The Death of Performing Arts Subscriptions - Or Not?

Suppose that over the next two decades stadiums and gymnasiums at secondary education facilities in this county disappeared. And during the same time, suppose that Monday night football and all the cable and network stations covering sports events quietly ceased to broadcast, and that the morning, afternoon, and evening news coverage of sports on radio and television (as well as the sports supplements in most community papers) dwindled. In two decades, how many young people in America would be able to identify a football? How many young people would have knowledge of, interest in, or even participate in sports?

The above scenario, discussed at a recent seminar with arts marketing colleagues, is not too far off the mark with regard to the dwindling education, exposure, and mainstream coverage of the performing arts during the second half of the 20th century. One of my seminar colleagues even cited a survey indicating that approximately 60 percent of young people could not identify a violin!

This reality, along with other challenges, has often been given as a reason to pronounce the death of the performing arts subscription for choruses, orchestras, dance, theatre, and opera. Another challenge often cited is the seismic shift in the cultural and media landscape since 1980 with the development of the VCR, DVD, laptop, Internet, home entertainment center, and smart phone. Add to this our perennial time crunch, and the subscription challenge seems insurmountable.

To make headway against these challenges we must work smart, be students of our surroundings, and ask fundamental questions. For example, if the beloved arts subscription is dead, why is the sports industry selling thousands of subscriptions at what we would consider exorbitant prices, and often without major discounts or even the arts subscriber's cherished benefit of ticket exchanges?

Clearly the concept of subscribing is not dead, even in a busy world. It gets back to the scenario above, that education and continuing exposure are core elements of personal value, which results in subscription interest. And assumed or peripheral knowledge in the absence of real exposure and knowledge can lead to dangerous conclusions, which in large part is why nonattendees have come to think of the performing arts as stuffy, elitist, and boring - unconscious branding that is tough to undo!

Clearly the concept of subscribing is not dead, even in a busy world. It gets back to the scenario above, that education and continuing exposure are core elements of personal value, which results in subscription interest.

This situation requires us to work differently. Although it is a major disappointment that we have not been more collaborative as an industry in addressing these challenges on a national level, there are rays of hope. And on a local level, there are notable examples of arts organizations addressing the challenges with creativity and panache.

Exposure is Key

The Pittsburgh Symphony Orchestra, a large and highly acclaimed organization that wowed peers from all sectors at the 2004 National Performing Arts Convention, has been losing subscribers for years. The 2004-05 season, however, marked a turnaround with new classical subscriptions up more than 60 percent and new pops subscriptions up more than 120 percent. On the other end of the organizational size spectrum, the Plano Symphony Orchestra, a small budget organization just north of Dallas, increased subscriptions more than 53 percent two years ago and held the increase with modest subscription gains last year, enjoying two sold-out seasons. The Plano Symphony Orchestra is in a record subscription position for 2005-06 with a 60 percent overall subscriber increase in three years. The Handel and Haydn Society in Boston set a record for subscription revenue in 2004-05 and like Plano, is also in a record subscription revenue position by over 11 percent for 2005-06.

A key element in the recent success of these organizations has been addressing the issue of exposure, or lack of it, for the nonattendee. The Pittsburgh Symphony Orchestra hosted several "season preview" concerts in surrounding communities for the 2004-05 season. The concept was brought back to the Orchestra's primary home, Heinz Hall, with a season preview concert for the classical series and a similar event for the pops series. Invitations went to select past subscribers and single-ticket patrons, multi-arts buyers, and demographic leads based primarily on education and location. An investment was made in these concerts, which included repertoire from the coming season, meaningful commentary from the stage, insights about the organization, discussions about famous "myths" surrounding the industry, and a chance for the audience to get to know the musicians. Between the events and follow-up phone sales, the total subscription revenue topped several hundred thousand dollars. This September, the pre-season exposure was repeated for the 2005-06 season and both the classical and pops season previews played to capacity audiences. More than $26,000 in subscription sales resulted from just one of these evenings, prior to productive follow-up phone calls.

In August 2005, the Plano Symphony Orchestra brilliantly massed its volunteer forces through its marketing committee to create "Music, Food, and Fun - A Season Preview." Even with a small staff and limited resources, this creative organization incorporated another hallmark of success - community engagement. They also developed a relationship with the local Chamber of Commerce, which hosted the "Season Preview." The event kicked off with a "Season Ribbon Cutting" that included leaders and members of the Chamber and community.

Musicians worked with the music director to create a "musical prism" - a fast-paced musical offering of ensembles and sections performing from various locations in the hall, a dialogue about the music, and a closing performance on stage by all. The music director offered insights about the coming season, which was followed by a question-and-answer session between the musicians and the audience. Subscriptions have set a record for the third consecutive season.

The PSO's community engagement also includes an incredibly successful young artist competition for local county participants. This has resulted in talented young people performing on the subscription series and, in part, the revitalization of arts education in the local school system.

Make it Personal

These organizations also understand that building a subscription audience in this day and age requires more attention before and after the sale than at the actual point of sale - our traditional focus and a costly mistake.

Another organization this past season adopted the preview model with its existing audience. During fall concerts, subscribers were invited to be part of a "Help Build Our Audience" campaign. They were then sent a letter and form requesting that they bring friends, colleagues, and/or extended family to selected concerts for only $5 a ticket and their contact information. The guest tickets were sent to the current subscribers so that they could play host for the evening. The effort resulted in several hundred new attendees.

Although crucial, exposure is not the only reason for the success of these organizations. They also understand that building a subscription audience in this day and age requires more attention before and after the sale than at the actual point of sale - our traditional focus and a costly mistake.

The Handel and Haydn Society recently created an Ambassadors program of volunteers who offer a personalized buddy system for new subscribers. Ambassadors are volunteers from the board, staff, musicians, audience, and traditional volunteer groups. Their purpose is to welcome new subscribers and to make every aspect of their experience with the organization easier to navigate. This includes communicating personally about the concerts, hosting special events, and assisting them with the renewal process. The Plano Symphony Orchestra's Ambassador program now includes the additional goal of new subscription sales.

One recent event hosted by members of the Pittsburgh Symphony Orchestra, which is expanding its retention efforts to include an Ambassadors program this season, consisted of backstage tours, presentations about the organization and the music, the ever-popular question-and-answer session with musicians, refreshments, and door prizes. The program is working - there is currently an 82 percent renewal rate, even with record new subscribers!

So, are the reports about the death of performing arts subscriptions premature? Yes, for those organizations trying new and more personal ways to introduce audiences to the beauty and depth of what they offer and developing a myriad of ways in which subscribers can connect to this vital community of performing artists.