The purpose and responsibilities of the publicity department.
<ul><li> 1. The Publicity Department Getting butts in seats! </li></ul>
<p> 2. The Publicity Department of a theatre is centered around the goal of promoting and marketing the theatres productions to the public. 3. Media Campaign 4. A press release is a statement prepared for distribution to the media that provides information that is useful, accurate, and interesting. 5. 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. 6. 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 theatres staff person who the press can contact for more infousually the Publicity Diretor). On left margin: FOR IMMEDIATE RELEASE in all caps (only if thats true). F O R M A T 7. 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 8. The One Sheet 9. A one-sheet is a single image that summarizes a product for publicity and sales 10. It is, in a sense, a visual press release 11. Most prominent is the image and the logo. 12. However, it may contain the producers, the author, the director, noteworthy cast members, the location, the time, how to get tickets, etc. 13. Programs 14. 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. 15. 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. 16. 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. 17. 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 Whos Who: brief biographies of the performers, artistic staff, and production team 18. Box Office 19. 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. 20. 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. 21. 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 arrivalfirst 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.). 22. 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 couponssometimes for day of show purchases only. 23. House Management 24. The House Manager is the overseer of what is commonly referred to as the Front of House staff: including ushers, concession-stand workers. 25. The house manager reports directly to the Publicity Director or the Producerdepending on the structure of the theatre. 26. 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. 27. 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. 28. Ushers . . . 29. Ushers . . . . . . are chiefly responsible for collecting tickets, providing patrons with programs, and showing them to their seats. 30. Ushers . . . . . . are also responsible for enforcing rules about cell phones, cameras, and general disruption during the performance. 31. 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. 32. 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 restroomsnothing personal). There should be no personal conversations going on between ushers in the presence of patrons. 33. F I N </p>