How has audience behavior changed in recent years? What have we learned? Are there trends that allow us to establish strategies to attract and engage new and current audiences?

 

by Paulina Ricciardi

 

The first OLA foro digital  in 2023, focused on learning more about audience behavior and their return to theatres, through the consulting firm’s tools and work. TRG Arts, an English-American consultancy working in the arts and culture industry.

 

Through surveys and data collection, TRG Arts provides services and technology to shape organizational resilience, focusing on the areas of customer engagement, financial sustainability, organizational framework, and team development.

 

Through comparative data from more than 400 organizations in the United States, Canada, Ireland, and the United Kingdom that share their ticketing and donor information, Eric Nelson, Vice President and Global Partner of TRG Arts, presented a data landscape from 2019 to 2022 in which we can better understand audience behavior.

 

Compared to 2021, 2022 has seen an increase in ticket sales, mainly during the holiday season (November–December). Faced with this increase, many organizations asked themselves: “Should we lower, raise, or maintain prices?” To which the answer is no, lowering prices is not recommended, as surveys (in the United States and the United Kingdom) show that people who go to see a show consider it a special event and are willing to pay.

 

Generational trends

 

In terms of generational trends, audiences have been lost across all generations since 2019. However, those that have remained the most are generations X, Z and millennials, which leads us to believe that those who are returning are younger audiences.

 

We are seeing younger groups willing to return faster and buy tickets than older generations, who due to COVID-19, will take longer to return to theaters.

 

The opportunity then is to engage younger audiences to get them to return. Another interesting reason to consider why these audiences are returning, at least according to the data collected in the United States, is the amount of family programming that was made during the pandemic.

 

 

Audience motivations for returning

 

A quarterly Canadian study of cultural consumers revealed that 40% of respondents’ reason for attending a show is interesting and entertaining programming.

 

Another reason to return is the opportunity to socialize with the people they go with and to meet the artists.

 

Given some options to encourage a return visit, respondents said they would like to be able to choose their seat. Another element that emerged from these surveys is that they would like to be able to bring their drinks into the auditorium.

 

After years of pandemic and digital technological explosion, we have many opportunities to reimagine the relationship with audiences.

 

Based on the technological landscape and the return of audiences, Google shared information on how the mindset of customers has changed during the pandemic, where people now have different priorities or habits:

 

• Convenience: People want things to be as convenient as possible, including the experience of purchasing tickets, using apps, etc.

 

• New outlets: People have other interests, they are more flexible because there are more options (virtual) but they also want in-person activities. How does programming respond to that?

 

• “New self”: There is an interest in personal wellbeing, in taking care of oneself and others. For example, inclusivity. When is the best time to raise the curtain?

 

• New priorities: People are filtering their interests more, so you have to think about the message you are delivering.

 

• New accountability: Audiences are aware of and resonate with social, environmental and privacy issues – what and how information is displayed.

 

Immersive – gamified – diverse

 

What these studies show is the increase in young audiences and the technological development that has taken place since the pandemic, which motivates theatres and organisations to engage with audiences from these places, including in the total experience (ticket purchase, ticket validation, mailings, etc.) gamification elements that bring them closer to the public.

 

On the other hand, the fact that diversity on stage and in the content offering are a reflection of our communities is also relevant in the audience’s decision to go or not to a show.

 

One of the reasons why audiences do not participate or do not return is because of the unfriendly nature of the websites, or the online purchase of tickets, the logistics of going to the theatre (parking, distances or the lack of coffee or drinks) and the welcome at the theatre. It is not only the technology or the programming but also the experience that makes them feel welcome.

 

5 final tips

 

Based on all this data, Eric gives us 5 tips to take care of and maintain our audiences:

 

1. Listen to your audience
2. Measurement. Be consistent with the goals you set and use the same metrics to track your growth.
3. Invite them to come back as soon as possible.
4. Surprise them.
5. Evolve. Your organization has to be ready and willing to change.

 

About the speaker

 

Eric Nelson, Vice President, Global Partnerships at TRG Arts, is proud to partner with performing and visual arts organizations of all shapes and sizes to increase patron engagement, revenue, and community impact. Prior to joining TRG Arts, Eric served as Director of Marketing and Communications for the Kaufman Music Center in New York City. He also served as Vice President of Client Services, New Business, and Marketing for DCM, specializing in marketing and fundraising strategies for nonprofit organizations. Eric began his career in the arts leading the marketing efforts of Paul Taylor Dance Company.