The Publicity Department
Getting 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
FORMAT 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).

• A catchy headline title (centered,
boldface).
FORMAT
• 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

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.

Many theatres offer
subscriptions, the
purchase of a series
of tickets to shows
within one season,
offered at a
discounted rate.

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