Chinn:: I've started to put cards on chairs of donors at a certain level and above, just to say, "It's great that you're here. Love that you took the time to come. Hope you enjoy the show." It's not to ask for money. It's just something on their chair welcoming them.
When they don't show up, the note doesn't get picked up. So I have someone on the development staff call them the next day and say, "Is everything OK? We noticed you weren't there. Maybe we can help you exchange that ticket for another night."
They're stunned to get that kind of personal attention. That phone call is a relationship strengthener. I don't want my staff to do it with an e-mail. I want them to pick up the phone and call.
Alsop: [Looking over at Eileen Andrews Jackson, the symphony's vice president of public affairs]: That's a good idea. Did you write that one down?
Lewis: : We need to ... getting the young in, they speak a different language, and we need to stay up on it.
Alsop: : That's true, but having a wonderful experience when you go to one of our productions or exhibits has to be a priority. I think we can use the Internet. That's what we're trying to do at the symphony. I do these little "Webumentaries" talking about the pieces. We can e-mail people notes about some parking issues that night. Or, "Maybe you want to go to this restaurant." Or, "Here are the program notes if you want to read them." It becomes customer service in a broad sense.
You can use the Internet in a way that supports the bigger experience. It doesn't replace it. I think with young people we shouldn't make the mistake of thinking that's the complete, authentic experience. [Alsop reaches over to the person sitting next to her, and briefly rests her hand on Chinn's shoulder] I think every human being has the ability to touch the experience.
Lewis:: But they text each other while they're watching. In an intimate setting, it can be very discombobulating.
When we were doing Rosencrantz and Guildenstern Are Dead, a very strange thing happened. At intermission, a couple of the younger people went into the bar where we have a monitor. They intentionally did not go back into the theater to see the second act. They sat watching it on the screen, so they could talk to each other about what was happening in front of them, instead of having the communal experience that I think theater is, sitting in a room with a lot of other people.
