Whether for a rock concert, a dance performance or a violin recital, everyone has spent time at a box-office window, hoping to score a great ticket.

At the Mondavi Center for the Performing Arts in Davis, the box office is a combination of information booth, ticket concierge and 24-hour online order taker.

The Mondavi sells more than 80,000 tickets each season. Box-office manager Sarah Herrera, who oversees a staff of four full-timers and 15 to 20 part-time workers, makes it all run smoothly.

What's the most difficult thing about the job?

Ensuring that all patrons are happy with their seats when a sale transaction is complete. There are 1,801 seats in Jackson Hall, and everyone has their own perception of what's considered the "best seat in the house."

Biggest misconception?

That we're here with a stack of tickets. I would say that what we do is a lot more complicated than that. Managing seat inventory – that's a huge, huge customer-service job, as is answering phones and providing information to everyone on campus.

Another misconception is that it's slow here in the summer because it looks like nothing is happening on campus. But the reality is we're busiest during the summer filling season-ticket orders.

What are the challenges?

That "excellent seats" means something different to almost every patron. One example occurred recently when I put a patron in my favorite seats on the main floor because they fit within the parameters of her request for seats.

I was surprised when she contacted me to say she was not pleased with her new seating location. I was able to make changes to her seating to ensure she will have a great experience for her requested events.

So, it seems as if patrons sometimes misjudge the quality of tickets they're offered?

When you look at a seating map online, a seat like orchestra row N seems really far back. But when you get inside the hall, you notice it's really not that far back at all.

That's why I encourage people to talk with the supervisor at the ticket office. Once I've had a conversation with them, they realize that what's being offered is actually a pretty good seat.

Any advice to a ticket buyer?

We have a very loyal season-ticket base, and they buy tickets far in advance. So for anyone buying a single ticket, I'd say that great seats always become available because of our ticket- exchange policy.

What's your exchange policy?

We're very flexible in our exchange policy in that you can exchange a ticket for any performance. We give you all the way up to the day of performance to make the exchange. And if there is something that maybe you can't think of seeing at the time, you can leave that credit in the account ... as long as you exchange it for something in the current year.

What's a good seat for a modern dance performance?

The higher in the hall, the better. I like the front row of the Grand Tier. I also like the Upper Tier, where you get an aerial view of the stage (and) where you can see the whole dance movement. If you sit too close, the view of dancers' feet gets cut off.

How about chamber music?

For that I would go with the Orchestra Terrace. And also some of the seats that are far left and right on the main floor. They may look like they're far to the sides, but in our hall, they're actually pretty great seats. Unfortunately, when people are offered those, they're hesitant to purchase them.

Call arts critic Edward Ortiz, (916) 321-1071.