FULL HOUSE Turning Data into Audiences - Creative New Zealand

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12 10 Theatre Attendances 8 6 4 2 Mean attendances in range 2.3 to 2.7 time per annum 0 At least once a month Every 2 to 3 months 2 to 3 times a year Once a year Less often Diagram 2-2: Visits/Tickets Bought per Annum Research by Morris Hargreaves McIntyre in the UK suggests that some of this pattern may be self-inflicted by arts organisations. Andrew McIntyre argues that much marketing information is geared to meeting the needs of the core frequent attenders, the ‘bull’s eye’. Unfortunately this information then deters the rest of the potential attenders. His figures align with those on the distribution of attendance frequency, suggesting that, for example, the printed brochure for a season of activity might be effective in persuading 15% of attenders to attend, and frequently. But in the process, that same brochure could be failing to persuade the other 85% of current attenders, possibly even dissuading them. So to increase frequency of attendance, marketers need to segment the market and communicate appropriately, according to each attender’s past attendance patterns and what is known about them. The later chapter on direct marketing (Chapter 11) makes clear that, to be effective, the message must match the market, and this will not be achieved by ‘broadcasting’ the same message to everyone. While the opposite – ‘one-to-one’ marketing – may be logistically unachievable in reality, Andrew McIntyre has argued that if there are 20,000 attenders on a database, then perhaps 20,000 audience development strategies are needed. Realistically, we are talking about communicating to attenders according to their individual needs and circumstances, so we must group them into contactable segments based on their transactional behaviour. 2. PEOPLE NOT ‘BUMS ON SEATS’, CUSTOMERS NOT ‘PUNTERS’ 13
CUSTOMER RELATIONSHIP MANAGEMENT The first edition of this Manual, in the UK in 1993, did not refer specifically to ‘customer relationship management’ (CRM). This term has since emerged as the description for seeking loyal customers and building relationships with them to capture their potential lifetime value for the organisation. Actually, arts organisations have been using CRM for centuries, in the form of season tickets and subscriptions, ‘Friends’ and other ‘membership’ schemes. All of these are designed to identify the likely more frequent attenders and then draw them closer to the organisation. One strategy to achieve this is to create a ‘virtuous circle’ so that the relationship with attenders can be developed. Diagram 2-3: The Virtuous Circle Focusing Ambassadors Subscribers • relationship refined Prospects • Not known to us Capturing Potentials • Identified & Persuaded Nurturing Welcoming Attenders • Details captured 14 FULL HOUSE: Turning Data into Audiences © Roger Tomlinson & Tim Roberts
Page 1 and 2: FULL HOUSE Turning Data into Audien
Page 3 and 4: Published by Creative New Zealand O
Page 5 and 6: CONTENTS FOREWORD INTRODUCTION 20 R
Page 7 and 8: SECTION THREE - MANAGING THE RESOUR
Page 9 and 10: INTRODUCTION This new Manual is fun
Page 11 and 12: How to Use this Manual ? Each secti
Page 13 and 14: xii FULL HOUSE: Turning Data into A
Page 15 and 16: 1. The heart of marketing The custo
Page 17 and 18: Detailed knowledge of the current a
Page 19 and 20: DO YOU KNOW THE ANSWERS? The key st
Page 21 and 22: This Manual opens with the statemen
Page 23 and 24: AVAILABLE AUDIENCES Diagram 2-1: At
Page 25: In a study of ticketing data for 28
Page 29 and 30: LIFETIME VALUE The effort in reachi
Page 31 and 32: For first-time attenders, it is use
Page 33 and 34: In summary, organisations should as
Page 35 and 36: 20 Things Sydney Symphony Orchestra
Page 37 and 38: Unrealistic perhaps, but the spirit
Page 39 and 40: ! REVIEW . Is your organisation ‘

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