DPC – Arts Victoria
Performing Arts Audiences
Prepared for:
Department of Premier and Cabinet - Arts Victoria
October 2013
Contents
Section
Page
Background, objectives and methodology
3
Executive summary and recommendations
10
Detailed findings
13
AustraliaSCAN| The broader social context
13
How often are people attending a performing arts event?
18
How has their attendance changed over time?
30
Which factors impact upon decision to attend a performing art event?
42
What are the motivations and barriers to taking out a subscription?
52
Appendix
60
Additional charts
60
Sample profile
68
Discussion guides (Qual phase)
71
Questionnaire (Quant phase)
79
Page 2
Background, objectives
and methodology
Background | The need for research
Feedback from the performing arts sector shows that ticket sales have been in decline since
November 2012. Arts Victoria need to better understand what is behind this trend, the
expected lifecycle of it, and what may ultimately slow or even reverse the decline.
Furthermore, an increase in large/high profile events is impacting on broader demand for
performing arts in Melbourne. Ticket sales indicate that some shows sell out quickly with
limited promotions, while others do not. There is a need to better understand why, and what
is the broader impact of this trend.
Page 4
Objectives
The primary objective of the research was to better understand what’s driving the trend in ticket sales
and attendances across a range of performing arts events. Specifically, the research looked to:
Quantify changes to ticket
revenues since November
2012.
Understand awareness of arts
and culture offerings in
general.
Understand the preferences
for performing arts events
among regular and occasional
ticket buyers. Determine the
mix on offer – is there an
oversupply in product, or an
undersupply of preferred
events?
Quantify attitudes towards
consumer priorities around
discretionary spending and
how they spend their leisure
time.
Understand what the shifts
are for consumer preferences
when it comes to paid leisure
activities.
Quantify price sensitivity
within the sector.
How has consumer confidence and attitudes toward the sector impacted upon ticket sales?
What is the optimal approach to address this trend for declining ticket sales?
Page 5
Research approach
Phase two
Phase one
Methodology
Qualitative phase
(in-depth interviews)
n=14
n=7 in-depth interviews with regular
attendees (4+ performances in the
last 12 months from opera, theatre,
ballet, classical music).
Conducted during May 2013 in
Melbourne.
n=7 in-depth interviews with
occasional attendees (1-2
performances in the last 12 months
from opera, theatre, ballet, classical
music). Conducted during May 2013
in Melbourne.
Qualitative phase
(in-depth interviews)
n=8
n=8 in-depth interviews with a range of performing arts stakeholders (all senior
management level from a range of performing arts organisations and also
venues).
Conducted during May 2013 in Melbourne.
Quantitative phase
(Online survey)
n=1583
Online survey (15 minutes) with both occasional attendees (1-2 performances
in the last 12 months) and regular attendees (3-4+ performances within the
last 12 months).
nd
In field from 2 August to September 24th 2013.
Respondents incentivised with a prize draw.
Sample provided by key stakeholders (both venues and also performing arts
organisations).
Page 6
How the two audiences were recruited and defined
The research defined the two audiences by the number of performing arts events that they had attended within the last 12 months.
The sample was drawn from databases held by key stakeholders within the performing arts sector in Victoria (including venues). The
survey was also sent out through the ACMI and Museums Victoria newsletter (via a link) to try and gain a sample of non-attendees.
However, the response rate was very low, with only n=25 respondents completing the survey. As such, the base size is too low to chart any
of the results and have therefore been omitted from this report.
The key demographics differences between the two samples are highlighted below.
Regular attendees (n= 1324)
(3-4 attendances or more in the past 12 months)
Occasional attendees (n=234)
(1-2 attendances or more in the past 12 months)
More likely to...
More likely to...
•Live in Melbourne
•Live in regional Victoria
•Be 55-64 years old
•Be 25-44 years old
•Be single with no children (left at home)
•Have a family with kids
•Work full time
•Earn less than $75,000 per year
•Earn $150,000 per year or more
Fewer financial pressures
Greater financial pressures
Page 7
A note on reading the report
•
The slides all show whether the information is qualitative or quantitative in nature.
•
This is denoted using labels on each slide.
•
Data has not been shown where the sample size is less than n=25
•
Because the sample was derived from lists provided by performing arts organisations, it is skewed towards those who have
attended a performing arts event more recently.
•
While every effort was made to reach non-attendees by placing survey links in the newsletters of Museum Victoria and
also ACMI, this only garnered n=25 respondents (too low a base size to chart on). As such no data has been shown for this
audience within the report.
Page 8
Key takeouts
Overall there seem to be some key factors at play which have impacted upon attendance of
performing arts in Victoria:
1.
Regular attendees are going to fewer performing arts events than they were five years ago—mainly due to a lack
of appealing performances.
2.
Those who are occasional attendees were more likely to be feeling pressure both financially, and also when it
comes to their time—making it harder to justify spending money on performing arts events.
3.
There is also a feeling that there are a larger number of performing arts events to select from in Melbourne—
which is spreading the attendee base more thinly.
4.
Occasional attendees feel less passionate about the performing arts compared to regular attendees, they are
also less knowledgeable—this means that performing arts are less of a priority to this audience. The implication
of this is that attending performing arts events are a nice to have, rather than an essential—which when
combined with greater time and monetary pressures makes it harder for them to justify the cost of attending.
5.
Regular attendees are more likely to be older and more affluent. This makes it easier for them to attend more
performing arts events as they have both more time and money. However, there is a need to ‘future proof’ the
industry to ensure that the next generation of regular attendees is brought on board rather than relying on one
that is ageing.
Page 9
Executive summary|Overall
How passionate are
they?
Are performing arts
important to them?
How has their
attendance changed
over time?
Plays, classical
music, musicals,
opera and ballet
were their most
appealing
performing arts
and were most
popular to
attend.
This audience claimed
to be passionate about
classical music, plays
and ballet in particular,
and also felt more
knowledgeable about
performing arts overall
compared to the
occasional attendees.
The performing arts
were extremely or
very important to
78% of this
audience.
Attending gives
them pleasure—and
there was also a
desire to support
the industry.
Claimed attendance
has remained
relatively stable with
the only real
changes in
attendance for local
bands and singers
and major music
artists declining over
the last five years.
Classical music,
musicals, plays,
opera were
most appealing
to this audience
and also most
attended—but
much less
frequently than
the regular
attendees.
Their level of passion
for classical music,
plays and the ballet
was at lower levels
compared to regular
attendees. However,
this cohort felt more
passionate about
musicals—and their
passion for the opera
was comparable to
that felt among regular
attendees.
While attending live
performances was
seen as important
to this group it is at
much lower levels
(39% extremely or
very important). It
gives them pleasure
but this can be
outweighed by the
cost of attending—
other activities start
to vie for their
money.
Like regular
attendees, claimed
attendance of local
bands and major
music artists looks to
have suffered over
time. Encouragingly,
there are indications
that for some
occasional attendees
they have been to
the opera more
frequently compared
to five years ago.
What do they
attend?
Regular
Attendees
Occasional
Attendees
Key reasons for increase
or decline in attendance
SWOT
For those who claimed
that their attendance
had declined it was due
primarily to a lack of
appealing
performances.
This cohort are the ones
with more time, money and
who claimed to place more
importance on performing
arts. However, they were
more likely to be critical of
the programming, and if it
doesn’t hit the mark will
result in them dropping
their subscription—a key
revenue stream for
organisations.
Where it has
increased—it was due
to having more time
and more well-known
productions coming to
Melbourne. The
declines in attendance
were largely due to less
disposable income and
time (more so than for
regular attendees).
This audience felt less
knowledgeable or
passionate about the
performing arts. As such
there is a greater risk in
attending an event—
particularly given that
money is more of an issue
for them. As such there is a
need to make this audience
feel more comfortable in
their ticket purchases—so
help them better justify the
expense.
Page 10
Implications for Arts Victoria
Overall, any declines in ticket sales for the performing arts look to be largely down to three key factors:
too much choice, cost/time pressures, and issues with programming.
1. Too much choice.
• Over the past five years there
has been an acknowledgement
among both consumers and
stakeholders that the choice of
performing arts events in
Melbourne has increased.
2. Time and money pressures.
• In conjunction with more events
to choose from, time and money
have become critical factors in
being able to attend performing
arts events.
• While these pressures are felt
• Essentially organisations are
now being forced to compete
for the same attendees (time
and money) and there is only
so much that people can justify
spending on performing arts.
more keenly among the
occasional attendees, they are
still felt by regular attendees.
However the latter audience’s
passion for, and importance of,
performing arts means they
were better able to justify
money being spent on attending
events.
3. Programming choices.
• While what is appealing in a
performing art event is to an
extent a personal decision, it
would appear that over the
past 12 months in particular for
the regular attendees this has
been a huge issue. For four in
ten (40%) regular attendees
who claimed their attendance
levels had declined, lack of
appealing programming was
the reason attributed.
Page 11
Recommendations
In order to drive take up of performing arts and increase ticket sales there are some key issues to be addressed.
• For those who don’t attend performing arts events particularly regularly there is a sense that the industry is somewhat
elitist.
• This can act as a barrier for people for whom attending performing arts events isn’t a regular thing.
• Events where these occasional attendees have some form of familiarity with the event (music, storyline, performer etc.)
1. Make the
can make it feel more accessible and also makes it more enjoyable when they do attend.
industry feel more • Once people have been to a performance there is more likelihood of them returning because it has been somewhat demystified for them.
accessible.
2. Make it easier
for people to
justify the
expense.
• Those people who attend less regularly are under greater time and monetary pressure.
• Therefore the ticket offering needs to feel like it is great value so that they can better justify the expense.
• While we recognise the need for stakeholder organisations to meet revenue targets there is also an opportunity to drive
attendance through availability of better value ticketing—if these tickets are available as early bird specials (or
something akin to this) it will also help organisations address the trend of tickets being closer to the date of attendance.
• Risk minimisation also comes through the choice of programming, with some element of familiarity with the
performance making the less frequent attendees more comfortable with purchasing a ticket.
Page 12
AustraliaSCAN |
The broader context
Key social tensions
•
AustraliaSCAN
From AustraliaSCAN, we know that Australians are increasingly feeling:
Time poor – life is full of commitments and there is the sense that there is
not enough time in the day to fit it all in.
Choice overwhelmed – with all of the seemingly endless choices available,
Australians are feeling fatigued when it comes to making decisions.
Out of control – with so much going on in Australians’ daily lives, there is a
sense of unpredictability and uncontrollability.
Imbalanced – juggling work, home and life commitments is proving difficult
and achieving a balance is appearing harder than it used to be.
Due to all of these pressures, life feels complicated and difficult (more so now then
compared with the past). There is a sense of disempowerment whereby Australians
feel less able to have an impact on their own lives and the lives of others.
Page 14
Financial unrest above all
•
AustraliaSCAN
Out of all of the daily pressures, Australians are feeling the financial strain more so than anything else and they
believe this will worsen with time.
% Total Australians
(2013 ‘areas feeling more
stress than a year ago’)
1. Money concerns (41%)
2. Planning for the future (30%)
82% of Australians
believe the ‘cost of living’
will worsen with time.
3. Personal health (29%)
4. Work/job (28%)
5. Personal life (28%)
6. Children (25%)
7. Managing your time (20%)
8. Job security (19%)
9. Rent/mortgage (18%)
10. Household tasks (16%)
Page 15
So cutbacks are being made
•
AustraliaSCAN
Due to this grim forecast, Australians are making cutbacks in order to alleviate the strain.
–
For around one in two Australians, this has translated to going out less and giving up luxuries, which to some extent,
looks set to continue for the time being.
% Total Australians
(‘done as a result of
economic times’)
Shopping List
$$$
$ ------
54%
52%
46%
32%
DIY rather than
paying someone else
Going out less
Giving up luxuries
Actively looking for
discounts
Page 16
What this means for Arts Victoria
AustraliaSCAN
Australians are increasingly faced with more pressures than ever.
Experiencing a combination of time and choice constraints, there is a general
feeling of ‘uncontrollability’ when it comes to their lives.
Out of all of the stressors experienced, financial hardships are perceived to be
the biggest and as a consequence, Australians are making cutbacks in order to
alleviate this.
Such cutbacks include giving up luxuries and limiting their ‘nights out’ –
expenses seen to be frivolous and lacking value. This strongly underpins the
broader consumer trend of looking for better ‘value for money’ whether it be
purchases or experiential in nature.
What this means for Arts Victoria is that consumers are more selective about
their purchase choices (when it comes to buying tickets to performing arts
events) and as such, there is an increasing need to present and communicate
a compelling value/quality (in terms of experiential) proposition to its
consumers.
Page 17
How often are people
attending a performing
arts event?
Broadly there’s a very positive perception of Melbourne’s
Qualitative
performing arts scene
Diverse:
Accessible:
Frequent:
Social:
Generally affordable:
Something for
everyone - an
excellent range of
performances
encompassing all
tastes.
Well located, good
ticket availability,
plenty of
information
available about
upcoming
performances.
Events are
scheduled every day.
There’s enough
going on to meet
demand, no matter
your preferences.
Makes a good night
out with friends/
family. Can be tied in
with drinks or dining
out before/after.
Range of price points
to suit different
budgets. Relatively
expensive compared
to other discretionary
spending, but
acceptable value.
“I’ve moved around quite a bit. Since I came back to Melbourne I’ve
appreciated how wonderful the performing arts are here.”
Occasional, male, younger
Best in Australia: Melbournians unanimously perceive that their performing arts scene is the best
available in Australia.
• They are proud of their city’s reputation for culture.
• Regular scheduling of international performances from Russia, China and Europe make
Melbourne a world-class destination.
Page 19
Theatre, classical music, musicals and opera are the most
popular of the performing arts—across both groups
Quantitative
In the last 12 months which of the following types of performances have
you attended?
Cabaret
Plays/theatre (not musicals)
80
70
Classical music performance (includes
instrumental, choral, chamber music, etc)
60
50
Circus
Musical theatre (musicals)
40
30
20
Family/children's shows
Opera/operetta
10
0
Contemporary dance
Major music artists
Jazz music performance
Ballet
Stand up comedy
Occasional(n=234)
Local bands/singers
Regulars are, by their very definition, more
likely to have attended more performing
arts events than the occasional attendees.
However, both groups seemed to favour
the more ‘traditional’ performing arts
compared to the more contemporary
performing arts such as jazz, cabaret or
contemporary dance.
There appear to be some key gender
differences by attendance with men
significantly more likely to have attended
the opera (53% vs. 45% women ), classical
music performances (65% vs. 53% women),
jazz (26% vs. 18 % women).
However, women were significantly more
likely to have attended musicals (53% vs.
46% men), the ballet (36% vs. 28% men)
and family/children’s shows (18% vs. 9%).
Regular(n=1324)
Q.3
NB. Only figures 3% and above shown.
Page 20
Their popularity is strongly linked to their level of appeal
Quantitative
The level of appeal of each of the performing arts types closely reflected those attended within the past 12 months. Those more traditional performing
arts were the ones that appealed most to both attendee types—although ballet was more likely to appeal to the regular attendees compared to the
occasional attendees. Conversely, those who are occasional attendees were more likely to find major music artists appealing.
Opera was more likely to appeal to those aged 65+ years, whereas musicals were more likely to appeal to those who are 18-34 years old.
Level of appeal by performing art type
Level of appeal (Extremely Appealing and Very Appealing nett score)
Regular
Attendees
Occasional
Attendees
Circus
25%
Family/
Kids
shows
33%
Standup
comedy
39%
Cabaret
22%
Circus
27%
Family/
Kids
shows
39%
Cabaret
40%
Local
bands
40%
Contem
porary
dance
49%
Local
bands
50%
Jazz
music
55%
Major
music
artists
59%
Musical
theatre
59%
Standup
comedy
43%
Contem
porary
dance
58%
Jazz
music
59%
Ballet
59%
Major
music
artists
61%
Ballet
66%
Opera/
operetta
67%
Classical
music
75%
Plays/
theatre
77%
Opera/
operetta
64%
Plays/
theatre
68%
Musical
theatre
68%
Classical
music
72%
Q.19
Page 21
This appeal is due to a variety of reasons
•
Performing arts are appealing to people because of the experience
that they provide. There is a strong sense that they allow
attendees to escape their lives for a couple of hours and be
transported elsewhere—either through music or through a
performance. For some, this experience needs to challenge them,
but for others it is simply about it providing a form of escapism.
“I love going. I love the
experience and the
escapism of it all.”
Regular, female, older
REASONS PERFORMING ARTS ARE
APPEALING
Spellbinding
•
The lack of appeal for the performing arts is due to a range of
reasons—and is also quite personal in nature (for example
someone may love attending classical music concerts but not the
opera). However, across the board, cost is a key reason for lack of
appeal—particularly if the individual lacks knowledge about the
performance as this means that the price can’t then be justified
due to the perceived risk involved.
REASONS PERFORMING ARTS CAN BE
UNAPPEALING
Escapism
Great night out
Great with family
Experience of seeing
great performers
Educational
Treat
Fulfilling
Qualitative
Elitist
Cost
No one wants to go
with you
Performance is too
For older people
‘out there’
Lack of familiarity
with performance
Too ‘highbrow’
“I was really surprised by
the number of songs I
knew—I was pleasantly
surprised. I would
definitely consider going
to more things now, I
guess it seems a bit less
‘underground’ and maybe
something I would do
again.”
Occasional, male,
younger
Page 22
Unsurprisingly the more appealing events are attended
with greater regularity
Quantitative
Frequency attended type of performance in the last 12 months
Regular Attendees
0%
Plays/theatre
Classical music performance
Local bands/singers
10%
20%
30%
50%
38%
21%
35%
60%
46%
70%
80%
11%
23%
18%
65%
Stand-up comedy
90%
24%
12%
21%
73%
10%
8%
15%
54%
100%
29%
31%
Opera/operetta
Ballet
40%
22%
6%
7% 5%
20%
4%
Major music artists
63%
27%
6% 3%
Jazz music performance
63%
25%
9%
Musical theatre
72%
21%
Contemporary dance
73%
22%
Circus
Family/childrens shows
1-2 times
3% 2%
2%
1%
1%
70%
Cabaret
27%
81%
3-4 times
5-6 times
3%
4% 2%
97%
3% 1%
16%
Among the regular attendees the more
popular performing arts were plays,
classical music—but also local bands and
singers.
Those who are older (aged 55 years or
more) were significantly more likely to have
attended the theatre seven or more times
in a year—the same was also true for those
who attended classical music performances
six to seven times in the last 12 months.
These are likely to be the subscribers (those
aged 65+ years are significantly more likely
to have taken out a subscription during
2013)—which explains the higher number
of performances attended.
2%1%
7 or more times
Q.5
Page 23
But despite their appeal, the ‘occasionals’ are less likely to
attend
Quantitative
Frequency attended type of performance in the last 12 months
“If they halved their prices they would double
their audiences.” Occasional, male, older
Occasional Attendees
0%
10%
30% 0%
40% 10%
50% 20%
60% 30%
70% 40%
80% 50%
90%
20%
Stand-up comedy
Stand-up comedy
73%
90%
Opera/operetta
Plays/theatre
Musical theatre
Classical music performance
86%
21%
Local bands/singers
Major music artists
Classical music performance
46%
Circus
27%
31%
81%
Contemporary dance 77%
Family/childrens shows
3-4 times
97%
15%
85%
Ballet
1-2 times
31%
63%
Cabaret
Ballet
25%
16%
69%
Major music artists
18%
63%
84%
5-6 times
1-2 times
54%
22%
73%
23%
70%
7% 5%
Occasional attendees, by their very definition,
8% 6%
have attended fewer performing arts events.
4% 2%
performing arts event types they were
24% more likely to attend with greater frequency
were classical music and also ballet. Men were
9% 3%
significantly more likely to attend classical music
12%
10%
performances
(39%), whereas women were
more
to attend ballet performances more
6% likely
3%
frequently (3-4 times a year 27%).
16%
2% 1%
2%
1% 1%
These
lower attendance rates are likely
20% underpinned
4%
by the financial pressures (largely
due
to
life
stage)
felt by this cohort—rather than
22%
3% 2%
less of a desire to attend.
27%
7 or more times
3-4 times
5-6 times
100%
29% The two
11%
23% 14%
35%
90%
21%
8%
38%
Jazz music performance
Plays/theatre
15%
21%
72%
92%
80%
10%
65%
Musical theatre
Opera/operetta
60% 70%
100%
3% 1%
7 or more times
Q.5
NB. Only those arts with a sample
size of n=30 or more shown.
Page 24
Regular attendees go to a range events with a variety of
people—or even by themselves
Quantitative
0.3
Regular Attendees
Stand-up comedy
0.2
Cabaret
Major music artists
Friend(s)
Jazz music performance
-0.4
0.1
Circus
Child(ren)
Contemporary dance
Local bands/singers
Partner
Family / childrens shows
0
-0.2
0
0.2
0.4
0.6
0.8
1
1.2
Other family member
Plays/theatre
No one- I go by myself
Classical music performance
-0.1
Ballet
Opera/operetta
-0.2
Musical theatre
-0.3
None of these
Not surprisingly, children’s shows were more likely
to be attended with children. Regular attendees
were more likely to go and see the less traditional
performing arts with their partner and friends.
-0.4
-0.5
Parent(s)
-0.6
Q.23
Page 26
Whereas, for the occasional attendees attending a performing
arts event is more of a social occasion with a variety of family
or friends
Quantitative
0.6
Occasional Attendees
No one- I go by myself
0.4
Local bands/singers
0.2
Dimension 2 (vertical)
Friend(s)
-0.6
Jazz music performance
Contemporary dance
Major music artists
Child(ren)
None of these
Circus
Family / childrens shows
0
-0.4
Cabaret
-0.2
0
0.2
0.4
0.6
0.8
1
1.2
Plays/theatre
Stand-up comedy
Partner
Ballet
Other family member
Musical theatre
For occasional attendees, who they go to performing arts with
seems to be more varied compared to regular attendees.
Musicals and ballet seem to be more of a family affair, whereas
plays and stand up comedy were more likely to be attended
with their partner. Not surprisingly, those events that are more
relaxed or social in nature (local bands, jazz, major music
artists) were more likely to be attended by groups of friends
than other performance styles.
-0.2
Classical music performance
Opera/operetta
-0.4
Parent(s)
-0.6
Dimension 1 (horizontal)
Q.23
Page 27
Qualitatively, we know different people offer different
experiences when attending a performing art event
Qualitative
PARENTS
SIBLINGS
For parents there is a range of roles
in attending performing arts events.
For younger families they may take
kids to see musicals, or
performances aimed specifically at
children. For the older children (in
their thirties) they may ‘treat’ their
adult kids to a performance as part
of a celebration of some sort
(birthday or Christmas for example).
For some of the older parents, they
have maintained their subscription
and take their adult children with
them.
Attending an event with siblings
seems to be more likely in the
domain of subscribers. Qualitatively
there is a sense that parents who
are older (65+ years) continue to
hold subscriptions which they then
choose to take their children too.
“ Mum’s getting on a bit now, so I
guess it’s us that physically take
her to the ballet. But we have our
little routine, a casserole at my
sister’s and then go to the ballet.
It’s really nice.”
Regular, female, older
Sense that this is more popular for those
who hold subscriptions—there is almost a
ritual around attending the ballet, or
opera with each other.
FRIENDS
Friends can play a myriad of roles.
They can be the ones who make the
attendee aware of the event in the
first place—i.e. the instigator of
attending, or else the performance
can form part of a night out.
“I hear about stuff that’s on through
my friends, and just agree to go with
them. I’ve been to enough with
them now that I trust their
judgement and I know I’ll like what
they choose.”
Regular Male, younger
PARTNER
Attending performing arts events
with partners is popular with both
occasional and regular attendees.
For the occasional attendees it can
be part of a special occasion—or
just the chance to do something
together without the kids, or for
those who are older and hold
subscriptions it is something that
both parties enjoy attending
regularly together.
Friends and partners tend to make
attending a performing art event more of
a social outing.
Page 28
Friends, partners and family can also play a key role in
introducing people into the performing arts
Qualitative
Through a new friend / partner:
As a child:
“My grandmother started by
taking me to musicals. As I
got older, she began taking
me to more sophisticated
things – she loves the ballet.”
Regular, female, older
“My partner has a thing for orchestra;
he plays violin. At first I was reluctant
because I’m more into *pop / rock+
bands. But when someone shares
their passion with you, then you can
start to feel enthusiastic about it
too!”
Occasional, female, older
By referral from a major show
or other performing art:
Spare time / spare cash:
“I went to see Mary Poppins a few
years back. There were a bunch of
leaflets at the venue about smaller
theatre performances which I bought
tickets for, plus now I get emails
inviting me to other things.”
Occasional, male, older
“Maybe I’m just growing up a
bit. When I was a student we
just went out drinking. Now
I’m older I’m on the lookout
for other things I can do
socially. Plus, I can afford
more tickets now.”
Regular, male, younger
Page 29
How has their
attendance changed
over time?
Not surprisingly, the regular attendees are more passionate
about performing arts compared to the occasionals
Quantitative
Not surprisingly, those who are regular attendees held stronger levels of passion for their top five performing arts types. This strength of passion is
likely underpinning their greater prevalence for attending more performing arts events, and more frequently. In particular the regular attendees
were more likely to feel passionate about classical music, theatre and also ballet compared to the occasional attendees. However, the occasional
attendees were more likely to feel passionate about musicals compared to the regular attendees. Qualitatively, this passion amongst the regulars
seems to come through their upbringing—i.e. they have been exposed to a love of performing arts through their parents, or at school. This makes
the performing arts more important and intrinsic to their life—and this passion helps them to justify the money spent attending events.
Level of passion by performing art type
Level of passion (Extremely Passionate and Very Passionate nett score)
Regular
Attendees
Cabaret
16%
Standup
comedy
14%
Circus
13%
Family/
Kids
shows
20%
Local
bands
35%
Major
music
artists
39%
Jazz
music
38%
Contem
porary
dance
36%
Musical
theatre
37%
Opera/
operetta
43%
Ballet
51%
Plays/
theatre
54%
Classical
music
59%
Occasional
Attendees
Cabaret
9%
Standup
comedy
12%
Circus
13%
Family/
Kids
shows
23%
Local
bands
30%
Major
music
artists
36%
Jazz
music
37%
Contem
porary
dance
40%
Musical
theatre
41%
Opera/
operetta
41%
Ballet
43%
Plays/
theatre
44%
Classical
music
50%
Q.20
Page 31
This level of passion means that, for performing arts attendees, other
events in Melbourne are not seen to be ‘competitors’
Qualitative
Performing arts attendees also commonly participate in other
Melbourne events.
–
They consider performing arts to be a significant part of
a broader spectrum of events which make Melbourne
vibrant.
However, these other events do not detract from their attendance at
performing arts.
“Yes, I buy AFL tickets and they are
expensive. But I spend money on a lot of
other things too, like holidays and DVDs.
You could say everything is a balance.
Going to other events doesn’t affect how
often I go to performing arts.”
Occasional, male, younger
–
The majority attend performing arts at threshold – i.e.
they attend as many as they want to or aren’t willing to
attend more.
–
–
This may be due to budget constraints or event
enthusiasm.
Other events are part of a wider mix of demands on
their resources and are considered no more competition
than other hobbies / interests.
“Performing arts are so important—they
help Melbourne feel alive.”
Regular, female, younger
Page 32
This passion is also strongly linked to their broader
knowledge of the performing arts
Quantitative
Like passion, those who are regular attendees were also more likely to claim they felt knowledgeable about performing arts. In particular they
were more likely to feel more knowledgeable about classical music, theatre and also ballet. However, claimed knowledge levels were quite low
among both audiences, suggesting that their passion is not necessarily driven by their knowledge of the performing art—bur rather an
appreciation for it.
Level of knowledge about each performing art type
Level of knowledge (Extremely Knowledgeable and Very Knowledgeable nett score)
Regular
Attendees
Circus
9%
Cabaret
11%
Standup
comedy
13%
Family/
Kids
shows
19%
Local
bands
20%
Contem
porary
dance
21%
Jazz
music
22%
Occasional
Attendees
Cabaret
4%
Circus
7%
Standup
comedy
11%
Local
bands
11%
Jazz
music
13%
Family/
Kids
shows
18%
Major
music
artists
19%
Opera/
operetta
30%
Plays/
theatre
20%
Musical
theatre
33%
Major
music
artists
34%
Opera/
operetta
22%
Ballet
24%
Ballet
36%
Plays/
theatre
37%
Classical
music
41%
Contemp
orary
dance
24%
Classical
music
28%
Musical
theatre
29%
Q.21
Page 33
This combined knowledge and passion ladders up to a stronger level of
importance for the performing arts among those who attend regularly
Quantitative
Not surprisingly, those who felt more passionate about the performing arts (the regular attendees) were more likely to claim that attending
performing arts is important to them. The key motivating factor for this importance was the pleasure they get from it, coupled with a desire to
support the performing arts. Pleasure also motivates the occasional attendees, but for this audience there are other things that they enjoy doing
as well—price comes into play for this audience too.
How important is attending live performances to you?
Occasional
Attendees
Regular Attendees
Extremely important
34%
I enjoy it/gives me
pleasure (41%)
Extremely important
9%
I enjoy it/gives me
pleasure (33%)
Very important
44%
I want to support it/
I appreciate it (18%)
Very important
30%
It’s too expensive
(16%)
Somewhat important
51%
Nothing compares
to live
performances (14%)
Somewhat important
21%
Not important
1%
Nothing compares
to live
performances (16%)
Not important
9%
I enjoy doing other
things (70%)
Cost is an issue
(25%)
Q.12
Q.13
Page 34
Again, this importance is likely informed by their exposure
to performing arts over time
Qualitative
Greater importance seems to be placed on the
performing arts if there is more of an attachment to it
through personal connection—for example playing an
instrument, having dance lessons as a child, or
participating in amateur dramatics. This type of
involvement seems to lead to greater importance being
attached to a specific type of performing art, and then
exposing children (and grandchildren) to this passion
too.
For those who are less passionate about performing
arts, there seems to be more of an air of mystery about
it. There is not necessarily a clear understanding of
what it can offer because there is a lack of familiarity
with it. This, in combination with the cost of tickets can
provide a huge barrier to attendance. This is where
there’s a clear opportunity for performing arts
organisations to provide more accessible events (such
as MSO performances in the park) to engage with these
audiences. If an event is free (or low cost) then it
provides less of a risk for those who are not as au fait
with performing arts.
“I can remember my parents taking me
to a classical music performance by the
MSO (I think) up in Wangaratta when we
were kids. It was such a treat for us, we
grew up listening to classical music in the
house, but to hear it live, wow that was
just amazing. It’s an experience that has
stayed with me.”
Regular, male, older
“Performing arts aren’t really a priority in
my life, so cost is a bit of an issue. I need
a really good understanding of what I am
getting—surety in the product if you
like—before I will commit to seeing
something. I rely on close friends
involved in the arts scene to lead the
way on what we do, and don’t, go to see.
The free MSO concert in the park was
great—there were loads of well known
songs, the atmosphere was great, and it
was free. Now I’ve been to something
like that I would consider going to more
performances because I have a better
idea of what they’ll be like.”
Occasional, male, younger
Page 35
However, it looks to be the regular attendees who are
driving the declines in attendance
Regular Attendees
Occasional
Attendees
Attending less over the last year
(nett change)
41%
Attending less over the last year
(nett change)
24%
Attending less over the last five
years (nett change)
53%
Attending less over the last five
years (nett change)
36%
Attending more over the last
year (nett change)
26%
Attending less over the last year
(nett change)
33%
Attending more over the last five
years (nett change)
35%
Attending more over the last five
years (nett change)
26%
Q.14
Q.15
The trend in ticket sales looks to be
driven by the regular attendees
rather than occasionals. This
decline has been most marked over
the past five years—with more than
one in two (53%) regular attendees
who claimed that their attendance
had declined over this period
compared to just one in three
ocassionals (36%).
The primary reason that was cited
for their declining attendance was
due to the programming, with
fewer performances that appealed
to them. When this factor is
combined with greater pressure on
finances, there is less of an ability
for this audience to be able to
continue their subscription, opting
instead to attend performances
that held more appeal.
Page 36
Qualitatively there are four key factors behind attendance
rates declining
Qualitative
PRICE—DISCOUNT
TICKETS
VARIETY OF CHOICE
APPEAL OF THE
PROGRAM
COST
Amongst venues there is a clear
sense that customers know that if
they wait long enough they will
get a discount on their tickets—
that they have in fact become
‘trained to do so’.
Another stakeholder also
commented that there is more
choice so “the customer can
afford to be pickier about what
they decide to go and see.” The
competitive nature of the market
is seen to necessitate working
harder to sell the tickets. This is
seen to be making for a tougher
business environment in general
for the industry.
For the production companies there is
a strong feeling that the program each
season needs to balance out the need
to keep current attendees happy, but
also attract new audiences. This is
particularly true for those organisations
for whom subscription sales represent
their “bread and butter”.
From a consumer perspective, there is
certainly a desire to attend more
performing arts events but cost is a key
barrier.
For those customers who have families, in
particular, there are seen to be greater
financial pressures on their income and so
attending a performing art event
(particularly with the whole family) is an
expensive undertaking. But conversely for
those who are older, the reverse is also
true:
“Over the last few years money has
ceased to be the issue it was, so I go to
more events now than I used to. The kids
are all out of school, I’m semi-retired so
we have more time and money on our
hands.” Male, 56 years old
“Really the practice of
discounting tickets last minute
has shot the industry in the foot.
People know that if they wait
long enough they are likely to get
a great deal.” Melbourne Venue
“There’s too much choice in
Melbourne, you could go to
something every day if you
wanted to!” Regular, female,
older
“We have to balance out keeping our
subscribers happy but also attracting
new audiences. So we need a few
blockbusters in there as the key to
subscriptions and also broader sales.”
Stakeholder organisations and venues also commented on how late ticket sales have become. Instead of customers purchasing closer to the release
date, they are now waiting to see if discounted tickets become available, or making the decision to attend much closer to their attendance.
Page 37
But programming is key—over the past twelve months
there have been fewer performances that appeal to both
audience types
Quantitative
Which of the following reasons best describe why you haven’t been to a
performance in the last 12 months?
Regular
(%)
Occasional
(%)
40 32
There have been fewer performances that appeal to me
I have less disposable income available to me now
15
32
Doesn't interest me/didn't enjoy it/prefer other things
12
5
I don't have enough time any more
11
11
I don't have anyone to go with/I can no longer go with the person/people I used to
attend with
10
10
3
6
Too busy/other commitments/family/travel
Q.18 A
NB: responses over 5% shown
Page 38
The same is true over the past five years
Quantitative
Why has your attendance increased or decreased (over the past five years)?
Increased
I have more time now
I have more disposable income available to me
I am on a mail/email list that informs me of what is on
I have found family/friends who will go with me
There's more to choose from
I have taken out a subscription
There are more well known productions coming to Melbourne
One of my friends/family introduced me and I enjoyed it
Decreased
There have been fewer performances that appeal to me
I have less disposable income available to me now
I don't have enough time any more
I don't have anyone to go with/I can no longer go with the
person/people I used to attend with
I decided not to renew a subscription I had
Health problems / declining health
Regular
%
29
25
25
24
18
13
12
12
Occasional
%
33
23
17
23
11
5
16
14
For both regulars and occasionals,
time is a key reason for their overall
attendance increasing. For
regulars, the role of direct mail
cannot be underestimated in
raising awareness of what’s on. For
regulars, there is also a stronger
sense that there’s more to choose
from (potentially from becoming
more aware through direct mail
rather than an programming).
Regular
%
36
32
18
Occasional
%
27
46
23
However, for the regulars the key
reason for their claimed decrease
in attendance has been due to the
programming. This was particularly
true for musicals (49%).
13
7
5
14
6
12
For the occasionals, their declining
attendance is largely due to
pressures on their time and also
money.
Q.16
Q.17
NB: responses over 5% shown
Page 39
Which factors impact
upon decision to attend
a performing art event?
Qualitatively, the decision making process looks like this...
“There are so many ads around for
performances. I see things ion the paper,
on TV, even outside the arts centre.”
Regular, male, older
Qualitative
Appeal
• Through word of
mouth/recommendations.
• Newspaper (ads and reviews).
• Direct mail (from venues and
production companies).
• Newspaper reviews (mainly in
The Age).
Become aware of
the production
•How appealing is the
production?
• Is it something I’ve seen before?
• Who’s performing in it?
• Is the music or topic something
that I will like?
• Is it traditional? Modern? Will I
like the production?
• Can I attend on the dates
available?
• How much are the tickets? Can
I get good seats for a good
price?
• Will anyone want to go with
me? Will they be free at the
same time as me?
Logistics
“The international productions definitely have
more appeal for me. When I grew up in
Brisbane there wasn’t a lot of top theatre
available there—it was more amateur stuff. It
makes me appreciate the quality of
productions that come to Melbourne.”
Regular, female, older
Page 41
Quantitatively, timing of the performances and availability
of great seats is key to appeal of a performance
Quantitative
Makes the performance more appealing to me
On at a time that is convenient for me
Can get great seats
Being performed by a well-known international company/performer
Familiarity with the author/playwright/composer/choreographer
The performance makes me think
It’s a performance that’s uplifting
Can get discounted tickets
Other people I might go with want to see it too
It’s something I've not seen before
Familiarity with the music
Storyline is appealing
Has good reviews
Accessibility of the venue
Familiarity with the lead performers
Recommended by family/friends
Being performed by a well known Australian company/performer
Regular
%
74
67
67
67
67
66
65
63
61
60
59
59
59
58
56
56
Occasional
%
74
65
61
55
51
68
69
64
54
65
65
59
68
53
58
44
For both regulars and
occasionals, the availability of
good seats, and times that suit
were both key factors in making
a performance appealing.
For the regular attendees the
performance was made more
appealing if there was familiarity
with some element of the
performance, or it is being
performed by someone wellknown.
For the occasional attendees, a
performance was made more
appealing if there were
discounted tickets available—
and it was being held in an
accessible venue (probably due
to the fact this audience were
more likely to live outside of
Melbourne).
Q.22
Page 42
Very few factors make a performance less appealing
Quantitative
Makes the performance less appealing to me
It’s a children’s event
It’s something I have seen before
It’s a one-performer show
Makes no difference to me
It’s a one-performer show
Familiarity with the producer
Coincides with a special occasion
Familiarity with the storyline
Something I have seen before
Regular
%
Occasional
%
29
22
14
22
25
22
Regular
%
71
70
62
58
56
Occasional
%
61
71
53
53
53
Factors that made very little
difference in the level of appeal
were those such as familiarity
with the producer, whether it’s a
one-performer show, or it
coincided with a special occasion
such as an anniversary or
birthday. Although the latter is
not important for occasional
attendees, it was more likely to
be of some importance due to
the financial pressures this group
are under—i.e. attending is more
likely to be perceived as a ‘treat’.
Q.22
Page 43
Familiarity with some element of the performance varies by
performance type—for music based events it’s fairly important
Quantitative
For both regular and occasional attendees being familiar with major music artists was deemed to be important if they were going to see them.
For other performing art types there was not really a great deal of importance attached to being familiar with some element of the performance
they were going to see. Interestingly, the regular attendees are the audience who were more likely to place some importance on being more
familiar with classical music and ballet they were going to see, compared to the occasional attendees.
How important is it to be familiar with some element of the performance you are going to see?
Level of importance (Extremely Important and Very Important nett score)
Regular
Attendees
Circus
18%
Cabaret
22%
Family/
Kids
shows
28%
Plays/
Theatre
29%
Contem
porary
dance
30%
Jazz
music
30%
Standup
comedy
35%
Musical
theatre
36%
Occasional
Attendees
Circus
8%
Cabaret
15%
Contem
porary
dance
20%
Family/
Kids
shows
26%
Jazz
music
26%
Plays/
Theatre
29%
Ballet
29%
Musical
theatre
32%
Opera/
operetta
38%
Classical
music
36%
Ballet
39%
Opera/
operetta
38%
Local
bands
41%
Standup
comedy
38%
Classical
music
42%
Major
music
artists
67%
Local
bands
40%
Major
music
artists
69%
Q.25
Page 44
Familiarity for occasional attendees is more likely to be
important than it is for the regular attendees
Quantitative
Which one aspect of a performing arts event production is most important for you to
be familiar with?
The music
The storyline
The performance company
The composer
The performer(s)
The author/playwright
Regular
(n=919)
%
27
17
17
14
14
6
Occasional
(n=161)
%
37
22
12
12
10
3
However, for those occasional attendees who do
need some level of familiarity with the
performance, it was about the music or the
storyline. For the regular attendees they were
more likely to attach importance to the actual
performers themselves.
For men there was more likely to be greater
importance attached to knowing the composer
(20% vs. 11% women), whereas for women the
storyline was more important (21% vs. 11%
men)—the same was true for those aged 35-44
years old (30% vs. 15% 55+ years).
The implication for this is that the occasional
attendees will look to minimise the risk of
spending money on attending a performing arts
event by going to see something they have some
level of familiarity with.
Q.26 A
Page 45
Attendees also look to the communication materials to
convey a sense of what the performance entails
Qualitative
For both regular and occasional attendees the communication material for the performing art event is critical
because it provides potential attendees with an idea of whether or not it’s something they are interested in
attending.
1.
What kind of genre is it?
The images used convey
whether it looks uplifting,
depressing, challenging or
humorous.
2. What does the production
value look like?
The images can also convey
whether the production looks
like it is high value, whether it’s
a large cast, one man show etc.
3. Is there some element I am familiar with?
The communication material also provides
the opportunity to establish whether or not
there is any familiarity with the music, the
author, the performers, the storyline etc. For
occasionals this is critical as familiarity helps
to minimise the sense of risk in purchasing
tickets
For subscribers the brochures produced by each of the organisations are critical in helping them decide whether or
not the program is sufficiently appealing for them to renew their subscription.
Page 46
For the majority of attendees price is part of the decision,
but other considerations do exist
Quantitative
How important is price to you in determining whether you go or not?
The price is critical
Regular
Attendees
Occasional
Attendees
11
21
The price is important but
other considerations also
come into play
68
65
The price is only of minor
importance
15
11
The price is irrelevant
5
3
Price was critical for one in five
(21%) occasional attendees,
while for those who attend
more regularly it held lesser
importance. Given they are
more likely to have a lower
levels of engagement and lower
household income compared to
their regular attendee
counterparts this price
sensitivity is predictable.
Interestingly, women were
more likely to claim that the
price is critical (15% vs. men
9%), while men were
significantly more likely to claim
that price is only of minor
importance (22% vs. 11%
women). The same was also
true of those aged over 55 years
(16% vs. 7% 18-34 year olds).
Q.37
Page 47
Occasional attendees more likely to be sensitive to the cost
of living
Quantitative
What’s causing you stress in your everyday life?
Occasional
Attendees
Regular Attendees
1. What’s going on in the
world these days (36%)
1. Health of self or family
(41%)
2. Health of self or family
(34%)
2. General cost of living
(39%)
3. Increasing pressure on
my time (30%)
3. What’s going on in the
world these days (32%)
4. General cost of living
(29%)
4. Increasing pressure on
my time (32%)
5. My children’s future
(20%)
5. My children’s future
(24%)
Q.9a
Q.11
Cost of living was more likely
to be a stressor for occasional
attendees, therefore their
sensitivity to price is of no real
surprise. But for this group,
there is also a feeling that their
time is under greater pressure.
When these two factors are
combined they present
considerable barriers to
attending performing arts
events with any degree of
regularity.
Regular attendees felt a
greater sense of concern about
what’s happening in a broader
social context rather than the
more inward focus seen
amongst the occasional
attendees.
Page 48
However, both attendee types claimed they’re willing to pay
more for high calibre performances, or better seats
Quantitative
Pay more
Can you indicate whether you would be prepared to pay a bit more or would expect to pay less?
Total Sample (no significant differences between the two audiences)
Pay less
Premium seating (i.e. best seats in the house)
70%
An international performer/performance company
55%
Well-known/high profile performer(s)
55%
Well-known/high profile conductor
47%
An opening night / premiere
35%
A venue in the suburbs
63%
A weeknight performance
51%
A venue that holds a large audience
25%
A one-man/woman show
25%
A production that is designed for families
18%
Q.38
NB: top five responses shown
Both audiences would
be prepared to pay
more for premium
seating, but then
there is a steep drop
off to the next ‘tier’ of
things they would pay
more for.
Attending a production
or event at a venue in
the suburbs is
expected to cost less,
and to an extent so is a
weeknight
performance.
Page 49
What are the
motivations and
barriers to taking out a
subscription?
Unsurprisingly, regular attendees are more likely to hold a
subscription
Quantitative
Regular attendees were more likely to have held a subscription compared to occasional attendees. For the regular attendees theatre, classical music,
ballet and opera were the subscriptions most likely to be held this year. However, the opera has seen the biggest decline in subscriptions this year (14%)—likely due to the programming of the Ring Cycle this season. Subscriptions across 2012 look to be relatively low compared to 2013 amongst the
regular attendees. For the occasional attendees there looks to be less of a discrepancy between subscriptions last year (2012) and this year—however
there has been a noticeable decline from pre –2012; potentially due to the age group of this audience (younger—so either moved from youth/student
concessions or now have families so greater time or monetary pressures).
0% Regular
10% attendees
20% 30% 40% 50% 60% 70% 80% 90% 100%
Occasional attendees
Plays/theatre
Plays/theatre
30%
15%
Classical music performance
12%
Classical music performance
26%
Ballet
9%
20% Ballet
38%
30%
12%
26%29%
9%
20%
24%
42%38%
15%
29%
51%
51%
24%
60%
60%
%
Opera/operetta
9%
Opera/operetta
16%
Musical theatre
Musical theatre 6%3% 8%
6% 3%
Contemporary dance 1%4%
Contemporary dance 1%4%
Jazz music performance
Jazz music performance 3%
9%
16%
30%
8%
30%
57%
57%
87%
87%
94%
94%
3%
96%
Subscribed
Subscribed Subscribed in previous
Never
this year
last year
years
subscribed
(2013)
(2012)
(prior to
2012)
Ballet
6%
3%
20%
74%
Opera/operetta
3%
4%
20%
79%
Plays/theatre
2%
3%
25%
75%
Classical music
performance
1%
1%
26%
72%
Musical theatre
0%
1%
1%
98%
96%
Subscribed this year (2013)
Subscribed last year (2012)
Subscribed this year (2013)
Subscribed last year (2012)
Subscribed in previous years (prior to 2012) Never subscribed
Subscribed in previous years (prior to 2012) Never subscribed
Q.27
Page 51
As one subscriber put it...
Qualitative
“Being a subscriber is a no brainer for me. It’s important that the arts are
supported, but it’s more than that. They provide such great value for
money, you book them, forget about them but then you have all these
events throughout the year and you get to look forward to. They’re like
a grown up version of a show bag.”
Regular, female, younger
Page 52
But the rational reasons for a subscription are largely focused around
the ability to plan in advance, secure seats and save money
Quantitative
Why did you choose to take out a subscription this year? (n=1089)
It allows me to plan my opera/operetta performances in advance
69%
It works out cheaper than buying individual tickets
56%
It allows me to ensure I get tickets to the performances I want to see
55%
It guarantees that I can get seating in the area that I prefer
49%
It represents good value for money
49%
It is a way of supporting this art form
44%
It means I don't have to worry about buying tickets later in the year
44%
It is a way of supporting a particular production company
37%
The productions offered were really appealing
37%
It is something I have always done
33%
So I can sit with family/friends who also take out subscriptions
27%
A subscription provides me with additional benefits that single ticket buyers don't
get
11%
For those who chose to take a
subscription out this year the
ability to plan, saving money and
guaranteeing the ability to see
performances they wanted to
were the key motivating factors
for doing so.
For those who took out a
subscription for musicals this
year it was felt to be particularly
good value (67%), whereas for
those who hold a theatre
subscription the key benefit was
seen to be their ability to plan in
advance (75%) as well as good
value (60%).
Q.28
Page 53
The majority of current subscribers claimed they’re likely
to renew their subscription next year
Quantitative
Likelihood of taking out a subscription next year
All current
subscribers
n=1089
Despite a strong level of confidence amongst current
subscribers that they will renew their subscription,
there was a strong sense that it will to an extent
depend on the program being offered (in particular
for the occasionals). For some there is also a concern
that they can’t commit to the dates in advance (more
likely to be regulars). Amongst the occasionals there
was also a concern that they may not be able to
afford it next year.
(NB: due to low base size for the occasionals within this
sample no figures are given above).
Why/why not
Depends on the program being offered (33%)
Definitely will
61%
“It’s a lovely treat, a bit
indulgent really, I’d like
to have it next year but
it depends how
appealing the program
is really.”
Regular, female,
younger
Can’t commit/prefer to buy tickets as needed (23%)
Probably will
30%
May or may not
8%
“I sit down and work
out which plays appeal,
and then fit the
subscriptions around
that.”
Regular, female, older
Enjoy the experience (22%)
Happy to commit to dates each year (13%)
Might not be able to afford it (11%)
Q.29
Q.30
Page 54
The key reason underpinning their lapse in subscription
comes down to the expense of it
Quantitative
Why did you stop subscribing?
All lapsed
subscribers
(n=1336)
%
I couldn't afford a subscription/can't justify the expense
24
I preferred not to commit to specific performance dates too early
20
I no longer had the time to go to so many performances
20
I decided to spend the price of a subscription on other activities instead
17
I didn't want to go to the specific performances offered in the subscription series
16
I didn't find this year's productions appealing
16
I didn't want to spend all my money on only one production company/venue
13
I wasn't available to attend performances at the dates/times they were scheduled
12
The price of a subscription went up too much
12
The people I usually go with stopped subscribing
11
I preferred not to commit to specific performances until I had a chance to read the reviews / find
out what other people thought of each performance
11
Despite the perception
of value that the
subscriptions offer, the
key barrier to renewing
a subscription was a
lack of ability to justify
the expense. Not
surprisingly, cost was a
bigger barrier to the
occasional attendees
(42% vs. 22% regular).
Whereas for regulars
they were more likely to
claim that they didn’t
find this year’s
productions appealing
(16% vs. 8% occasional),
or that the people they
normally went with
stopped subscribing
(12% vs. 8% occasional).
Page 55
However, for those whose subscription has lapsed, it’s
unlikely to be renewed
Quantitative
Likelihood of taking out a subscription next year
All lapsed
subscribers
n=1331
Definitely will
2%
Probably will
6%
For those who were lapsed subscribers there was a
strong sense that they probably won’t renew it in the
future, preferring instead to buy their tickets as
needed. The cost was also a key barrier for this
cohort—in particular the occasional attendees (23%
vs. 15% regulars). However, for the regular attendees
their renewal was more likely to depend on the
program being offered (21% vs. 12% occasionals), for
this audience there was also a desire for greater
variety (8% vs. 3% occasionals).
“I looked at
renewing my ballet
subscription but the
dates were just all
wrong so I left it—I
thought I can always
buy them later if
things change.”
Regular, female,
older
Why/why not
Can’t commit/prefer to buy tickets as needed (31%)
Depends on the program being offered (20%)
May or may not
29%
The cost/it’s getting way too expensive (16%)
Probably will not
41%
Not interested in this form of art/like to spend free
time on other activities (15%)
Definitely will not
21%
Will purchase a ticket for a particular event (13%)
Might not be able to afford it (11%)
Q.32
Q.33
NB: responses over 10% shown
Page 56
With those who have not subscribed yet, also unlikely to
do so in the future
Quantitative
Why have you never subscribed?
Likelihood of taking out a subscription next year
I want to pick and choose what I go to, not be forced to attend
whichever performances are part of the subscription series
37%
I've just never considered it
20%
I prefer not to commit to specific performance dates too early
18%
I can't afford a subscription
16%
Definitely will
0%
I don't want to commit to multiple performances by the same
company/venue
13%
Probably will
1%
I was not aware of subscriptions for opera/operetta
12%
I can't afford to pay for several performances all at once
12%
I prefer not to commit to specific performances until I have a chance to
read the reviews/find out what other people thought of each
performance
12%
I don't have time to go to multiple performances
10%
Q.34
All non-subscribers (n=2688)
All non-subscribers
n=2688
May or may not
12%
Probably will not
41%
Definitely will not
41%
Page 57
Appendix:
Sample Profile
Sample Profile
Total
%
Regular
Attendees
%
Occasional
Attendees
%
n= 1,583
n= 1,324
n= 234
Male
29
29
30
Female
71
71
70
n= 1,583
n= 1,324
n= 234
Melbourne Metro
88
89
81
Other VIC
12
11
19
n= 1,583
n= 1,324
n= 234
18-24
2
2
3
25-34
9
9
11
35-44
14
14
17
45-54
21
21
22
55-64
26
27
23
65+
27
28
24
Gender
Location
Age
Total
%
Regular
Attendees
%
Occasional
Attendees
%
n= 1,583
n= 1,324
n= 234
A single with
no/independent/ children
25
26
18
Two or more singles with
no/independent children
9
9
7
A couple with
no/independent children
40
40
39
A family where most
children are under 13
years
11
10
18
A family where most
children are 13 years or
older
15
14
18
Life stage
Page 59
Sample Profile (continued)
Total
%
Regular
Attendees
%
Occasional
Attendees
%
n= 1,583
n= 1,324
n= 234
Under $50,000
16
14
26
$50,000 - $74,999
13
13
15
$75,000 - $99,999
12
12
13
$100,000 - $149,999
16
15
$150,000 - $199,000
7
$200,000 +
9
Income
Total
%
Regular
Attendees
%
Occasional
Attendees
%
n= 1,583
n= 1,324
n= 234
Full time
34
35
28
Part time / Casual
18
18
18
Self employed
9
9
11
Retired
27
28
26
16
Unemployed
1
1
2
7
5
Home duties
4
3
9
10
3
Student
3
3
3
Volunteer
2
2
1
Work
Page 60