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By Michael
Marion
As building personnel we are
quite often put in the role as advocate for our customers. Those customers
can be our patrons, tenants, or promoters. This is a role that often puts us
in the middle of conflicting pressures and we need to make sure our staff
members understand their roles.
Our customer, the patron, has a simple goal: To have a good time. Our role
is to facilitate this, but also to ensure their safety and comfort in this
endeavor. Patrons often feel that because they have paid for admission, they
have a right to go anywhere and do anything. We must negate this attitude to
ensure that one patron’s good time is not another patron’s misery.
With that in mind, we must train our staffs to be firm yet patient,
confident yet respectful and forceful yet friendly. Their actions can
determine not only the success of a show, but whether or not it is
completed. Disruptive patrons must be dealt with quickly, but with clear
guidelines so that staff members are seen as fair and equitable to all
offenders. Staff members should remember, however, that their crowd control
actions may not be appreciated by those at whom they are directed, but that
those nearby will be grateful for the corrective measures that are taken.
It is important that we provide adequate information to our staffs in order
for them to understand the big picture and feel part of what is going on. In
their contact with patrons, staff members should not have to make up their
own reasons for the actions they take. Some of the after-show complaints
reveal some rather creative explanations by staff members. By arming them
with complete information, those complaint calls can be reduced.
The show representatives have as their first priority to put the show or
artist in the best light. Sometimes this conflicts with our patrons’ goal of
having a good time. In our dealings with show representatives, the building
must be sympathetic to the needs of the show, but also must protect the
interests of the patrons. Quite often, show personnel are guided by the
bottom line and customer service and safety are lower priorities.
When such issues as seat relocations come up, the building is often the only
one there to watch out for those being inconvenienced. If the building takes
the attitude “Well, it’s the show’s decision,” then our patrons have no one
to defend them. We know who’s going to get the calls the next day. We have a
responsibility to monitor show reps’ decisions for the sake of our patrons.
This may require taking a stand and dealing with unhappy road personnel, but
remember that unhappy patrons don’t return for other events.
On the other hand, don’t get caught being stubborn just for the sake of
being stubborn. Don’t say, “We don’t do it that way” or “We’ve never done
that before.” My first boss would answer questions with “We’ll see what we
can do.” This showed a willingness not to dismiss a request out of hand and
suggested a positive attitude. With this approach you are perceived as
looking for opportunities rather than creating roadblocks.
Managers and staff who take this tact will do more for marketing their venue
than any industry ad campaign. It is important that the building be seen as
a participant who shares the goal of making sure a show or artist is
presented in the best possible manner that will create excitement for all
concerned.
Sometimes it seems like show decisions are arbitrary and capricious, but as
the late Bill Graham said, “The artists make the rules, and we play the
game.” Quite often, the rules change and our only choice is to continue
playing or quit. If we continue to play, we must realize we have made a
choice and we have an obligation, no matter how we feel, to work through
whatever problems we are facing.
Like so many things in our business, planning and communication can
eliminate many problems. Before a show goes on sale, get as much information
as possible. If you can solve problems before a show goes on sale, you may
have prevented your patrons from being inconvenienced. Sometimes it’s
difficult to get a rider or find a production manager. Don’t give up. Call
the agency or the manager.
Be the squeaky wheel that gets the grease. They will appreciate your efforts
to head off any problems. By doing so, you show you have the success of the
show at heart. Conduct a pre-on-sale meeting to review and share any
information. This will clue-in each department and is a good way to get
everyone on the same page to head off problems.
Advancing a show is a standard part of an event, but make sure you go past
the usual technical info, i.e. stage size, rigging points, stagehand call,
etc. Find out things like:
1) How’s the tour doing? If it’s
stiffing everywhere, you can expect an unhappy touring crew and promoter.
While everyone is cutting back, it’s your opportunity to try to make the day
a little better for everyone.
2) Where is your date on the tour?
If it’s early, they may not be as organized as they would like. If it’s at
the end, they may be tired. If your date is at the end of a five-day run,
they’ll be very tired. Where were they the night before? Was it a building
you know has bad catering? How far did they have to drive? Knowing the
answers to these questions and responding to them can make everyone’s day
smoother.
3) Has this artist and/or crew been in the
building before? What was their experience? Is there anyone
they do or don’t want to see while they are at your building?
4) What’s the general demeanor of the artist?
Are they having a good time? Are there any specific problems?
Through this type of communication and planning, we can help create the kind
of atmosphere that will make all our customers want to return again and
again.
Michael Marion is general
manager of ALLTEL Arena in North Little Rock, Arkansas. |
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