DPC Arts Victoria Performing Arts Audiences · 2016-07-08 · Background | The need for research Page 4 Feedback from the performing arts sector shows that ticket sales have been

DPC – Arts Victoria

Performing Arts Audiences

Prepared for:

Department of Premier and Cabinet - Arts Victoria

October 2013

Contents

Page 2

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

Background, objectives and methodology

Background | The need for research

Page 4

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.

Objectives

Page 5

Quantify changes to ticket revenues since November

2012.

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:

Understand awareness of arts and culture offerings in

general.

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.

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?

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 6

Methodology

Qualitative phase (in-depth interviews)

n=14

Qualitative phase (in-depth interviews)

n=8

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.

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.

Research approach

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). In field from 2nd August to September 24th 2013.

Respondents incentivised with a prize draw. Sample provided by key stakeholders (both venues and also performing arts

organisations).

Ph

ase

on

e

Ph

ase

two

How the two audiences were recruited and defined

Page 7

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)

More likely to...

•Live in Melbourne

•Be 55-64 years old

•Be single with no children (left at home)

•Work full time

•Earn $150,000 per year or more

Occasional attendees (n=234) (1-2 attendances or more in the past 12 months)

More likely to...

•Live in regional Victoria

•Be 25-44 years old

•Have a family with kids

•Earn less than $75,000 per year

Fewer financial pressures Greater financial pressures

• 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.

A note on reading the report

Page 8

Key takeouts

Page 9

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.

What do they attend?

How passionate are they?

Are performing arts important to them?

How has their attendance changed

over time?

Key reasons for increase or decline in attendance

SWOT

Executive summary|Overall

Regular Attendees

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.

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.

Occasional Attendees

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.

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

Page 11

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. 2. Time and money pressures. 3. Programming choices.

• 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.

• 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.

• 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 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.

• 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.

Recommendations

Page 12

In order to drive take up of performing arts and increase ticket sales there are some key issues to be addressed.

1. Make the industry feel more

accessible.

• 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.) can make it feel more accessible and also makes it more enjoyable when they do attend.

• Once people have been to a performance there is more likelihood of them returning because it has been somewhat de-mystified for them.

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.

AustraliaSCAN |

The broader context

Key social tensions

Page 14

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.

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.

Choice overwhelmed – with all of the seemingly endless choices available, Australians are feeling fatigued when it comes to making decisions.

• From AustraliaSCAN, we know that Australians are increasingly feeling:

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.

AustraliaSCAN

Financial unrest above all

Page 15

1. Money concerns (41%)

2. Planning for the future (30%)

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%)

• 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’)

82% of Australians believe the ‘cost of living’

will worsen with time.

AustraliaSCAN

So cutbacks are being made

Page 16

• 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’)

AustraliaSCAN

54% 52% DIY rather than

paying someone else Going out less

46%

Giving up luxuries

32% Actively looking for

discounts

$$$ Shopping List

$ ------

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.

What this means for Arts Victoria

Page 17

AustraliaSCAN

How often are people attending a performing

arts event?

Broadly there’s a very positive perception of Melbourne’s performing arts scene

Page 19

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.

“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

Diverse:

Something for everyone - an

excellent range of performances

encompassing all tastes.

Social:

Makes a good night out with friends/

family. Can be tied in with drinks or dining

out before/after.

Generally affordable:

Range of price points to suit different

budgets. Relatively expensive compared

to other discretionary spending, but

acceptable value.

Accessible:

Well located, good ticket availability,

plenty of information

available about upcoming

performances.

Frequent:

Events are scheduled every day.

There’s enough going on to meet

demand, no matter your preferences.

Qualitative

Theatre, classical music, musicals and opera are the most popular of the performing arts—across both groups

Page 20

0

10

20

30

40

50

60

70

80

Plays/theatre (not musicals)

Classical music performance (includes instrumental, choral, chamber music, etc)

Musical theatre (musicals)

Opera/operetta

Major music artists

Ballet

Local bands/singersStand up comedy

Jazz music performance

Contemporary dance

Family/children's shows

Circus

Cabaret

Occasional(n=234) Regular(n=1324)

Q.3 NB. Only figures 3% and above shown.

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%).

In the last 12 months which of the following types of performances have you attended?

Quantitative

Their popularity is strongly linked to their level of appeal

Page 21

Level of appeal by performing art type


Regular Attendees

Level of appeal (Extremely Appealing and Very Appealing nett score)

Q.19

Circus 25%

Family/Kids

shows 33%

Stand-up

comedy 39%

Cabaret 40%

Contemporary dance 49%

Local bands 50%

Jazz music 55%

Major music artists 59%

Musical theatre

59%

Ballet 66%

Opera/ operetta

67%

Classical music 75%

Plays/ theatre

77%

Cabaret 22%

Circus 27%

Family/Kids

shows 39%

Local bands 40%

Stand-up

comedy 43%


Jazz music 59%

Ballet 59%


Opera/ operetta

64%

Plays/ theatre

68%

Musical theatre

68%

Classical music 72%

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.

Quantitative

This appeal is due to a variety of reasons

Page 22

• 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.

• 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 ARE APPEALING

REASONS PERFORMING ARTS CAN BE UNAPPEALING “I love going. I love the

experience and the escapism of it all.”

Regular, female, older “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

Spellbinding Escapism

Great with family Great night out

Educational

Experience of seeing great performers

Treat

Elitist

Cost No one wants to go

with you

Performance is too ‘out there’

Too ‘highbrow’

Lack of familiarity with performance

Fulfilling

For older people

Qualitative

Unsurprisingly the more appealing events are attended with greater regularity

Page 23

Regular Attendees

Q.5

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.

38%

35%

46%

65%

73%

54%

63%

63%

72%

73%

97%

70%

81%

21%

23%

31%

21%

15%

22%

27%

25%

21%

22%

2%

27%

16%

11%

18%

12%

8%

7%

20%

6%

9%

4%

3%

1%

3%

2%

29%

24%

10%

6%

5%

4%

3%

3%

2%

2%

1%

1%

1%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Plays/theatre

Classical music performance

Local bands/singers

Opera/operetta

Stand-up comedy

Ballet

Major music artists


Musical theatre

Contemporary dance

Circus

Family/childrens shows

Cabaret

1-2 times 3-4 times 5-6 times 7 or more times

Frequency attended type of performance in the last 12 months

Quantitative

But despite their appeal, the ‘occasionals’ are less likely to attend

Page 24

90%

92%

86%

84%

69%

85%

77%

10%

8%

14%

16%

31%

15%

23%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Stand-up comedy

Opera/operetta

Musical theatre

Plays/theatre


Major music artists

Ballet



Q.5 NB. Only those arts with a sample size of n=30 or more shown.

73%

65%

72%

38%

35%

63%

46%

63%

81%

97%

54%

73%

70%

15%

21%

21%

21%

23%

25%

31%

27%

16%

2%

22%

22%

27%

7%

8%

4%

11%

18%

9%

12%

6%

2%

1%

20%

3%

3%

5%

6%

2%

29%

24%

3%

10%

3%

1%

1%

4%

2%

1%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Stand-up comedy

Opera/operetta

Musical theatre

Plays/theatre



Local bands/singers

Major music artists

Cabaret

Circus

Ballet

Contemporary dance

Family/childrens shows


Occasional attendees, by their very definition, have attended fewer performing arts events.

The two performing arts event types they were

more likely to attend with greater frequency were classical music and also ballet. Men were significantly more likely to attend classical music

performances (39%), whereas women were more likely to attend ballet performances more

frequently (3-4 times a year 27%).

These lower attendance rates are likely underpinned by the financial pressures (largely

due to life stage) felt by this cohort—rather than less of a desire to attend.

Frequency attended type of performance in the last 12 months

“If they halved their prices they would double their audiences.” Occasional, male, older

Quantitative

Regular attendees go to a range events with a variety of people—or even by themselves

Page 26

Friend(s)

Partner

Parent(s)

Child(ren)

Other family member

No one- I go by myself

None of these

Stand-up comedy

Opera/operetta

Musical theatre

Plays/theatre


Jazz music performanceLocal bands/singers

Major music artists

Cabaret

Circus

Ballet

Contemporary danceFamily / childrens shows

-0.6

-0.5

-0.4

-0.3

-0.2

-0.1

0

0.1

0.2

0.3

-0.4 -0.2 0 0.2 0.4 0.6 0.8 1 1.2

Regular Attendees

Q.23

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.

Quantitative

Friend(s)

Partner

Parent(s)

Child(ren)

Other family member

No one- I go by myself

None of these

Stand-up comedy

Opera/operetta

Musical theatre

Plays/theatre



Local bands/singers

Major music artists

Cabaret

Circus

Ballet

Contemporary dance

Family / childrens shows

-0.6

-0.4

-0.2

0

0.2

0.4

0.6

-0.6 -0.4 -0.2 0 0.2 0.4 0.6 0.8 1 1.2

Dim

en

sio

n 2

(ve

rtic

al)

Dimension 1 (horizontal)

Whereas, for the occasional attendees attending a performing arts event is more of a social occasion with a variety of family or friends

Page 27


Q.23

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.

Quantitative

FRIENDS SIBLINGS PARTNER PARENTS

Qualitatively, we know different people offer different experiences when attending a performing art event

Page 28

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

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

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.

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.

Qualitative

Friends, partners and family can also play a key role in introducing people into the performing arts

Page 29

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

Through a new friend / partner:

“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

Spare time / spare cash:

“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

By referral from a major show or other performing art:

“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

Qualitative

How has their attendance changed

over time?

Not surprisingly, the regular attendees are more passionate about performing arts compared to the occasionals

Page 31

Level of passion by performing art type


Regular Attendees

Level of passion (Extremely Passionate and Very Passionate nett score)

Q.20

Cabaret 16%

Stand-up

comedy 14%

Circus 13%

Family/Kids

shows 20%

Local bands 35%


Jazz music 38%


Musical theatre

37%

Opera/ operetta

43%

Ballet 51%

Plays/ theatre

54%

Classical music 59%

Cabaret 9%

Stand-up

comedy 12%

Circus 13%

Family/Kids

shows 23%

Local bands 30%


Jazz music 37%


Musical theatre

41%

Opera/ operetta

41%

Ballet 43%

Plays/ theatre

44%

Classical music 50%

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.

Quantitative

This level of passion means that, for performing arts attendees, other events in Melbourne are not seen to be ‘competitors’

Page 32

“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

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.

– 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

Qualitative

This passion is also strongly linked to their broader knowledge of the performing arts

Page 33

Level of knowledge about each performing art type


Regular Attendees

Level of knowledge (Extremely Knowledgeable and Very Knowledgeable nett score)

Q.21

Circus 9%

Cabaret 11%

Stand-up

comedy 13%

Family/Kids

shows 19%

Local bands 20%


Jazz music 22%

Opera/ operetta

30%

Musical theatre

33%


Ballet 36%

Plays/ theatre

37%

Classical music 41%

Cabaret 4%

Circus 7%

Stand-up

comedy 11%

Local bands 11%

Jazz music 13%

Family/Kids

shows 18%


Plays/ theatre

20%

Opera/ operetta

22%

Ballet 24%


Classical music 28%

Musical theatre

29%

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.

Quantitative

This combined knowledge and passion ladders up to a stronger level of importance for the performing arts among those who attend regularly

Page 34


Regular Attendees

Extremely important 34%

Very important 44%

Somewhat important 21%

How important is attending live performances to you?

Not important 1%

Extremely important 9%

Very important 30%

Somewhat important 51%

Not important 9%

I enjoy it/gives me pleasure (41%)

I want to support it/ I appreciate it (18%)

Nothing compares to live

performances (16%)

I enjoy it/gives me pleasure (33%)

It’s too expensive (16%)

Nothing compares to live

performances (14%)

Q.12 Q.13

I enjoy doing other things (70%)

Cost is an issue (25%)

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.

Quantitative

Again, this importance is likely informed by their exposure to performing arts over time

Page 35

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.

“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

“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

Qualitative

However, it looks to be the regular attendees who are driving the declines in attendance

Page 36


Regular Attendees

Attending less over the last year (nett change)

41%


24%

Attending more over the last year (nett change)

26%


33%

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 five years (nett change)

35%

Attending more over the last five years (nett change)

26%

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.

Q.14 Q.15

APPEAL OF THE PROGRAM

VARIETY OF CHOICE COST PRICE—DISCOUNT TICKETS

Qualitatively there are four key factors behind attendance rates declining

Page 37

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’.

“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

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.

“There’s too much choice in Melbourne, you could go to something every day if you

wanted to!” Regular, female, older

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”.

“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.”

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

Qualitative

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.

But programming is key—over the past twelve months there have been fewer performances that appeal to both audience types

Page 38

Which of the following reasons best describe why you haven’t been to a performance in the last 12 months?

Regular (%)

Occasional (%)

There have been fewer performances that appeal to me 40 32

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

Too busy/other commitments/family/travel 3 6

Q.18 A NB: responses over 5% shown

Quantitative

The same is true over the past five years

Page 39

Increased Regular

% Occasional

%

I have more time now 29 33

I have more disposable income available to me 25 23

I am on a mail/email list that informs me of what is on 25 17

I have found family/friends who will go with me 24 23

There's more to choose from 18 11

I have taken out a subscription 13 5

There are more well known productions coming to Melbourne 12 16

One of my friends/family introduced me and I enjoyed it 12 14

Decreased Regular

% Occasional

%

There have been fewer performances that appeal to me 36 27

I have less disposable income available to me now 32 46

I don't have enough time any more 18 23

I don't have anyone to go with/I can no longer go with the person/people I used to attend with 13 14

I decided not to renew a subscription I had 7 6

Health problems / declining health 5 12

Q.16 Q.17 NB: responses over 5% shown

Why has your attendance increased or decreased (over the past five years)? 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).

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%).

For the occasionals, their declining

attendance is largely due to pressures on their time and also

money.

Quantitative

Which factors impact upon decision to attend a performing art event?

Qualitatively, the decision making process looks like this...

Page 41

• 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?

Appeal • 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

“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

Quantitatively, timing of the performances and availability of great seats is key to appeal of a performance

Page 42

Makes the performance more appealing to me Regular

% Occasional

%

On at a time that is convenient for me 74 74

Can get great seats 67 65

Being performed by a well-known international company/performer 67 61

Familiarity with the author/playwright/composer/choreographer 67 55

The performance makes me think 67 51

It’s a performance that’s uplifting 66 68

Can get discounted tickets 65 69

Other people I might go with want to see it too 63 64

It’s something I've not seen before 61 54

Familiarity with the music 60 65

Storyline is appealing 59 65

Has good reviews 59 59

Accessibility of the venue 59 68

Familiarity with the lead performers 58 53

Recommended by family/friends 56 58

Being performed by a well known Australian company/performer 56 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 well-known.

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

Quantitative

Very few factors make a performance less appealing

Page 43

Makes the performance less appealing to me Regular %

Occasional %

It’s a children’s event 29 22

It’s something I have seen before 22 25

It’s a one-performer show 14 22

Makes no difference to me Regular %

Occasional %

It’s a one-performer show 71 61

Familiarity with the producer 70 71

Coincides with a special occasion 62 53

Familiarity with the storyline 58 53

Something I have seen before 56 53

Q.22

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’.

Quantitative

Familiarity with some element of the performance varies by performance type—for music based events it’s fairly important

Page 44

How important is it to be familiar with some element of the performance you are going to see?


Regular Attendees

Level of importance (Extremely Important and Very Important nett score)

Q.25

Circus 18%

Cabaret 22%

Family/Kids

shows 28%

Plays/ Theatre

29%


Jazz music 30%

Stand-up

comedy 35%

Musical theatre

36%

Opera/ operetta

38%

Ballet 39%

Local bands 41%

Classical music 42%


Circus 8%

Cabaret 15%


Family/Kids

shows 26%

Jazz music 26%

Plays/ Theatre

29%

Ballet 29%

Musical theatre

32%

Classical music 36%

Opera/ operetta

38%

Stand-up

comedy 38%

Local bands 40%


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.

Quantitative

Familiarity for occasional attendees is more likely to be important than it is for the regular attendees

Page 45

Regular (n=919)

%

Occasional (n=161)

% The music 27 37

The storyline 17 22 The performance company 17 12

The composer 14 12 The performer(s) 14 10 The author/playwright 6 3

Q.26 A

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.

Which one aspect of a performing arts event production is most important for you to be familiar with?

Quantitative

Attendees also look to the communication materials to convey a sense of what the performance entails

Page 46

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.

Qualitative

For the majority of attendees price is part of the decision, but other considerations do exist

Page 47


Regular Attendees

How important is price to you in determining whether you go or not?

The price is critical 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

Q.37

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).

Quantitative

Occasional attendees more likely to be sensitive to the cost of living

Page 48


Regular Attendees

1. What’s going on in the world these days (36%)

2. Health of self or family (34%)

3. Increasing pressure on my time (30%)

4. General cost of living (29%)

5. My children’s future (20%)

1. Health of self or family (41%)

2. General cost of living (39%)

3. What’s going on in the world these days (32%)

4. Increasing pressure on my time (32%)

5. My children’s future (24%)

Q.9a Q.11

What’s causing you stress in your everyday life?

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.

Quantitative

However, both attendee types claimed they’re willing to pay more for high calibre performances, or better seats

Page 49

Pay

mo

re

Pay less

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)

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.

Quantitative

What are the motivations and

barriers to taking out a subscription?

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).

30%

26%

20%

16%

6%

15%

12%

9%

9%

3%

1%

38%

29%

24%

30%

8%

4%

3%

42%

51%

60%

57%

87%

94%

96%

Plays/theatre


Ballet

Opera/operetta

Musical theatre

Contemporary dance


Subscribed this year (2013) Subscribed last year (2012)

Subscribed in previous years (prior to 2012) Never subscribed

Unsurprisingly, regular attendees are more likely to hold a subscription

Page 51

30%

26%

20%

16%

6%

15%

12%

9%

9%

3%

1%

38%

29%

24%

30%

8%

4%

3%

51%

60%

57%

87%

94%

96%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Plays/theatre


Ballet

Opera/operetta

Musical theatre

Contemporary dance


Subscribed this year (2013) Subscribed last year (2012)

Subscribed in previous years (prior to 2012) Never subscribed

Regular attendees Occasional attendees

%

Subscribed this year (2013)

Subscribed last year (2012)

Subscribed in previous

years (prior to

2012)

Never subscribed

Ballet 6% 3% 20% 74%

Opera/operetta 3% 4% 20% 79%

Plays/theatre 2% 3% 25% 75%


1% 1% 26% 72%

Musical theatre 0% 1% 1% 98%

Q.27

Quantitative

As one subscriber put it...

Page 52

“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

Qualitative

But the rational reasons for a subscription are largely focused around the ability to plan in advance, secure seats and save money

Page 53

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%

Q.28

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%).

Quantitative

The majority of current subscribers claimed they’re likely to renew their subscription next year

Page 54

Q.29 Q.30

All current subscribers

n=1089

Definitely will 61%

Probably will 30%

May or may not 8%

Depends on the program being offered (33%)

Can’t commit/prefer to buy tickets as needed (23%)

Enjoy the experience (22%)

Happy to commit to dates each year (13%)

Might not be able to afford it (11%)

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).

“I sit down and work out which plays appeal,

and then fit the subscriptions around

that.” Regular, female, older

“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

Likelihood of taking out a subscription next year

Why/why not

Quantitative

The key reason underpinning their lapse in subscription comes down to the expense of it

Page 55

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).

Quantitative

However, for those whose subscription has lapsed, it’s unlikely to be renewed

Page 56

Q.32 Q.33 NB: responses over 10% shown

All lapsed subscribers

n=1331

Definitely will 2%

Probably will 6%

May or may not 29%

Can’t commit/prefer to buy tickets as needed (31%)

Depends on the program being offered (20%)

The cost/it’s getting way too expensive (16%)

Not interested in this form of art/like to spend free time on other activities (15%)

Will purchase a ticket for a particular event (13%)

Probably will not 41%

Definitely will not 21%

Might not be able to afford it (11%)

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

Quantitative

With those who have not subscribed yet, also unlikely to do so in the future

Page 57

Why have you never subscribed?

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%

I don't want to commit to multiple performances by the same company/venue

13%

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

Definitely will 0%

May or may not 12%

Probably will not 41%

Definitely will not 41%

Probably will 1%


Quantitative

Appendix:

Sample Profile

Sample Profile

Page 59

Total %

Regular Attendees

%


%

Gender n= 1,583 n= 1,324 n= 234

Male 29 29 30

Female 71 71 70

Location n= 1,583 n= 1,324 n= 234

Melbourne Metro 88 89 81

Other VIC 12 11 19

Age 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

Total %

Regular Attendees

%


%

Life stage 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

Sample Profile (continued)

Page 60

Total %

Regular Attendees

%


%

Income 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 16

$150,000 - $199,000 7 7 5

$200,000 + 9 10 3

Total %

Regular Attendees

%


%

Work 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

Unemployed 1 1 2

Home duties 4 3 9

Student 3 3 3

Volunteer 2 2 1

Documents

DPC Arts Victoria Performing Arts Audiences · 2016-07-08 · Background | The need for research Page 4 Feedback from the performing arts sector shows that ticket sales have been