinted from http://trgarts.blogspot.com/2011/11/patron-experience-and-new-customer.html