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