The overlap chapter showed that most donor households also attend; this one asks what they attend. Each registration is tagged with whether the registering household has ever given a SUCCEEDED individual gift (“donor household”). Performance attendance is headcount (succeeded ticket attendees — see Methodology), attributed to the registering household; canceled, moved, and rehearsal events are excluded.
Donor households are the majority of every genre’s audience — highest for music (77%), lowest for dance (63%), with theater at 64%. Selling tickets and cultivating donors are not separate audiences at Hubbard Hall.
6.1 Which offerings drew the most donor attendance?
Attendance from donor households by offering — production titles where the run mapping applies (recurring titles such as Winter Carnival aggregate across their annual runs), otherwise the event’s own name:
The list is led by the big ensemble musicals and the summer operas — the same shows that fill the house generally — plus Winter Carnival of New Work, whose audience is the most donor-heavy of any large offering.
Do donor and non-donor households split their activity differently? Registration mix (all event types, registrations rather than headcount):