Hi folks -- cross-posting this to Finance for visibility.
Wondering what some typical configurations look like out there in the performing arts org world. For ticketing campaigns, the examples I am most familiar with have one campaign for single ticket sales for the entire fiscal year, and another campaign for subscriptions, another for fees, and that's basically it. But I'm starting to think this is more typical for organizations that just produce one type of event year-round, like opera houses or symphonies.
For orgs that produce a wide variety of events, how do you structure your campaigns for ticketing? One campaign for the entire FY? One for each season of events? Or more granular, like one for each series of productions, or even one campaign per production? Separate campaign for subs, or no?
It would be great to get some quick feedback from a few people. If you want to offer more, how much value would you say you get out of the canned campaign reports with regard to your configuration?
Hi Nick,
Here at 92Y we use separate campaigns for each of our program areas, creating new campaigns for every fiscal year. For example, 16 School of Arts, 16 School of Music, 16 Harkness Dance Center, etc..
For fiscal year 16, we 35 different campaigns for ticketing only. We use the same campaigns for Subs and single ticket sales together.
The only canned campaign reports we use for ticketing is the Revenue by Source and Appeal and the Appeal Response reports. The other canned Campaign reports are primary used for Development.
Hope this helps,
Tatiana
Tatiana Jofat
Director, Tessitura Support
P: 212.415.5481 | F:212.415.5788
92nd St Y, 1395 Lexington Avenue, New York, NY 10128
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From: Tessitura Ticketing Forum [mailto:forums-ticketing@tessituranetwork.com] On Behalf Of Nick Reilingh Sent: Monday, April 11, 2016 3:09 PM To: Tatiana Jofat Subject: [Tessitura Ticketing Forum] Campaign config for performing arts orgs
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HI Nick,
At the Young Centre, from a ticketing standpoint, we create one campaign for each business unit (we are a consortium of 3 businesses) for tickets and one for fees. Subs and single tickets are combined in the one ticketing campaign. For our largest business unit, we create a third campaign for exchanges. All campaigns are built from scratch each new fiscal year. Reporting is generally done by appeals ("Performance Sales by Appeal" is a favourite of ours) so the campaign structure is fairly broad, it's the appeals within each where we see more detail.
Let me know if you have any other questions.
Thanks,Tal
Tal Hebdon
Senior Manager of Patron & Operations Services
Young Centre for the Performing Arts
We create only one campaign for ticket sales per season.
I've worked for a few different types of organizations both in consortium and not, I've also seen campaigns structured many different ways. Ultimately, it comes down to how you want to use the data provided in campaigns and appeals. The way I think about campaigns and appeals is a little different. I think of campaigns of the ultimate goal (1516 Broadway, 1516 Dance, etc). The appeals break out how you got there (1516 Broadway Single Tickets, 1516 Broadway Season tickets, etc). I think of the campaigns as being the large pool of data and the appeals as the way to segment this out. Of course, this is different for donations as campaigns is where transaction information is stored. For ticket sales, it's more about what work and what didn't work for marketing this campaign.
I'm sure that made it all less clear, but it's helped me make a better informed decision on campaign and appeal structure.
Chris Cuhel
The 5th Avenue Theatre