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AudienceView Acquires TheaterMania and OvationTix

TORONTO, Ontario, Canada – July 11, 2017 – AudienceView, a world leader in e-commerce software for events and entertainment organizations, is pleased to announce the acquisition of TheaterMania, including the OvationTixTM Software as a Service product as well as the TheaterMania.com and WhatsOnStage media brands. As part of AudienceView’s continued investment in its market-leading position providing ticketing, CRM, and fundraising solutions, the acquisition of TheaterMania extends AudienceView’s market reach to more than 2,000 arts and culture, sports, live events and education organizations globally, from the largest entertainment groups in the world to single weekend festival events.

“AudienceView and TheaterMania have long shared a common vision and passion to help entertainment organizations build devoted communities and fulfill their missions,” said Gretchen Shugart, formerly CEO of TheaterMania and now President, Arts and Culture of AudienceView. “We are truly thrilled to be aligned with an organization that understands the industry that we serve and has aggressive plans to invest in our products and offerings to drive even more success for our clients.”

“The combination of AudienceView and TheaterMania now provides arts and cultural organizations with best-in-class capabilities to control their brand and business operations while tapping into the immense power that effective distribution channels bring,” said Mark Fowlie, CEO of AudienceView.  “This acquisition expands our portfolio to become the ideal destination for organizations of all sizes seeking the best technology, services, and partnerships to drive their businesses forward.”

In keeping with the company’s unwavering commitment to customer success, AudienceView is dedicating additional investment to be focused on providing superior client service and support. The first-class OvationTix service and support will continue without change and will benefit from additional support, resources and expertise from AudienceView.

Additionally, the company will be bolstering product investment in both the OvationTix and AudienceView platforms and will be building innovative solutions that will be shared across both offerings.  Further, AudienceView’s customers will benefit from the significant audience reach, event listings, and multimedia content provided by TheaterMania.com and WhatsOnStage.

“Whether a venue has an audience of 99 or over 100,000, AudienceView is now the most compelling choice for organizations that want to grow their communities through innovative technology, strategic distribution strategies, and a team of experts dedicated to creating and supporting customer success every single day,” adds Mark Fowlie.

AudienceView will serve its customers from its Toronto and London offices as well as the New York TheaterMania offices.

JEGI served as the exclusive financial advisor to TheaterMania.

To learn more about AudienceView’s acquisition of TheaterMania and OvationTix, please visit: http://bit.ly/tm-ot-acquisition.

About AudienceView

AudienceView is a leading provider of solutions that serves the entire live events marketplace. Our SaaS software helps more than 2,000 organizations in 15 countries deliver exceptional customer experiences through innovative technology, popular media brands and strategic distribution channels. The AudienceView and OvationTix platforms are powerful solutions that drive customer engagement, new revenue and operational efficiencies that enable success for brands, venues and events of all sizes and types. Our media brands, TheaterMania and WhatsOnStage, connect over one million consumers with live events each month.  Learn more at www.audienceview.com.

Media/interview requests:

Christine Payne
Primoris Group Inc.
+1 416.489.0092
media@audienceview.com

 

The Grand 1894 Opera House Selects AudienceView as New Technology Partner

av15-clientannouncement-grandopera_710-270

TORONTO, Ontario, Canada – January 5, 2017AudienceView, a world leader in e-commerce software for events and entertainment organizations, proudly announces its selection as the new technology partner of The Grand 1894 Opera House in Galveston, Texas.  On top of its celebrated heritage as “The Official Opera House of Texas,” the venue has held a special place in the history of its community and the hearts of many residents for more than 120 years.

“We are delighted to be joining forces with AudienceView and introducing new technology that complements our exceptional programming and facilities.  It will help us know our patrons more intimately, serve them better, communicate more deeply and enhance the overall guest experience,” said Maureen M. Patton, Executive Director of The Grand 1894 Opera House.  “AudienceView will also help us leverage new revenue opportunities, streamline our business operations and make us more efficient.”

By partnering with AudienceView, The Grand has the advantage of a state-of-the-art platform with all the tools it needs to create amazing relationships and experiences for its audiences.  Subscription sales and renewals will be transitioned online, eliminating a cumbersome manual process.  The Grand also plans to introduce expanded donation abilities online, leverage AudienceView for single show tickets and transform communication with members, donors and patrons.

Founded in 1894 and a charter member of the League of Historic American Theatres (LHAT), The Grand has survived storms, hurricanes and periods of neglect.  Several generations have shown their commitment to the arts by saving the theatre and making it a crown jewel of Texas entertainment.  Over the years, important restoration and building improvement projects have been completed to ensure that The Grand remains a powerhouse for the performing arts in the region.

This coming season, as always, there is something for everyone at The Grand, including top touring artists in theatre, music, dance, opera, children’s programming and other performance genres that engage and enrich the lives of our diverse communities.  In 2016-17, guests were included in a live taping of The Texas Tenors, who opened the season with a performance to be aired nationally on PBS.  The schedule also includes the musicals 42nd Street and Pippin, Hollywood legend Sophia Loren, The Time Jumpers, Arlo Guthrie and country music legend Loretta Lynn, among others.

“AudienceView is excited to be working with this storied venue and its incredibly committed team.  Together, we have the opportunity to blend history with modern technology as The Grand grows revenues and delights loyal supporters from the local community and visitors to the island city,” said Jonathan Tice, Vice President, Global Sales at AudienceView. “We look forward to a long and successful relationship with The Grand as it continues to offer the finest in entertainment, bolster the local economy and enrich the cultural life of Galveston and the surrounding region.”

About AudienceView

AudienceView is a complete entertainment business solutions provider. With over $2 billion in annual transactions, our innovative and engaging software is helping more than 550 venues in 15 countries deliver exceptional in-venue and online customer experiences. The self-serve, e-commerce, ticketing and events management portals enable success for events of all sizes or types.  Learn more at www.audienceview.com, or connect with the company on Facebook and Twitter.

Media/interview requests:

Christine Payne
Primoris Group Inc.
+1 416.489.0092
media@audienceview.com

AudienceView Accelerates Growth, Welcomes New Clients in College Athletics, Campus Communities and Performing Arts

TORONTO, Ontario, Canada – August 15, 2016AudienceView, a world leader in e-commerce software for sports, events and entertainment organizations, has achieved continued momentum in 2016, with growth fuelled by numerous new customers and contract renewals.

“Organizations across the entertainment industry are turning to AudienceView to achieve their business objectives with our innovative, high-performing customer-engaging platform,” said Mark Fowlie, CEO of AudienceView.  “Technology plays an extremely important role in the overall customer journey and we are proud that our solution is creating efficiencies, driving revenue and bringing fan engagement to a new level through one-of-a-kind experiences.”

Among AudienceView’s newest clients are the athletics departments at Troy University and Northeastern University – two programs that want to be more innovative with their fan offerings and better monetize their passionate communities.

Troy has replaced a fragmented system (that included multiple databases and spreadsheets) with AudienceView, which will power all of Trojans ticketing and donor management operations.

The box office team at Northeastern will use AudienceView for all events and athletics across campus, including 18 varsity sports at the Division I level.

“With AudienceView, schools and organizations of any size or type can be innovative with what they offer and how they communicate – from the moment a fan first begins looking for a ticket to long after the event,” said Jonathan Tice, Vice President of Global Sales for AudienceView.  “Our platform and methodology makes it possible to turn guests you don’t know into fans you do know.  By analyzing them, organizations can provide more compelling offers based on fan preferences and behavior, which increases relationships, revenue and loyalty.”

In suburban Chicago, AudienceView is now the technology partner of three popular venues run by the Aurora Civic Center Authority – the 84-year-old historic Paramount Theatre, RiverEdge Park and Copley Theater.  As a showcase partner, Paramount plans to leverage every aspect of the AudienceView solution to reimagine the customer experience and support ongoing growth.  These integrated capabilities include ticketing, e-commerce operations, in-venue sales, fundraising, customer relationship management (CRM), marketing, content management and more.

Jefferson Live!, the umbrella producing company for the historic Cascade Theatre of Redding, California and Holly Theatre of Medford, Oregon, selected AudienceView as its new multi-venue technology partner.  The Cascade Theatre is now live and AudienceView will launch at the Holly Theatre once its historic renovation project is complete.

The Palace Theatre for the Performing Arts in Stamford, Connecticut will complete their transition this month from multiple databases to a single solution that puts its patrons at the center of all operations.  In addition to ticketing all events, AudienceView will significantly improve the overall service experience with complete patron records tracking all touch points, automated fulfilment of member benefits, innovative program offerings and fundraising.

“AudienceView’s donor management capabilities are extremely strong,” adds Tice.  “Our platform makes it possible to integrate tightly with the development plans of your main campus or business unit.  This is particularly helpful for colleges, universities and arts organizations that run fundraising programs for student athletes or a special event in parallel with a centralized strategy.”

Renewals

In recent weeks, renewals for organizations in North America include Salt Lake City’s Hale Centre Theatre, San Francisco’s American Conservatory Theater (A.C.T.), North Carolina’s Blumenthal Performing Arts and the University of California, San Diego.

Internationally, AudienceView has extended relationships with AFC Bournemouth of the English Football League’s top-tier Premier League, HQ Theatres & Hospitality, the second largest owner and operator of regional theatrical venues in the United Kingdom, SIV, which operates a portfolio of venues that attracts more than four-million customers per year, and the Nationale Opera & Ballet in Amsterdam.

“Our clients are doing amazing things that go far beyond selling tickets.  We are proud to be providing the technology that enables them to engage with customers and monetize them more effectively,” said Michael Bryce, COO for AudienceView.  “Watching so many passionate groups change the overall experience for their customers is extremely rewarding for our team, which remains dedicated to helping entertainment organizations adopt new practices that will grow their businesses today and in the future.”

About AudienceView

AudienceView is a complete entertainment business solutions provider. With over $2 billion in annual transactions, our innovative and engaging software is helping more than 550 venues in 15 countries deliver exceptional shopping, in-venue and customer experiences. The self-serve, e-commerce, ticketing and events management portals enable success for events of all sizes or types.  Learn more at www.audienceview.com, or connect with the company on Facebook and Twitter.

Media/interview requests:

Christine Payne
Primoris Group Inc.
+1 416.489.0092
media@audienceview.com

Image Credits: AFC Bournemouth, Cascade Theatre, Troy Athletics, Paramount Theatre and Northeastern University

AudienceView Selected by Jefferson Live!

AudienceView is the new technology partner of Jefferson Live!, the umbrella producing company for the historic Cascade Theatre of Redding, California and the Holly Theatre of Medford, Oregon.

Now live on AudienceView, the Cascade Theatre hosts a wide range of arts and cultural events, including theater, concerts, dance and film presentations.  As a regional cultural hub, the Cascade is home to the Northstate Symphony, Jefferson Repertory Company and Redding City Ballet, and supports the creative work of numerous local and regional cultural organizations.  It seats just over 1,000 patrons and hosts more than 120 events annually.

AudienceView will be launched at the Holly Theatre once its historic $4.3-million renovation project is complete.  With seating for approximately 1,000 patrons and special events space for up to 200, the Holly expects to grow quickly to over 130 events annually.   The re-opening of the Holly will double the organization’s use of the AudienceView platform, which will manage services for venues in two states using one secure database.

All of the functionality in AudienceView is being used by Jefferson Live! to create a remarkable service experience.  These features include integrated online and social ticketing, e-commerce operations, memberships, customer relationship management (CRM), fundraising, in-venue sales, marketing and analytics reporting.  In addition to helping increase revenue, AudienceView is improving service for all patrons, including the loyal members who bought 75% of inventory during membership presales.

“AudienceView is delighted to be supporting the mission of Jefferson Live! and its historic theatres in fostering the arts and enriching the culture of these two communities,” said Maureen Andersen, Vice President of Arts and Entertainment for AudienceView.  “Our technology is having an immediate impact by creating a more efficient environment so that the marketing, ticketing and service  teams can spend more time focused on getting to know their customers, building lasting relationships and creating fantastic experiences that feed lifelong memories.”

AudienceView’s 2015 Success Underscores Client Satisfaction and Customer-Focused Experiences

TORONTO, Ontario, Canada – March 3, 2016AudienceView, a world leader in e-commerce software for events and entertainment organizations, achieved exceptional success in 2015 by enabling powerful experiences for client’s passionate communities. With dozens of new organizations joining the company’s ever-growing family and numerous client renewals, AudienceView solidified its position as a global industry leader.

“AudienceView is proud of its status as the go-to solution for major college athletics programs, entire campus communities, performing arts organizations, arenas, film festivals and more,” said Mark Fowlie, CEO of AudienceView. “Our success speaks volumes about the value of combining ticketing and all related transactions, including merchandise sales and fundraising, into a single system. We are helping to provide a unique, emotional customer experience that goes beyond selling a game or a show and ensuring that organizations can always be in touch with their most passionate supporters.”

New Clients

Higher education, college athletics and performing arts are the areas in which AudienceView’s growth was greatest in 2015. New clients using AudienceView across campus include Princeton University, the company’s fourth Ivy League school joining long-term clients Harvard, Yale and Dartmouth, plus University of Northern Colorado, Simon Fraser University and The George Washington University.

AudienceView was also selected as the new official ticketing and fan engagement solutions provider for the University of Tennessee Athletics. The comprehensive partnership will see AudienceView power ticketing for the venerable 102,455-capacity Neyland Stadium and service Knoxville Tickets, a regional outlet for various Knoxville area venues including Thompson-Boling Arena and Knoxville Civic Auditorium and Coliseum.

“We are enthusiastic and eager to leverage AudienceView’s state of the art technology and capitalize on the many new strategic opportunities,” said Brett Huebner, Sr. Associate Athletics Director and Chief Financial Officer at Tennessee Athletics. “AudienceView’s unique platform and vision for customer engagement, purchases, and management strongly aligns with our fundamental and future business goals.”

Also in athletics, our partnership with the National Association of Intercollegiate Athletics (NAIA) enables more than 260 member schools to access a centralized e-commerce and fan engagement platform powered by AudienceView.

AudienceView was selected in 2015 as the new technology partner of The George Washington University Athletics department (GW Athletics) in Washington, D.C. Its ticketing team is using AudienceView to drive sales for five varsity sports, including NCAA basketball, and a variety of club and intramural athletic events. AudienceView will also power ticketing for the Division of Student Affairs.

On the arts side, AudienceView proudly welcomed Film Independent, which produces the Los Angeles Film Festival, CenterArts and its four venues at Humboldt State University, George Washington University Arts, Children’s Theatre of Charlotte and Irving Arts Center, among others.

Among new standout clients in the UK, AudienceView joined forces with Bath Spa Live, Bath Spa University’s production company for arts and cultural events.

Continuing Partnerships

AudienceView is pleased to have signed contract extensions with many long-time clients.

Renewals in the UK include the internationally renowned FA Group and Wembley Stadium; its iconic 90,000-seat venue that’s been served by AudienceView since 2005, as well as ACC Liverpool Arena and Convention Centre, Liverpool Philharmonic, Hall for Cornwall and Dublin Theatre Festival.

In the United States and Canada, Ticket Central and Playwrights Horizons, Shorenstein Hays Nederlander, Geffen Playhouse, Louisiana Philharmonic Orchestra, Broadway Center for the Performing Arts, The Wheeler Opera House and Aspen Show Tickets, Pechanga Resort and Casino, the Fine Arts Center and the City of Moncton inked exciting renewals with AudienceView.

Internationally, Ticketworld in the Philippines and Australia’s Moshtix renewed their commitment to power operations using AudienceView. As a result of our partnership and by leveraging AudienceView’s regional ticketing features, Moshtix won a highly coveted contract with the Astor Theatre in Perth.

“Our success underscores the importance of innovation and how it can be achieved using a single system,” adds Michael Bryce, Chief Operating Officer for AudienceView. “AudienceView is intelligently powering the transactions that support passionate fan experiences while driving efficiency at the same time. AudienceView’s technology makes it possible for any type of organization to put fans and patrons first without losing sight of the bottom line.”

About AudienceView

AudienceView is a complete entertainment business solutions provider. With over $2 billion in annual transactions, our innovative and engaging software is helping more than 550 venues in 15 countries deliver exceptional shopping, in-venue and customer experiences. The self-serve, e-commerce, ticketing and events management portals enable success for events of all sizes or types. Learn more at www.audienceview.com, or connect with the company on Facebook and Twitter.

Media/interview requests:

Christine Payne
Primoris Group Inc.
+1 416.489.0092
media@audienceview.com

Image credits: Children’s Theatre of Charlotte, GW Athletics, GW Arts, Bath Spa Live, Moshtix, and University of Tennessee, Knoxville.

AudienceView Selected by Stamford Center for the Arts and Palace Theatre

AV16-ClientAnnouncement-PalaceTheater_710-270The Stamford Center for the Arts (SCA) and Palace Theatre have selected AudienceView as their new entertainment technology partner. SCA produces and showcases a full season of live theatre, opera, dance, family programming and concerts at the historic 1,580-seat Palace Theatre, plus art exhibitions in its gallery space. The Palace Theatre is also home to the Ballet School of Stamford, Connecticut Ballet, Lumina String Quartetʼs Chamber Music Institute, Namaskaar Foundation, Stamford Symphony and Stamford Young Artists Philharmonic.

With AudienceView, SCA will migrate from numerous systems to a single, integrated e-commerce solution that puts the customer relationship at the center of all operations.

In addition to ticketing all events, AudienceView will significantly improve the overall service experience by automating fulfilment of member benefits, integrating all touch points into 360-degree patron records and helping to grow the membership program in new and exciting ways. These improvements will help SCA to grow its member base, increase revenue and become more efficient. Fundraising as well as new and innovate program offerings will be also be powered by AudienceView.

“We are thrilled to be working with the passionate and driven team at Palace Theatre and thank our like-minded clients for the enthusiastic referral,” said Maureen Andersen, Vice President of Arts and Entertainment for AudienceView. “Our technology is an ideal fit for the Palace and the SCA’s business aspirations and will immediately transform their processes to create impactful customer experiences.”

One-on-One: Aubrey Stork, Digital, CRM & Loyalty Manager, Mirvish Productions

Mirvish_thumbnailBased in Toronto, Mirvish Productions is Canada’s largest commercial theatre production company. Mirvish operates the Royal Alexandra Theatre, a historic venue it saved from demolition in 1963, the luxurious 2,000-seat Princess of Wales Theatre, which opened in 1993, the 2,300-seat Ed Mirvish Theatre and the intimate 700-seat Panasonic Theatre. Its subsidiary TicketKing provides online ticketing services to both Mirvish Productions and many smaller Toronto theatre companies.

As Digital, CRM & Loyalty Manager, Aubrey is ultimately responsible for maximizing the lifetime value of Mirvish customers. On the CRM side, he manages all email marketing communications, including mass emails and lifecycle-based emails, which Mirvish plans to use regularly in the coming months. In the area of loyalty, Aubrey is implementing technology to help increase lifetime customer value for existing patrons. Digitally, Aubrey manages all of Mirvish’s online advertising efforts as well as optimization, making sure customers can easily find the theatre company, find the show they are interested in and make a purchase.

A masterpiece of beaux-arts architecture, the historic Royal Alexandra is Toronto's senior theatre and, at 101, never having been converted to any other use, the oldest continuously operating legitimate theatre in North America.

A masterpiece of beaux-arts architecture, the historic Royal Alexandra is the oldest continuously operating legitimate theatre in North America.

AV: How does technology help a business like Mirvish?

Aubrey: I think technology serves to enhance the experience. I’m probably not the first person ever to say this, but I think the show-going experience starts long before a person gets into the theatre and can continue long after that as well. We are looking at how we make that the best that it can be. From the ticket-buying process to pre-show – making sure patrons have all the information they need to get to the show on time, to find parking, etc. – and then post-show asking them what they thought of the show and continuing on that conversation with relevant messaging based on who they are and what they like.

AV: How is Mirvish using technology?

Aubrey: AudienceView powers all of our ticketing. We are also using it for our pre-show and post-show communications. The latest thing that we are using AudienceView for is our point-of-sale (POS) system. In our theatres, we have rolled out the POS system that AudienceView built with some of our input, so all of our concession sales are going through that system as well with the goal of having a 360-degree view of our customers.

Mirvish's membership card makes it possible to figure out who is making purchases. The organization uses that information to speak more intelligently and on point with its subscribers.

Mirvish knows who is making purchases using their membership card and uses that information to speak more intelligently and on point with its subscribers.

AV: And that’s linked to a membership card?

Aubrey: Yes, exactly. As it stands today, our subscribers have a card that allows them to access credit that’s on their account to then use for concessions. So different from a typical gift card, which is anonymous, this card allows us to figure out who is actually making the purchase so that we can use that information to speak more intelligently and on point with our subscribers.

AV: Why is technology a good complement to a great patron experience?

Aubrey: Technology paired with data allows us to treat individuals as individuals. I think it’s as simple as that. Digital becomes the channel that we are able to do that through and data is the driver that allows us to know what to say to the person we’re talking to.

AV: How does Mirvish plan to use technology to improve the customer journey?

Aubrey: I think the crux of it is using technology to find out who our customers are. We are laying the foundation for what I think is going to be a superior experience – before, during and after the show. What we intend to do is use technology to learn as much as we can about our customers so that we can then speak to them accordingly.

We will be introducing very comprehensive lifecycle programs primarily using email to talk to the customer who we may have identified is at risk of not purchasing as frequently this year as they did last year, for example.

We’ll talk to our best customers who are purchasing all the time but maybe never purchasing concessions at our theatres. And, we’ll be looking at ways we can generate more revenue and enhance the experience as well.

AV: You led the charge in implementing POS attached to membership cards at Mirvish. How has this project brought value to Mirvish and its patrons?

Aubrey: The idea started with incenting our subscribers to renew, to renew early and to pay in full early on as well. We provide payment plans, but obviously we prefer to have things taken care of rather quickly in that way.

The idea was to incent customers with a value that varied based on a number of different things – like when they renewed and if they paid in full. The second part to providing that incentive was that this credit could then be used at concessions, which traditionally for our subscribers doesn’t tend to be part of their show-going habit.

We thought we could achieve a couple of things with this new version of our subscriber card – again, getting customers to renew and encouraging new behavior.

I also looked at this in a grander way and saw the opportunity. By using AudienceView, we are able to tie all those purchases back to each subscriber and complete that full view… then roll it out sometime in the future to all of our customers, more likely by leveraging a mobile app, which we’ll also power using AudienceView.

AV: How can musical theatre and performing arts groups benefit by taking ideas from other sectors and introducing them into their businesses?

Aubrey: A lot of what we’re doing and what I’m intending to do is inspired by Starbucks. I think they do a fantastic job. They are a bricks and mortar business that up until two or three years ago had no idea who their customers were really, then they took what started as a gift card and rolled it into a loyalty program and an app. Now for me, it has changed my behavior. When I’m standing in line at Starbucks and about to make a payment, I look at my app to see if I have a balance. If I don’t, I reload it there to get my points. Right there is an example of other industries that are inspiring what it is that we’re doing in theatre.

AV: Some musical theatre and performing arts groups are just not proactive when it comes to technology, but they could be much more efficient if they were. How can technology help busy professionals do more and improve the overall customer experience?

Aubrey: AudienceView provides a wealth of data on our customers as it is today. Any of the arguments that I’ve had to make internally to sell what it is I’m looking to do have largely been based on the data. If we’re able to recognize or figure out what an average order total is or how many of our customers are actually active, we can start setting benchmarks for ourselves that we can then improve upon and continually measure to see how we are doing and where we need to make improvements.

There is a lot of opportunity to leverage what we know about a customer and communicate with them to bolster their value over time.

Motown the Musical is the first show of Mirvish's 2015-16 season.

Motown the Musical is the first show of Mirvish’s 2015-16 season.

AV: What else is Mirvish doing with technology that is innovative?

Aubrey: Subscription upselling. For example, Motown, which is the first show of our 2015-16 season – if you were to purchase a ticket today, tomorrow you would get an email saying you can get a discount on the ticket you just purchased effectively by subscribing to the season. We then go on to highlight the rest of the shows in the season.

One of the things we plan to do – and this circles back nicely to the POS data that we are collecting now through AudienceView – is use concessions buying patterns as a way to incent other behaviors. For example, if we see a customer buys wine every single time they go to a show, rather than giving them a discount on a ticket for another show we can offer to credit their account with the $8.00 it would be for that glass of wine if they purchase tickets to the show. So more than just upselling concessions itself, we now have ability to use that in-theatre experience to encourage other purchase behavior as well.

In addition to that, again related to the POS system…is to allow patrons to pre-buy or load credit onto their card so that they can make their purchase before they even get to the theatre and then just scan their card and go to their seats. With that, we’ve also talked about the idea of having an exclusive line for our cardholders.

AV: That’s similar to Starbucks – don’t wait in line for a drink, order it in advance and we’ll have it ready when you get here!

Aubrey: Yes, exactly. It’s funny, one of the challenges that one of our front of house managers had mentioned was if you come to one of our theatres, there could be eight or ten bars, how do you know where your drink is going to be? Then Starbucks came along, again as a business I’m looking at to see what they are doing, and they’ve introduced this pre-ordering concept. Obviously they have a couple locations around, so they’ve solved that problem. When we get to the phase of rolling out an app, that is something that we’ll look to do.

AV: Why is it important to remain at the front of the technology curve in musical theatre and the performing arts?

Aubrey: I think technology is more and more becoming ingrained in our day-to-day lives and is becoming increasingly important to the next generation of theatre goers who expect to be able to do certain things with a certain ease.

Further, it’s become necessary based on the fragmentation of market: where traditionally we’d use mass media to reach our audience, these channels are becoming less and less effective. Paired with a growing expectation from consumers that we speak with them as individuals, it’s becoming critical to ensure our technology can satisfy these needs and expectations.

AudienceView Announces Strong Third Quarter, Dozens of New Clients and Renewals

Q3 NR Header

TORONTO, Ontario, Canada – October 29, 2015 AudienceView, a world leader in e-commerce software for events and entertainment organizations, today announced a strong third quarter with growth fuelled by numerous new clients and renewals.

Among dozens of new organizations so far in 2015, AudienceView is pleased to welcome recent additions the University of Northern Colorado, CenterArts at Humboldt State University, Bath Spa University, Children’s Theatre of Charlotte, the Irving Arts Center and the Canadian Basketball League.

Through its partnership with the National Association of Intercollegiate Athletics (NAIA), AudienceView also welcomed numerous NAIA member schools in Q3, including Baker University, Benedictine College, Culver-Stockton College, Goshen College, Kansas Wesleyan University, Middle Georgia State College, Spring Arbor University, the University of Rio Grande, the University of Saint Francis and Wiley College, among others.

In addition, contract extensions have been signed with many long-time AudienceView clients.  Renewals include:

“AudienceView remains committed to providing innovative technology that makes it easy for our clients to improve efficiency and increase revenue while ensuring an amazing experience at each stage of their customers’ journey,” said Mark Fowlie, CEO for AudienceView. “Our continuously strong performance and sales across college athletics, performing arts and university campuses is evidence of the great value having one system brings.”

About AudienceView

AudienceView is a complete entertainment business solutions provider. With approximately $2 billion in annual transactions, our innovative, engaging software is helping more than 550 venues in 15 countries deliver exceptional shopping, in-venue and overall customer experiences. It also powers self-serve e-commerce, ticketing and events management portals, which can be used for events of any size or type. Learn more at www.audienceview.com, or connect with the company on Facebook and Twitter.

Media/interview requests:

Christine Payne
Primoris Group Inc.
+1 416.489.0092
media@audienceview.com

AudienceView Selected by Irving Arts Center

AV15-ClientAnnouncement_IrvingArts_710-270-banner The Irving Arts Center (IAC), a 10-acre multi-purpose performing arts complex in the heart of Dallas-Fort Worth, has selected AudienceView as its new entertainment technology partner.

The versatile facility features two proscenium theatres, four galleries, rehearsal, meeting, classroom and reception spaces, and a sculpture garden. Events range from performances by Lyric Stage and the Irving Symphony Orchestra, plays, musicals and galas to children’s productions, art classes and 12 weeks of summer camp annually. In 2014, the IAC hosted 1,375 events, including 203 performances and 24 exhibitions.

AudienceView is powering the IAC with a fully integrated solution to replace multiple systems, which the organization has outgrown. It will provide ticketing and e-commerce, including sales via mobile and social channels, for all events, season subscriptions, memberships, workshops, camps and more. IAC also plans to operate online content management, customer relationship management (CRM), fundraising, email marketing and point of sale (POS) transactions through AudienceView.

“The IAC is a place of real community pride and we are delighted to welcome it to our growing family of multi-use performing arts and civic centers,” said Maureen Andersen, Vice President of Arts and Entertainment for AudienceView. “Multi-purpose facilities continue to have great success with AudienceView because of our incredible, fully integrated and wide-ranging functionality. Ongoing upgrades also ensure that organizations like IAC can remain modern and always provide the very best customer experience.”

Making the Most of Performing Arts ‘Dump Months’

In almost every area of the entertainment and events industry, there is at least one time of year that is less than optimal for engaging audiences.

In TV, many long-running series get cancelled after being moved to the Friday Night Death Zone. Remember Prison Break and Ugly Betty?

Early July is the timeout period for almost every major sports league.

The very start of the school year and the holiday season are referred to as the Off Season Dead Zones for most museums and cultural attractions.

Ticketed entertainment is no different and the performing arts’ ‘dump months’ are right around the corner.

 

What’s the story behind the idea of the dump months?

The idea of the dump months comes from the film world, where the industry quickly formed the belief that the months of August, September, October, January and February were a good dumping ground for films that studios felt would fail.

Much like any area of the arts, films are produced for different reasons. Some because actors want to remain connected to cinema as art or as a pet project by someone with a lot of industry pull. Others are politically driven, perhaps so a stmarquee-dump-monthsudio can develop clout within the festival circuit. Or else a title is expected to be a tent pole film when it is developed, only to be produced into a movie distributors know will come up short of predictions. All of these categories are the movies that get scheduled for release in the dump months.

If you look at the five movie dump months, you’ll see a few trends:

  • People have less disposable income after expensive annual events: there are always costs that come with the start of the school year and the holidays
  • There are competing priorities for entertainment: think television premieres, performing arts blockbusters and major sporting events like the Super Bowl and Olympics
  • Other industry factors blocking major releases: eligibility for major awards ends the last week of December and summer blockbusters are released at the start of the summer

All in all, the dump months are not the best time to draw huge crowds of moviegoers. That same idea has now spread to the performing arts.

 

The dump months in live entertainment

Though not as defined as the film industry, the performing arts dump months generally come between blockbuster productions. Opening and closing a season with a blockbuster and adding a third audience favorite, like a holiday show or a mid-season audience blockbuster, is the typical arc for a year’s programming.

Perhaps you have an upcoming show that has a bit more of an edge. Or one that your Artistic Director is looking to test in the market between the season opener and a holiday staple. Regardless of which it may be, the dump months are coming from mid-October until at least the American Thanksgiving long weekend.

 

Are the dump months a bad thing for an entertainment or performing arts organization?

While the dump months for an organization sound like one of the worst times to be in the ticketed entertainment industry, these weeks can be a catalyst for creativity.

Many artistic departments use the dump months as a time to showcase experimental content and the same concept can be applied for complementary administrative activities. There can be just as much creativity in the front of house as there is on stage and ticketed entertainment professionals can be as experimental as their artistic counterparts.

You shouldn't expect a full house during the dump months, and that's okay!

You shouldn’t expect a full house during the dump months, and that’s okay!

If you look at the projections for mid-fall and late-winter productions, I’ll bet that an entire run of the new show your organization is testing would be the equivalent of one night of your holiday production. Your blockbusters use tried-and-tested strategies to earn revenue from group sales, merchandise, concessions, field trips, donations and anything else you do to engage your customers. These are classics and they bring in audiences, so you can’t discount their importance.

But you also can’t discount your own innovation and your desire to try out new strategies on a sample group of customers.

The dump months provide a perfect opportunity to do so. Especially as your attendees are often your most loyal patrons, whose subscriptions include tickets to these harder-to-sell shows. These audience members love your organization and want to experience your growth, and this isn’t limited to artistic pursuits and they are likely the ones to give you the most candid feedback on your new initiatives.

 

Using the dump months to your advantage

The appeal for loyal patrons to attend a cutting-edge show is to experience it before it becomes a blockbuster – to be among the first to enjoy how your organization grows. But this shouldn’t be limited to what they see on the stage or on screen.

Here is where the magic lies in the dump months. Your loyal patrons are eager to experience something new in every step of their journey. Is there a new front of house enhancement you want to try out with an audience? What about a new fundraising campaign that’s a little crazy? Or how about a unique piece of merchandise that might get people talking?

Many of us fail to try something edgy in the arts because absolutely every dollar counts as budgets become even thinner, yet dump months are the perfect time to see if and how new strategies are adopted by your customers.

If it’s a success, you’ve unlocked the next great strategy to advance your organization during next year’s blockbuster.

And if it fails? The great thing is that you tried, learned something new and now know your patrons even better.

The dump months are a great time for everyone to experiment with new ideas. Artists bring out shows that may only play once, and you can do the same. If your new idea gets a standing ovation from customers, bring it back for an encore! But if you face a flop, no one will remember because your holiday blockbuster weeks are just around the corner.

CenterArts at Humboldt State University Selects AudienceView

AV15-ClientAnnouncement_CenterArts

AudienceView is proud to be the new entertainment e-commerce solution for CenterArts and its four venues at Humboldt State University. Humboldt State is the northernmost campus in the California State University system, located north of San Francisco in the town of Arcata.

The AudienceView solution will provide CenterArts with robust, flexible events management technology to replace an in-house system. It will power ticketing and e-commerce for their performing arts series, AS Presents events, which are managed by Associated Students of Humboldt State University, as well as artist and school performances, season subscribers and individual shows.

Center Arts plans to use AudienceView to bundle events and subscriptions in new, imaginative ways as well as offer payment plans to its customers. AudienceView will also make it possible for CenterArts to generate growth and increase customer satisfaction through upsells, such as season tickets for those purchasing seats to a single event, as well as cross-sells and donations.

“We are delighted that the AudienceView family of educational institutions continues to grow and are pleased to welcome another college performing arts center,” said Maureen Andersen, Vice President of Arts and Entertainment for AudienceView. “Our solution will provide CenterArts with the modern technology it needs to meet all of its customer requirements, both now and in the future.”

The Peace Center for the Performing Arts Launches AudienceView

TORONTO, Ontario, Canada – November 24, 2014AudienceView has been selected as the new entertainment technology partner of the Peace Center for the Performing Arts following an extensive search. The company’s world-leading e-commerce platform is heightening the customer experience for everyone who loves the performing arts in Upstate South Carolina, Western North Carolina and Northeast Georgia – from single-event attendees and season subscribers to members and donors. AudienceView is also enabling the Peace Center to extend this remarkable service experience to its resident companies while maintaining their own unique identities.

The Peace Center has deployed AudienceView as a fully integrated solution. It is supporting the organization’s desire to share a special experience with each and every guest, which begins before their arrival and continues well past the final encore. For the first time, all sales, fundraising and customer interactions are being managed from a single e-commerce system. This provides convenience for customers, who can now pay for tickets, packages, gift cards, donations and more in a single transaction.

In addition, with AudienceView, the Peace Center has the ability to engage in more ways with existing donors in an effort to better understand their wants and needs and build loyalty. With rich data mined by AudienceView, the Peace Center can automatically unlock perks such as early on-sales and specific seat locations based on the individual donor’s level of commitment.

The single AudienceView e-commerce solution also serves the needs of numerous resident companies that call the Peace Center home, including the Carolina Ballet Theatre, Greenville Chorale, Greenville County Youth Orchestras, Greenville Symphony, International Ballet and South Carolina Children’s Theatre.

“The Peace Center is positioning itself to achieve tremendous benefits from our integrated fundraising, CRM, reporting and analytics functionality combined with a single shopping cart, robust ticketing and ability to cross-sell to resident company constituents,” said Mark Fowlie, CEO for AudienceView. “We are delighted to welcome the Peace Center to our growing performing arts family, which includes premier organizations such as the Denver Center for the Performing Arts and the Ordway Center for the Performing Arts, and look forward to a long, successful relationship.”

About AudienceView

AudienceView is a complete entertainment business solutions provider. Rapidly approaching $2 billion in annual transactions, our innovative, engaging software is helping more than 550 venues in 15 countries deliver exceptional shopping, in-venue and overall customer experiences. It also powers self-serve e-commerce, ticketing and events management portals, which can be used for events of any size or type. AudienceView was founded in 2002 and has received equity funding from the Ventures West 8 Limited Partnership fund, which remains the largest shareholder, and private investors. Learn more at www.audienceview.com, or connect with the company on Facebook and Twitter.

Media/interview requests:

Christine Payne
Primoris Group Inc.
+1 416.489.0092
media@audienceview.com

 

AudienceView Launches at the Chan Centre, University of British Columbia

CHAN_COLOUR-500wTORONTO, Ontario, Canada – October 2, 2014AudienceView, a world leader in e-commerce software for events and entertainment organizations, is proud to have been selected as the new technology partner of the Chan Centre for the Performing Arts at the University of British Columbia (UBC), Canada. The partnership represents an important milestone for the Chan Centre by bringing e-commerce, ticketing and customer relationship management (CRM) in-house instead of relying on a third party.

“We are thrilled to be bringing ticketing for Chan Centre events in-house with a platform that offers a highly accessible online sales experience via a responsive e-commerce site through which we can fully engage with our customers and the student body. Having full control over our ticketing online, by phone and in person means that we can also confidently extend the superior experience that is enjoyed in our venues through the entire service journey,” said Cameron McGill, Co-Managing Director of the Chan Centre. “It is an added bonus that the technology partner we identified as being the best fit for our current and future needs is also a Canadian company.”

The Chan Centre chose AudienceView because its industry-leading technology gives the organization complete control of future ticketing. AudienceView offers the ability to understand customer behavior like never before and drive the service experience without relying on an outside ticketing agency. The organization sees additional value beyond e-commerce and ticketing of its own events. It plans to branch out and use AudienceView to manage ticket sales for other campus and community groups. The Chan Centre also highly values AudienceView’s ongoing innovation and the fact that its platform is upgraded on a regular, consistent schedule to incorporate new technology.

Chan Centre Stage, photo by Nic Lehoux.

Chan Centre Stage, photo by Nic Lehoux.

“We are delighted to welcome the Chan Centre to the AudienceView family and look forward to a long, successful partnership,” said Maureen Andersen, Vice President of Arts and Entertainment for AudienceView. “Our industry-leading solution will help the Chan Centre achieve its business goals, create efficiencies, provide even better service to its customers and future-proof its operations in the years to come.”

About the Chan Centre for the Performing Arts

Since its opening in spring 1997, the Chan Centre has earned an international reputation for its striking design, stellar acoustics and exceptional programming. Artists, critics and patrons alike are unanimous in their praise of the multi-faceted facility, winning it a place among North America’s premier performing arts centres.

Nestled amid the lush landscape on the University of British Columbia campus, the Chan Centre boasts three unique venues — the superb Chan Shun Concert Hall, the flexible Telus Studio Theatre and the intimate Royal Bank Cinema. A variety of performances and events are offered year-round, from classical recitals and jazz concerts, to avant-garde theatre and opera productions, to folk and world music. The Chan Centre is also one of Vancouver’s prime rental locations for arts productions, conferences, and film and television shoots. On the academic front, UBC music, theatre, and film students access the venues throughout the school year for rehearsals, performances and film screenings. Past performers and guest speakers include: Wynton Marsalis, His Holiness the Dalai Lama, Renée Fleming, Dan Savage, Mariza, Sigur Rós, Mavis Staples, and Hugh Masekela.

About AudienceView

AudienceView is a complete entertainment business solutions provider. Rapidly approaching $2 billion in annual transactions, our innovative, engaging software is helping more than 550 venues in 15 countries deliver exceptional shopping, in-venue and overall customer experiences. It also powers self-serve e-commerce, ticketing and events management portals, which can be used for events of any size or type. AudienceView was founded in 2002 and has received equity funding from the Ventures West 8 Limited Partnership fund, which remains the largest shareholder, and private investors. Learn more at www.audienceview.com, or connect with the company on Facebook and Twitter.

Media/interview requests:

Christine Payne
Primoris Group Inc.
+1 416.489.0092
media@audienceview.com