The Publicity Department

The Publicity DepartmentGetting butts in seats!

The Publicity Department of a

theatre is centered around

the goal of promoting and marketing the

theatre’s productions to

the public.

Media Campaign

A press release is a statement prepared for distribution to the media

that provides information that is useful, accurate, and interesting.

Paragraph One: What the press release is about, in brief detail. Paragraph Two: Explain in detail who cares; why you should care; where one can find it; when it will happen. Include a quote that gives the press release a personal touch/human interest Paragraph Three: Summation of the press release and further information on your company with contact information clearly spelled out.

• It should be written on the letterhead of the producing

theatre company. 

• At the top of the page: company name, web address, location address and phone

number. 

• Centered, at the top: “PRESS RELEASE” in all caps and

boldface type. 

• Name and contact information of the Press

Contact (the theatre’s staff person who the press can

contact for more info—usually the Publicity Diretor).

 • On left margin: “FOR

IMMEDIATE RELEASE” in all caps (only if that’s true).

F O R M A T

• A catchy headline title (centered, boldface).

 • Start with date and city

followed by an em-dash “—” 

• After the final paragraph type “###.” This should be

centered. (These three number signs indicates the end of the

press release.) 

• If the press release exceeds one page, write “Page Two” in the upper write hand corner of

the second page 

• 12pt Arial or Times New Roman only

 • Double Space

F O R M A T

The One

Sheet

A one-sheet is a single image that summarizes a product for publicity and sales

It is, in a sense, a

visual press release

Most prominent is the image and the logo.

However, it may contain the producers, the author, the director, noteworthy cast

members, the location, the time, how to get tickets, etc.

Programs

Often when you go to the theatre,

you receive a Playbill. Actually, what you receive

is called a program. Playbill is the name of a company that many (though

not all) theatres hire to create

their programs.

Typically, the cover of the program contains the image and logo from the one sheet. It may contain the name of the producing theatre, playwright, director, and/or performers.

The billings page identifies the

producing theatre, the producer, the headline performer(s), the title,

the writers and/or composers, the

director, the choreographer, the

primary performers, the designers, the

casting directors, the publicity director.

OTHER PAGES:

Cast Listing Page: usually listed in order of appearance; also lists the swings and

understudies 

Synopsis Page: contains an outline of the acts and scenes and their settings (time and

location) 

Staff Page: lists artistic staff and production team; this page often also includes

acknowledgements 

Who’s Who: brief biographies of the performers, artistic staff, and production team

Box Office

The box office is linked closely with the publicity department of a theatre, and in small theatres, the Publicity Director

is the Box Office Manager.

TICKETING BASICS 

• The object of all publicity is to increase ticket sales.

 • Tickets must be reasonably priced, easy to purchase, and

convenient to use. 

• Scaling the house: In establishing a price scale for tickets, note that it is best to have a full house with less

expensive seats than a half-full house with expensive seats. A

larger audience tends to improve the performance as well. The actors

respond to the energy of more bodies.

TICKETING BASICS 

• There are two types of ticket sales: reserved seating (specific seats in the theatre are purchased) and general admission (the ticket merely assures admission; audience members select

their own seats upon arrival—first come, first serve.)

 • Reserved seating often charges

different prices for different sections of the house.

 • Seating sections include: orchestra,

mezzanine, and balcony. Some theatres have multiple balconies. Often

seats on the house left side are numbered with odd numbers; house

right, even numbers; and house center, the hundreds (101, 102, etc.).

TICKETING BASICS 

• Comps: Usually theatres withhold a row or two of center orchestra seats for use by actors or staff (usually row J). “Comps” is short for complimentary. Contracts often

provide performers and staff with a limited number of “comps.” These seats, if unused, are usually released to the box

office on the day of the performance. 

• Student Rush: Some professional theatres offer special deals to students who wish to see a show. On the day of the show, they will sell very discounted tickets to students who have a current

student ID. 

• 2-fers: Often professional theatres will offer two for the price of one coupons—sometimes for day of show purchases

only.

House Management

The House Manager is the overseer of what is commonly

referred to as the Front of House staff: including ushers, concession-

stand workers.

The house manager reports directly to the Publicity

Director or the Producer—depending on the structure of

the theatre.

RESPONSIBILITIES OF THE HOUSE

MANAGER

• Ensure there are ample programs available for the

audience. 

• Ensure that the house is clean, safe and well-ventilated.

 • Supervise the

ushers.

RESPONSIBILITIES OF THE HOUSE MANAGER

 • Ensure the comfort of the

audience. 

• Resolve any seating conflicts.

 • Maintain an accounting for all ticket stubs (or scanned

tickets). 

• Inform the stage manager when the house is primarily settled and the performance

may begin.

• Signal the end of intermission.

Ushers . . .

Ushers . . .

. . . are chiefly responsible for collecting tickets, providing patrons with programs, and showing them to

their seats.

Ushers . . .

. . . are also responsible for enforcing rules about cell phones, cameras, and

general disruption during the performance.

ETIQUETTE FOR USHERS

• Typically ushers are expected to wear black pants, a white tuxedo

shirt (or dress shirt) with a black bowtie.

 • Ushers are expected to

politely and formally greet and make eye contact

with each patron. 

• Maintain a very formal disposition, countenance,

and body language.

ETIQUETTE FOR USHERS

• Conversations with patrons should be

minimal, professional and only on a limited set of

topics (seat locations, the duration of the show,

location of restrooms—nothing personal).

 • There should be no

personal conversations going on between ushers

in the presence of patrons.

F I N