• Home
  • About
    • For What it’s Worth
    • Michael Rushton
    • Contact
  • AJBlogs
  • ArtsJournal

For What It's Worth

Michael Rushton on pricing the arts

Why a lottery?

May 2, 2013 by Michael Rushton 2 Comments

everybody must get stonedThe Daily Telegraph reports on a new offer by the English National Opera:

Fans buying tickets to see the ENOs most popular performances will be given the chance to win the best seats in the house under the new “secret seats” scheme.

The gamble could also see them end up with the worst seats, although organisers promise no view will be restricted and no ticket will be worth less than £25 ordinary sale price.

The scheme was launched as part of a new season announced yesterday, as the ENO aims to redress a financial deficit in the face of further arts cuts. …

The Secret Seats scheme will be available for all productions, with a varying number of seats depending on its popularity.

All tickets will cost £20, with a possibility of fans being allocated tickets worth £25 to the best seats in the house priced at £125. Other tickets, with restricted views, will still be available at a basic £12.

Here are two things we can say about consumers. First, they prefer certainty about what they are purchasing over uncertainty. Second, they differ in their willingness to pay for higher-quality and lower-quality seats, a fact that lies behind the rationale of presenters charging different prices for those seats.

So why would any presenter, never mind one in financial difficulty, allocate seats by lottery? The story doesn’t explain why anyone thinks this is a good idea. I just can’t see the logic.

 

Share:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on X (Opens in new window) X
  • Click to share on LinkedIn (Opens in new window) LinkedIn
  • Click to print (Opens in new window) Print

Related

Filed Under: issues

Comments

  1. Ed McKeon says

    May 6, 2013 at 12:48 pm

    Not all audiences want certainty, and ENO has been courting niches interested in a creative relationship with the programme. For a start, you pay £20 and get a ticket worth more. I doubt they’d have initiated something like this without research – have you tried asking them?

    Reply
    • Michael Rushton says

      May 6, 2013 at 1:45 pm

      True, customers get a good ticket for a lower price. But there are multiple ways of making that happen, and, given some pretty basic things we know about consumers, a lottery is not the most effective way of giving customers a better deal. I haven’t rung up the ENO myself, no – consider the post my way of asking: what is the rationale? I cannot imagine the research result that would generate this outcome.

      Reply

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Michael Rushton

Michael Rushton taught in the Arts Administration programs at Indiana University, and lives in Bloomington. An economist by training, he has published widely on such topics as public funding of the … MORE

About For What It’s Worth

What’s the price? Everything has one; admission, subscriptions, memberships, special exhibitions, box seats, refreshments, souvenirs, and on and on – a full menu. What the price is matters. Generally, nonprofit arts organizations in the US receive about half of their revenue as “earned income,” and … [Read More...]

Archives

Recent Comments

  • Carlo on What to do with the NEA? Make it Conservative?: “The Kennedy Center is offering $25 tickets in only select orchestra seating for the performances of Washington National Opera: Porgy…” May 20, 14:17
  • Carlo on Art in Turbulent Times: “The Kennedy Center today is selling discounted tickets for the Washington Opera for $20.” May 1, 21:31
  • Montague Gammon III on Art in Turbulent Times: “We would like to think that a Trumped Kennedy Center would experience a significant downturn in attendance, but we should…” Apr 22, 05:51
  • Ed Comet on What do to with the NEA? Pull the plug?: “The author has gone to the Grand Canyon with a magnifying glass, and found the rocks uninteresting.. The NEA does…” Apr 12, 16:42
  • Brtian Newhouse on What do to with the NEA? Pull the plug?: “I think that for arts patronage to work, there has to be some consensus that the activities of making and…” Apr 12, 14:28
Return to top of page

an ArtsJournal blog

This blog published under a Creative Commons license

Copyright © 2025 · Magazine Pro Theme on Genesis Framework · WordPress · Log in