{"id":263,"date":"2009-05-19T07:16:55","date_gmt":"2009-05-19T07:16:55","guid":{"rendered":"http:\/\/www.artsjournal.com\/lifesapitch\/wp\/?p=263"},"modified":"2009-05-19T07:16:55","modified_gmt":"2009-05-19T07:16:55","slug":"captive_audiences","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/lifesapitch\/2009\/05\/captive_audiences\/","title":{"rendered":"Captive audiences"},"content":{"rendered":"<p>About a month ago, I posted (<a href=\"http:\/\/www.artsjournal.com\/lifesapitch\/2009\/04\/after-eight.html\">here<\/a>) about how box offices aren&#8217;t open during and after performances:<\/p>\n<blockquote><p>Presumably we are all 100% behind the artistic product we put into this<br \/>\nworld, so logic would dictate that the time patrons would be most<br \/>\nwilling to buy additional tickets would be directly following a<br \/>\nperformance they&#8217;ve just enjoyed. With that in mind, why aren&#8217;t box<br \/>\noffices open after 8pm? They close when the performance starts, so love<br \/>\nyour experience or not, you&#8217;re not buying another ticket after the show<br \/>\nunless you go home to your computer. And even when box offices do stay<br \/>\nopen &#8211; and I&#8217;ve personally never seen one &#8211; where are the incentives to<br \/>\npurchase more tickets or a even a subscription at that time?<\/p><\/blockquote>\n<p>It seems the folks at Carnegie Hall had a similar and simultaneous idea. At the recent Edgar Meyer\/Bela Fleck\/Zakir Hussein concert in Zankel Hall, I was thrilled to find the following insert in my program:<\/p>\n<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"Carnegie-insert.jpg\" src=\"http:\/\/www.artsjournal.com\/lifesapitch\/Carnegie-insert.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"1037\" width=\"400\" \/><\/span>I asked, and they couldn&#8217;t tell me how many today-only subscriptions they sold at intermission and after the concert (understandable), but the table in the lobby looked busy. <\/p>\n<p>I went to The Whitney (where I interned many long years ago) on Friday to see the Jenny Holzer exhibit. The Whitney is pay-what-you-want on Fridays, so I paid $10 each for myself and my friend because I had a $20 in my wallet (admission is usually $15 per person). According to my ticket, one can put that price of admission toward a membership, which I think is a great idea. <\/p>\n<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"Whitney-PWYW.jpg\" src=\"http:\/\/www.artsjournal.com\/lifesapitch\/Whitney-PWYW.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"125\" width=\"400\" \/><\/span>My only complaint is that the kind lad at the admissions desk didn&#8217;t tell me that; I had to notice it on the ticket. Hard-sells can be annoying, but in this case it might have been nice to mention. If you like what you see, you know you can put this ticket toward a membership, right? <\/p>\n<p>Could this work for subscriptions? Again, it would involve having box offices open after performances, but if I buy a single ticket, can I put it toward a subscription in that same section? That way, one $100 ticket couldn&#8217;t cover, say, half of a subscription in less expensive seats. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>About a month ago, I posted (here) about how box offices aren&#8217;t open during and after performances: Presumably we are all 100% behind the artistic product we put into this world, so logic would dictate that the time patrons would be most willing to buy additional tickets would be directly following a performance they&#8217;ve just [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[9],"tags":[],"class_list":{"0":"post-263","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts\/263","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/comments?post=263"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts\/263\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/media?parent=263"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/categories?post=263"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/tags?post=263"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}