Just why are there two Telecharge sites anyways?

Did you even know there are two Telecharge websites out there?

There are.

One is Telecharge.com, the one you know and love.  The other, formerly known as BroadwayOffers.com, has now been rebranded as  . . . dum-da-da-dum . . . TelechargeOffers.com.

What’s the diff between the two?

Telecharge Offers is the buying path for discounts.

In a blog recently posted on Shubert Ticket Notes, the industry-insider ticketing and sales blog, the Ticketing Gurus over at Telecharge opened up about the history and the reasoning behind the two purchase paths (they hearken back to the days of cutting coupons and mailing them in – we’re talking stone age here).

It’s a pretty simple strategy.  They contend that if a customer sees an “enter promotional code” box on a website and they don’t have one, they may think, “Huh, I gotta get one of those there codes, and maybe I shouldn’t buy until I have one, or maybe I’ll google around and see what I can . . . oh, hello BroadwayBox and thank you for saving me 40%!”

And as a consumer myself, I gotta admit that if I see one of them there boxes, I’ll take a few extra moments to see what I can find.  It’s human nature.  We want what we don’t have, so throwing that box in the customer’s face is almost a challenge . . . hence the alternate Telecharge site.

It’s all about protecting the full price buyer, which as I’ve said several times on this blog, is what fuels Broadway.  No show can survive solely on discounts, so we need to do whatever we can to convert the discount buyer to a full price buyer, or at least a higher priced discount buyer (that’s why I started this strategy on all of my shows – I call it the BroadwayBox Killer).

The insightful blog, which you can and should read here, continues on to say that the six longest running shows on Broadway don’t have public discount codes posted.  Is their financial success attributed to their lack of open access discounts?  Or does the show just have enough demand to not need it (in this case, I think it’s the latter)?

The modern consumer wants a discount.  You want a discount.  I want a discount.  Even our investors want discounts.  The only time we don’t want a discount is when it’s for our own shows.

We’ll never get rid of discounts.  So we have to learn to work with ’em, and two purchasing paths just may be one of the answers.


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  • Brian Allan Hobbs says:

    I don’t mind full priced tickets. I will always buy full priced IF (and only if) they are good seats. I will always seek out a friend with a house seat contact over any online discount or half-price ticket. I will not pay $150 for a seat that isn’t worth half that (the last few rows of the August Wilson orchestra section, for example). I don’t agree with the price level maps most producers use. I think they’re charging way too much for lousy seats. At Honeymoon in Vegas at the Nederlander, top price seats are only available at premium prices, effectively making premium price the new top price. I also will go way out of my way to avoid paying extra fees of any kind. This nickle-and-diming of theatre patrons will be the death of Broadway much faster than any other killer.

  • Steven Conners says:

    ‘Discounts’ are a lie to begin with. Maybe the public will wise up one day and realize that 20% off just means that some get the tickets and some don’t. In the real world it’s called an income ‘mix’ and the only one that wins is the one that made the offer. Good thing for B’Way that the people are so stupid! —sjc

  • John says:

    Interesting post ! Challenge with discounts, is once consumers are trained to get em, they only buy with them.( Check out the JC Penney story over the past few years). Truth is different consumers segments into different pricing strategies. Im guessing its best to choose your shows target, segment your house, then choose your pricing strategy, not some other way around. Feels likely that a new hot product is likely to have a different strategy from a “slow build” or a “mature show”. Just cause everyone else is.. does not mean its right for you.

  • Arnold Kuperstein says:

    If you could get an excellent seat location, months ahead, paying regular price, you would encourage paying full price. I can tell you from personal experience your production of MACBETH by waiting until the night before the performance I was able to purchase third row centre orchestra which had been marked at premium price for a discounted price. Your greed at not being able to buy desirable seat locations in advance drove me to buying a discounted ticket within 24 hours of the performance. Shame on you!

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