PRICE PERCEPTIONS

1
PRICE PERCEPTIONS Over and Under Estimations

• Respondents were asked to estimate what range
  they thought the price of a single adult ticket
  to certain types of events cost.
• The chart above shows the percentage of those who
  over and under estimated the price of a ticket
  for each type of event.
• Results for the Arts are mixed people tend to
  over estimate the cost of ballet but
  underestimate the cost of Opera. The cost ranges
  upon which this finding is based are those
  currently published by QTIX.
• With the exception of Opera, people are more
  likely to overestimate the cost of these Arts
  events compared to the cost of more mainstream
  activities like football and theme-parks.

2
PRICE PERCEPTIONS TOTAL SAMPLE
Q13a. Approximately how much do you think the
cost of a single adult ticket is to the following
events? N429

• For many events, perceptions of pricing are well
  outside of the usual price for this type of
  event. This may represent a barrier to
  participation if people believe this type of
  event is outside of their price range e.g. the
  Ballet where over 40 of people thought this type
  of event was more expensive than it is.
• The next page describes a major disparity between
  segments in terms of pricing..

3
PRICE PERCEPTIONS PROPORTIONS WHO DONT KNOW
PRICE BY SEGMENT

• For all events the Disinclined segment were the
  least likely to know the price of the event.
  There was no clear difference between the
  proportion of Dont knows by Region.
• This proportion was significantly larger for the
  higher Arts. The significant differences between
  segments are all related to events that
  Disinclined people are unlikely to have attended
  in the last year (we did not question attendance
  at ticketed museum exhibitions).
• A play at QPAC was the event that had the
  greatest proportion of respondents from both
  segments who could not estimate a price, despite
  the fact that QPAC is a well known venue.
• Given low venue attendance this may well be due
  to lack of experience with the venue it tells
  us that current promotional material may not be
  tackling the major barrier of Cost sufficiently.

4
LEAD TIMES, TICKET PURCHASING PRICING SUMMARY

• Lead Times
• A significantly higher proportion of respondents
  take more than three weeks in lead time where the
  event is a ticketed evening time type event.
  However, this only relates to musicals,
  comedy and live music/Bands. The Qualitative
  stage told us that these events were most costly
  and popular where a big name was appearing, so
  this may account for the longer lead times
  despite the general innocuity of these artforms.
  There were no significant differences across
  segment, or region, in this regard.
• Purchasing Tickets
• In keeping with the trend for reactive, rather
  than proactive, participation in the Arts, the
  Interested are significantly more likely to use
  third party ticket websites or sales offices to
  purchase tickets, whereas the Disinclined show a
  tendency to call event specific phone lines (as
  advertised along with the event) or to go to free
  events. Advertising specific directions for
  obtaining tickets along with events may remove a
  practical barrier to participation for the
  Disinclined segment. As lower participants in
  the Arts, they may not be as familiar with the
  existence of services like Ticketek and may also
  be less inclined to search for such services to
  get tickets.
• This trend is mirrored by the Brisbane vs.
  Regional segments. Brisbane residents are
  significantly more likely to use third party
  sales offices than regional residents, who are
  conversely, significantly more likely to use
  event specific ticket lines.
• Event specific websites were the most preferred
  source to buy tickets across segments and
  regions. This may be related to the qualitative
  finding that respondents want one, easy to
  access, central, comprehensive source of
  information about an event.
• Pricing Perceptions
• There was a significant difference in the
  proportion of Disinclined respondents who said
  they did not know what the ticket price for Arts
  events was compared to the Interested segment.
  There was no clear difference between Brisbane
  Metro and Regional price perceptions.
• In the case of Ballet and Opera 29 and 27 of
  the sample respectively, did not know what a
  ticket might cost. In addition a relatively
  large proportion of the sample did not estimate
  the price of a ticket within the range of
  published prices. Therefore it can be assumed
  that the sample generally, but particularly the
  Disinclined segment, may experience price
  perceptions as a barrier to participation in the
  arts.

5
Section 4
Venue Awareness, Experience and Perceptions