Overstretched and undervalued, box offices are often seen as a reactive sales tool. However, Beth Aplin believes they can become a proactive force in arts organisations.
Anne Roberts pointed out in (ArtsProfessional, issue 72, April 19, p11) that working in a box office can often be frustrating and isolating, and she set out a number of reasons why that might be the case: the different backgrounds and aspirations of box office staff and their colleagues in other departments, the geographical location of the box office in many buildings, and so on. Whilst this is undoubtedly true, I believe that many of the other factors she cited such as the ?relentless demands of the ringing telephone? and the fact that many box offices seem isolated from the rest of the organisation are actually symptomatic of a more crucial point of difference ? the fact that many box offices see themselves as essentially reactive.
It is very easy to see how this situation has evolved. As the proportion of tickets sold by post has declined over time (and the number sold over the Internet has not yet increased to fill the gap), the vast majority of sales are made on the phone these days, with all the staffing implications this brings. Box office staff therefore tend to spend most of their time waiting for customers to get in contact and then servicing their requirements as efficiently as possible. It is a long-acknowledged fact that one of the greatest causes of workplace stress is when people feel that they are not in control of their workload and environment. The reactive nature of customer interaction coupled with the frequent physical problems of box offices are clearly enough to make life challenging, if not downright tough.
Getting proactive
Clearly, customers are still going to expect someone to be there to deal with them when they phone or visit in person. However, I believe that a number of changes can be made that can benefit both the organisation and the box office staff themselves. Most crucially, I think organisations need to change their mindset and see the box office as much more of a resource for proactive, outgoing contact with customers. Many box offices have already embarked on this journey by developing relationships with group bookers ? contacting them in advance about shows, providing a personal point of contact, keeping detailed notes of their requirements, and so on. Many organisations have also undertaken outbound telephone campaigns to encourage subscribers to renew or to invite people to join membership schemes. What few venues have done so far, despite research and pilots that have demonstrated the possibilities, is set up a regular system of telephoning customers who have not yet booked to give them details of forthcoming events ? a sort of telephone mailing list.
There are frequently cited reasons why box offices don?t want to take on outbound calling ? customers would find it intrusive, staff don?t want to feel like double-glazing salesmen, and so on. However, if customers feel that they are being offered a real service then they will generally be receptive, particularly if they already have a relationship with the organisation.
Invest in success
There are, of course, huge pitfalls to avoid and organisations wanting to embark on this kind of activity should be investing in training and should also set aside space for staff to be able to work effectively ? it?s very hard to concentrate on a sales pitch if you know you?ve got a customer hovering at the counter to speak to you. It?s also vitally important not just to turn to outgoing telephone calling to try and shift last-minute tickets to ?dud? shows that customers have been reluctant to buy already. The chances are that, unless the problem with the event is that the publicity didn?t go out early enough or there is a major change to the cast, the general level of interest is likely to be the same across the people you phone as the people who would normally book through other channels.
There also needs to be strong consideration of the workload effects on the box office, and for major one-off campaigns it may be better to use an external agency. But the concept of developing an ongoing programme of outbound customer contact will provide box office staff with more variety to their jobs, as well as a measure of control and empowerment, which, if handled well and supported properly from the top, should make for a better working environment.
Keep talking
Another crucial factor for box office staff, and a trick that so many organisations miss, is that there need to be clear channels for feedback. The customer comments that staff get with every phone call should be passed through the organisation in a way that can have a direct impact on decisions. So often, discussions about the way the brochure works or the hours the café should open, take place in the admin office with very little understanding of what customers actually think. If there is somewhere that box office staff can systematically record comments from ticket buyers, this can provide management with almost instant feedback. It is important to bear in mind that a scheme of this kind will peter out if box office staff start to think that nobody is taking a blind bit of notice of what the customers are saying. Simply because a point keeps being raised by customers, it shouldn?t be dismissed as ?just another box office whinge!? Although every audience has its ?oddballs?, an organisation?s first reaction must be to pay attention to what customers are telling it and to try and stand back and assess whether they might actually be right. By the same token, box office staff are very well placed to make sure that the right messages get out to the public about key organisational issues. If there is a company line on the reason for the bar closing, or the recent changes in programming policy, the box office team should be properly briefed about it and have plenty of opportunities to ask questions.
Ultimately, the box office is the interface between customer and organisation. If the organisation can realise that this necessitates two-way communication, and then sets up mechanisms by which information can best flow, then not only will the box office team be happier, but the organisation will also be in a much better informed position about its audience ? definitely a win?win scenario!
Beth Aplin is a Director of the consultancy Catalyst Arts, e: info@catalystarts.com. She was a speaker at the Tickets.com conference in Nottingham last week. For further details contact Nathalie Peacock, t: 01908 232404 e: npeacock@tickets.com