Kate Carter: EIF Director of Audiences

Interview with EIF Director of Audiences Kate Carter 17/3/25

Kate Carter has been Director of Audiences at the Edinburgh International Festival since March 2022,  joining the Festival team just after Nicola Benedetti was appointed as Festival Director.  Her department covers the EIF’s links with audiences under the headings Discovery and Participation, Digital, Press and Media, and Box Office. I was offered an interview with her during the lead up to the press launch; however today’s phone-call was the first chance we’ve had to talk.  For reasons of clarity, as we share initials, I’ve not written our exchange out in the usual question-and-answer fashion!

We talked about the EIF’s introduction of dynamic pricing, the rationale and how it has impacted on audience experience.  She assured me that the Festival welcomes scrutiny of their policy, and believes that there have been improvements in the policy’s delivery over the two years since it was introduced.

I knew from EIF’s 2022 Financial Report (published July 2023) that dynamic pricing was discussed in autumn 2022, when the decision was taken to “explore its potential.” I asked why they decided to implement it for the 2023 Festival and why there was no announcement of its introduction.  Kate Carter agreed that ticket buyers weren’t warned in advance that the policy had been put into effect, though said that staff were happy to explain it when asked by ticket buyers.   The EIF already operated a policy of manual adjustment of prices, for example changing the price band that a row of seats was in. So using the technology available was an extension of this.

A number of factors in 2023 and 2024, not least the outcry about dynamic pricing for rock concerts has led, Kate Carter feels, to a more open discussion of flexible pricing. In an interview last March, Nicola Benedetti said that raising money through flexible pricing  helped to pay for concessionary and free tickets for those who need it most.  I’ve expressed my scepticism about this claim in print on the EMR, and said to her that surely all publicly funded arts organisations are expected to provide policies and ticket concessions for disabled.  Kate Carter said that this is what the extra money is spent on, and it enabled an expansion of the EIF’s concessionary and free ticket provision in 2024 -  the best they have ever had on offer and better than that in place by any other arts organisations. It also helps to fund the promise to keep 50% of tickets under £30.

How is the scheme being monitored? The figures for every concert and venue are examined and help to set the price ranges for the following year.  Kate Carter pointed out that after some poorly attended Queen’s Hall concerts in 2023, last year saw a consistent increase in attendances throughout  performances at that venue.– explaining why the mix of concerts and the 20%-off multi-buy package remain in place this year – something I noted approvingly in my launch article.

Sell-out events especially in the Usher Hall in 2023 gave the EIF encouragement to charge higher starting prices in 2024 – which I think all of us noticed when buying tickets there last year.  The sell-out ‘Carmen’ and ‘Figaro’ (both with many tickets at over £100) at the Festival Theatre in 2024 indicate a market for high-priced tickets for special events.  Kate Carter was anxious to point out that lower priced tickets continued to be available throughout the selling period – true, I think of the Queen’s Hall, and for the Upper Circle in the Usher Hall, though the cheapest seats in the Festival Theatre sold pretty quickly.

I asked about the Usher Hall concerts in 2024 which did not sell out, and pointed out a Comments post on the EMR website in which a correspondent said that last minute discounts on concerts which proved  unpopular meant that he could have bought his three £60 tickets for £30 each if he’d bought them on the day.  Kate Carter conceded that there had been overestimation of the potential popularity of certain UH events last year, and that these misjudgements help the staff work towards future improvement. I mentioned the numbers of empty seats even for popular events, and she said that they do try to target certain audiences by nationality or interest to fill up seats at some events (my partner had suggested that women trade unionists might have been given tickets for ‘Fire in My Mouth’)

Finally moving on to this year I followed up on the comment on Hugh Kerr’s EIF Launch article.  Why was the 3000-seat Playhouse being used instead of the 2000-seat Festival Theatre for ‘Orpheus’?  Apparently they “need the extra stage width” (“It’s only  just wider,” I said.)  Also ‘Orpheus’ is seen as an opera which should appeal to a new audience, because of its spectacular stage effects. The size of the theatre will provide an opportunity for a wide range of ticket prices.   I also expressed my concern that in the Playhouse, the only part of the theatre which has level access for those with mobility problems is Row M in the Circle, whereas in the Festival Theatre the Stalls are easily accessible.  She assured me that the Access team will make sure anyone who wants to attend will be helped to get there.  

When I passed on another query,  why is the Festival Theatre being used for the new Brian Cox play ‘Make it Happen’, I elicited some information I’d hoped for - the confirmation that this will be a performance with a large cast, like James Graham’s earlier plays which were performed on the big revolve stage in the Olivier Theatre. For that reason the Festival Theatre is the right place for it.

This year’s prices will be revealed shortly, with Friends booking taking place from tomorrow, depending on the level of membership, and public booking opening next Thursday 27th March. The promise to provide 50% of seats at £30 or less is still in place, including for all seats at the opening concert.  Otherwise, Kate Carter’s advice is to buy tickets as early as possible.

Many thanks to Kate Carter for giving up her time today to talk to the Edinburgh Music Review.  As ever your comments are welcome.

Photo credit: Eve McConnachie