Whether you're a new or established theatre company, actor, director, playwright, cabaret performer, composer, performance festival, nonprofit theatre group, or cultural center, there is one great equalizer: You all need press. Nowhere is this competition tighter than with Off-and Off-Off-Broadway shows where there can be 100 to 200 productions running at once, sometimes in the same venue on the same night. With so much information available for a prospective audience member to consider, it's getting harder for projects to be taken seriously if they can't be spotted at least somewhere on the information highway.
But this segment of the entertainment population that needs the most exposure often has the most limited budget. So how do you still keep in the running? Back Stage has gathered information and ideas from a rare breed of publicists based in New York, who make obtaining press and industry attention more affordable to producers of a wider range of projects and performance styles.
In order to better understand what you're paying for when you hire someone to do your publicity, our interviewees provided a general picture of what it takes for a producer to handle the press for his show on his own. Then we'll meet these publicists, find out whom they're working with and get tips for Back Stage readers. We'll also provide the publicists' individual contact information at the end of the article.
I Can Do That
If you were doing your own press in a "perfect world," the publicists interviewed for this article tell Back Stage, you'd have time and energy to wear all the other work hats you're responsible for and still be able to research what sources of information and reviews your prospective audience would see. You could buy press lists and labels from the Alliance of Resident Theatres/NY (A.R.T./NY), check what information sources are available at theatrical bookstores, and use the Ross Reports to mail your press releases and flyers to industry personnel. Books could teach you about press releases and making a press kit. Publications too, have a "masthead" page that lists contact names and addresses you can collect. You'd then write to these powers that be, listing your show's dates and times, and also writing about the history of the project, the performers, and what specifically makes your show worth seeing.
In this "perfect world" your press release would be read as soon as it arrives and immediately you'd be contacted with the news that someone was coming to see your show, instead of your having to call the recipient to follow up. This is especially important if you're only running for two weeks and would need reviewers to come on opening night in order for a review to run while the show is still open (some papers don't run reviews once shows have closed).
Then, the review would run as soon as it's written instead of being bumped and held a week or two, possibly getting cut in the shuffle. You would also get listed by the newspapers every week the show ran, with no errors needing to be corrected.
Why isn't getting press this easy? Just finding out the Listing Editors for each publication and mailing them your press release does not guarantee you'll get listed. Why? Even though Entertainment is a popular reader section, most publications still have limited space set aside for listings (short paragraphs or "blurbs" with performance location, time, price, and perhaps a line from that publication's reviewer). Publications, as well as charging their readers, also make money selling ad space (free papers' only source of revenue), so they have to be very guarded about the ever-shrinking space they'll give to be used for words and pictures instead of ads. Similar policies exist for other types of visual and audio media too. Space allotted can change weekly. There can be turnover as well in listings editors (so you're always having to keep track of who is there now, reintroduce your project and develop a relationship with that new editor or staffer). Our interviewees referred to this as "having to reinvent the wheel."
Some papers have a policy of rotating show listings to give more shows a chance, and yours could get lost. You must also make sure to get your information to listings editors in advance of publication. This is called "lead time" and can be different for every publication ranging from a week to a month in advance of your show for newspapers, with some magazines requiring your press release, three to six months ahead of the publication date.
Getting "picture placement" can also be very important. Pictures are often used to spotlight one or a few shows in the listing section, (in this case a picture really is worth a thousand words-imagine how much that space would cost you for an ad). You then have to have an interesting, in-focus photo provided in the correct size, and know each publication's requirements (is it snapshot, slide, disc, zip disc, vertical, horizontal, color, black and white)? Even high-budget projects are infamous for providing unprofessional looking shots that can make them seem less worthy of space consideration.
There may also be regular columns that write about multiple shows, where you'd like the columnist to give your production a "mention" (short paragraphs about the event, or about future projects, casting changes and news, etc.). You'd also try for a full-length review and sometimes a feature (can be a story about a performer in a show, a theatre in the neighborhood where the paper has its readership, community outreach/human interest, or some other news angle). You'll contact papers doing annual fall and spring previews and covering New York's diverse festivals.
Publications will occasionally do features grouping together a number of one-person or themed shows, women's projects during Women's History Month (March), gay pride-related projects, and those affecting Black and Latino as well as other ethnic communities. But it's important to note, having a lesbian, gay, or minority performer does not guarantee you'll get coverage in publications targeted to those readers. To obtain any form of press coverage anywhere, you must give editors, writers, or whoever is in charge, a good reason to consider your project. You must be able to express what makes you news.
Pressed For Time
So now you're keeping track of a lot of changing information on a number of publications' requirements (and what about TV/radio and the Internet), along with correct addresses, spellings, proper titles, and whether Leslie Smith is a Mr. or a Ms. You've developed quite a few ever-changing contacts, know if they will accept phone calls and will or won't go below or above 14th Street, and if they like to receive information via mail, e-mail (you of course have those addresses) or fax. You're meeting each publication's deadline and know when annual features start collecting data and what's planned for future issues in which your project might find a niche. You write interesting press releases, put together professional, exciting press kits, and have great pictures. You do cold calling and follow-ups, come up with reasons why your project should be considered, and find diverse outlets to pitch your project to. Finally you're keeping track of what publicity you do get, greeting press and industry contacts at the show or having someone in charge of making sure they are treated as VIPs, and then adding your new coverage to update your press kit and alerting all the contacts you've made. You can now begin to understand what you're buying from a publicist. Most are motivated to work very hard because they get 50% to 100% of their jobs from referrals and word of mouth.
Picture Perfect
Publicity is not an exact science. Even if you hire a well-respected publicist, there are still uncontrollable factors they're up against. How can you stack the deck in your favor? Jonathan Slaff of Jonathan Slaff & Associates sums up one of the biggest listing challenges publicists face, with "Summer turns me into a hero and April into a fool. April assassinates publicists." [One of the reasons for this caveat is that April was Passports to Off-Broadway month, a campaign which ran from 1993-99].
Part of what you get when hiring a publicist, is that it's their job not only to know your project, but to know when other projects are scheduled to open, so yours doesn't get lost. Slaff, who has been working in theatrical press since 1988, has found that editors and reviewers look for projects to cover during the slower months on the theatre calendar, including January and the dog days of summer-but try to steer clear of the dates used by the NYC Fringe Festival. He acts as an editorial press representative for professional theatre and dance companies, cultural institutions, fundraising and civic events. He is known for being one of the few publicity offices to have the edge of taking its own press photos (he has a personal collection of distinctive cameras). "People send out such bad photos. I can get a lot of my photos placed and that can get a project an early "buzz'."
He also believes the Internet has lots of potential for press. Gathering a few clients who made a small investment in a domain name, he created www.nytheatre-wire.com. Slaff observes, "There are no space restraints on the Internet and shows get reviewed much quicker than with print." His clients include Jean Cocteau Repertory and Theater for the New City. Slaff is one of the most active publicists in the specialty field of international cultural events. Since 1989, on behalf of La MaMa E.T.C. (Theater of the World) he has represented over 30 theatre and dance events from Eastern Europe and 40 from the Far East.
What draws this Yale and Columbia graduate who was originally a sports (horse and auto racing) publicist, as well as a television and commercial actor to his projects? "I wanted to work in high art and non-commercial theatre." Slaff stresses, "Artists come in and think they don't have the right to have their work understood, that they have to have a trick. It's not about press hooks. I commit to a play if I can understand their vision." He advises, "Not all shows are ready to hire a press agent. Find your audience or following first, before you develop your press audience. You can't buy The New York Times. If you are popular with your audience, the press will find you."
Rules Of The Road
Who governs publicists, their training, and what they decide to charge you? Just as with many areas of theatre, there are union (Association of Theatrical Press Agents and Managers, known as ATPAM) and non-union publicists. For a better understanding of the differences, we asked publicist Jim Baldassare, who as well as being an ATPAM member since 1983 is also currently on the union's Board of Governors. He has worked with many Broadway shows, theatre companies, and award-winning cabaret clients and clubs, including his newest client, New York City supper club and cabaret Arci's Place.
We found out that where an ATPAM publicist can work, is decided by venue. All Broadway houses have agreements with ATPAM, as do most theatres with over 99 seats. Cabaret and smaller theatres are areas not governed by ATPAM. Press offices in the ATPAM loop must have set contracts and fee minimums. Also once they are handling more than one show, they must hire on an ATPAM associate (that's a full union member not an apprentice) as well as any non-union assistants they may hire. As their office's show load increases they must continue to provide clients with trained ATPAM associates to cover the work (by the fourth show a second associate must get hired). This guarantees a client that staff has experience and fees are set uniformly.
The publicists we spoke to for this article primarily chose to stay out of the union loop, because they found press offices had few slots for new union apprentices available and an ATPAM publicist must be an apprentice for two years. Our interviewees also often started out with smaller-budget clients and then didn't want to have to set a union minimum client fee (set union fees have to include pension, welfare, and health benefits). Non-union publicist's fees are not governed by any set standard. Non-union doesn't have to mean untrained or untried, but there are no set guidelines. Since they work with their clients on an individual basis, there are no standard prices and the publicists interviewed preferred to hear about a show and its budget first, rather than giving set fees.
To give you some idea of the price range, a few offices started as low as $750 for an individual performer's campaign to get an agent or garner industry attention; $1,200 to $1,700 was the average starting price quoted for a short run project looking for press (up to four weeks); and there was a ceiling of $2,400 to $3,500. Fees didn't include expenses (postage, press kits, photos, paper, postcards, messengers, etc.). But producers with smaller budgets-don't despair! As you read our individual press profiles, you'll see a few of these publicists are willing to act as consultants on an hourly basis, break down their menu of publicity chores into separate components you can purchase, and other options for making affordable press more accessible.
Also, publicists will occasionally take on small, low-budget projects that excite them, if there's the possibility of greater success down the road.
Jim Baldassare has handled a diverse collection of projects since he first began working in press offices in 1979, including the Ensemble Studio Theatre, Willow Cabin Theatre Company, "Mandy Patinkin in Concert: Dress Casual," Craig Carnelia, and the Outer Critics Circle. So, we asked for his insight on ways of increasing your odds of getting coverage. Baldassare observes, "If you've got unknown actors, director, and playwright, there's only so far you can go. Try to get someone involved with a track record. Do a four-week run instead of two or three weeks. Make your run accessible to the press's schedule, by having opening night on a Monday." He also stresses, "Everyone gets in their mailbox boring, unprofessional looking postcards. If you choose one thing to work on, make yours the project with a more interesting postcard. Just aim for that and think how you'll stand out."
Putting It Together
One company offering hourly and weekly consulting rates as well as a full range of publicity for Off- and Off-Off-Broadway productions and career management for individual artists, is Brett Singer & Associates LLC. The company also designs websites and maintains several others, including www.offbway.com and www.offoffbway.com (this can be especially helpful to limited run shows that don't want to invest in their own domain name/website, but would like to be featured on someone else's). Singer has found that the Internet can generate ticket sales, and sites like Playbill Online will run photos. With a background in theatre office management and as a theatre treasurer, Singer has done press for his own theatre companies as well.
His client roster began when one cabaret show asked for his help, soon followed by the Womenkind Festival; and four years later he continues to get clients by such referrals. His current clients include SMALL POTATOES, Gorilla Repertory Theatre, Soho Rep, comedian Johnny Lampert, singer Connie Pachl, and director Clare Davidson. Singer's goal is to read scripts, but not put his personal tastes first or be a dramaturg. Instead he asks, "Will people like this and is there anything there for me to work with?" He's learned the important lesson that it's best not to use too many adjectives about a show, too much press release jargon, or say, "This is the best show ever." He suggests letting a project sell itself when there's already press available saying, "This is what has already been written about this project."
He also observes, "There are so many factors that have nothing to do with the publicist. It's very frustrating when a client got coverage in the summer, then expects to get the same coverage during the busiest time of the year. We also can't control no-shows or force people to come. What you can offer your clients is the relationships you've formed with the press; and the client's materials printed on your letterhead instead of theirs, which looks more professional and might provide a foot in the door."
Singer will sometimes do "piece work" at a reduced rate, allowing theatre companies to provide their own manpower to do their mailings and act as messengers, which saves money too. He also offers the service of writing letters for actors trying to get agents and for directors, etc., who are trying to generate future jobs and get the word out about what they do. He acknowledges, "Perhaps the hardest part of being an artist is knowing how to promote yourself." He suggests when looking for a publicist you make sure the person you're hiring-not just their assistant-will be available to take your call.
A Passion for Publicity
Handling all areas of English and Spanish market public relations, but standing out with a special affinity for developing campaigns that go to the heart of the Latino community, is Rice-Gonzalez Public Relations. Charles Rice-Gonzalez first worked in press for five years at Universal Pictures, then spent two years with Bronx Borough President Fernando Ferrer and three years with Repertorio Espanol before forming RGPR in 1997. From inclusive packages assembling an entire team with marketing plans, graphic design, etc., to being available to draft just a basic press release, Gonzalez's company stresses affordability. He also breaks down his fees into a schedule rather than expecting one full payment-certainly a good question to ask any of the publicists you are considering hiring.
Gonzalez points out that a publicist can help a group purchase better targeted mailing lists including donors lists and lists by individual zip codes; and they also know of groups willing to trade as well as sell their mailing lists. He sees himself as being hired to sell, not judge material and projects, but he looks for something interesting about the people, venue, or material, that will get him "hot about the show. One of the joys of going into this profession is that you can be passionate about your work."
He believes, "The most important thing to a young company should be the work they're creating, then when you can't do it all, that's the time to switch over to a publicist." His clients include: AT&T Latino Arts Festival, the rock band Desario, New York International Latino Film Festival, Hedda Lettuce at Carolines, and tour publicity for the Bill T. Jones/Arnie Zane Dance Company, plus many theatre projects.
Making Media Their Art
Publicity Outfitters was started in 1997 by roommates Timothy Haskell and Christopher Joy, who had in common an eagerness to make media their art and wanted to address the exciting challenge of creating something to talk about.
Haskell began his career working in an ATPAM public relations office and while he worked on Broadway shows, his real interest was in their occasional Off-Off-Broadway productions. Developing new and creative ideas to put smaller companies in the public eye he discovered "is where publicizing became fun."
Joy has a background in political campaigns and was assistant press secretary for John Rowland's 1994 gubernatorial campaign. He tells Back Stage, "Press for politics and entertainment are the same. Whether it's an audience or an electorate, you're still giving the people what they want." Both agree they've joined forces to "provide public relations in an aggressive and creative fashion, in an attempt to explore the limits of press opportunities. Representing smaller companies forces one to think of different ways to make journalists interested."
Haskell confides, "I get asked all the time by journalists if there's anything that's been written on a group other than materials a publicist or someone connected with the show has written." So what about the project that has no previous press? Publicity Outfitters will create an event or stunt to try to generate publicity. For example, for Dance Liberation Front, they organized a conga line down Avenue A.
Haskell and Joy's clients include the Surf Reality Comedy Festival, Burn Manhattan, Todo con NADA, and many theatre companies, as well as a number of websites, alternative magazines, and even The Chocolate Show at the Metropolitan Pavilion and the United States Postal Service's "Operation Santa Claus."
Tools of the Trade
Unanimously, our press interviewees good-naturedly commented that prospective clients all come in with unrealistic expectations. Even beginners with only a three-day run and no track record still expect a review in The New York Times, The Village Voice, Time Out/New York, and a guest shot on "The Rosie O'Donnell Show."
But there are no guarantees in publicity. Publicists need to hear from you as far in advance of your production as possible. We were told that three-months lead time was ideal, two months considered enough time to plan and then meet most deadlines, and four weeks was cutting it very close to still be able to get listings. Most publicists charge per project, not per month, so they won't charge extra for the advance time and would rather prepare leisurely instead of working under the gun. While they might still consider you as a client a month away, they'd be up-front about the limited success you might see. While some offices will work with newcomers, one-shot productions, and two-week runs (although most publicists say there's much more success in three- or four-week runs) the ideal clients are producers and performers with some experience, who are in it for the long haul.
All of these press reps expect beginners to act as professional as seasoned veterans and want to see a finished script, detailed synopsis, a mission statement when available, bios, and any photos or past press available.
Publicists aren't there to teach you how to do what they do. The worst problem they have repeatedly are clients who don't trust the job is getting done and call too often, or ask for constant follow up or why another group can get something they can't.
The Art Of Tenacity
Sometimes working on 65 shows a year, former actress Scotti Rhodes of Scotti Rhodes Publicity, first decided eight years ago to "invent a less conventional job for myself." As well as her own theatrical training from attending University of California, Berkley, she had the example of her mother, who has been doing international film publicity for Warner Brothers for over 20 years (recently receiving a lifetime achievement award in her field).
Rhodes chose her own different press path to make publicity more accessible and affordable, to work with well-trained, experienced actors she can be enthusiastic about, in a job that "requires imagination." Her initial publicity service was developed primarily for artists associated with the theatre and her promise was "to offer excellent exposure and opportunity in a highly competitive market." She devised as she puts it, "a unique system that encouraged the largest amount of industry professionals to attend my clients' shows." As her business and reputation grew, three years ago she broadened her business to include press representation for known and unknown actors, playwrights, and filmmakers, coordination of film screenings, and became the American representative for an accomplished modern dance company, Compagnia Vera Stasi. As well as scheduling industry to see shows, she also obtains feedback on the work, recording reactions in depth. "You have to be willing to do tenacious pursuit, to follow through, find out if they received information and if they'll attend." While she enjoys working with projects that will make use of her background in the classics (clients include 19 productions of Shakespeare) she also enjoys avant-garde theatre.
When passing on a project, her biggest red flags are shows in strange locales no one will be willing to come to, and shows that won't have a wide appeal. She ideally works with actors who have trained, but remains flexible and is also willing to work with performers new to New York or fresh from school, if she sees something there of importance that's promotable.
Her clients include Murray Schisgal for his production of "Slouching Towards the Millennium" at the 42nd Street Workshop, Allan Knee's "The Man Who Was Peter Pan," also at The Workshop; and garnering publicity for Dale Wasserman, creator of "Man Of La Mancha," who has also written the revised libretto for the Duke Ellington musical, "Beggar's Holiday," presented by The York Theatre Company.
Perma-Press
In the last year, Ron Lasko co-owner of Spin Cycle, a company devoted to public relations, marketing, special events, and production has made some exciting changes in his fee structure. He's now begun to work in a new way with companies, by taking a percentage of their ticket sales and becoming a producer as well as a publicist. "I wanted to have input in the marketing of shows and I've also found that clients now feel this will make me more motivated and that they'll be risking less." He's also willing-for a smaller fee than his usual rates-on a per-project basis, to send out a press release for a company that isn't also looking for a full time publicist who's going to pitch them. "I call it passive P.R.," he confides. "What you're really doing is buying my mailing list." He continues, "I'm known for doing edgy, experimental projects more than actor-driven work. I'm not as interested in the classics. I'll sit down and talk with people first because personality is important. While I'd like to work with projects that want to continue and grow, a great idea is a great idea so I'll also work with first-timers."
Lasko has a background in advertising and management. "It was a natural progression to move to publicity from there." Before starting his own company, he was at The Zeisler Group. Over the past seven years, Lasko has worked with Spalding Gray, Ann Bogart, Richard Foreman, Twyla Tharp, Sandra Bernhard, Eric Bogosian, John Leguizamo, Karen Finley, and his current clients include PS 122, The Present Company & Fringe NYC, Kiki & Herb, and "The Donkey Show: A Midsummer Night's Disco." Lasko also writes for NEXT magazine, which helps him meet new journalists and learn who else has projects coming up. He advises readers, "Press is a cumulative process, so it's important for a company to start with P.R. I want to be able to work with people, so I'm willing to grow with a company. But you have to learn how the process works. There are 350 theatres in Manhattan and maybe 75 get listed. Your show isn't the only show out there. The single most important thing to have is a great picture and remember it's a mistake to force a critic to come see you and risk a bad review."
The publicists we've spotlighted for this article are by no means all that New York has to offer. You can also look in show programs and ask companies or performers you admire for recommendations. If you're working with a publicist who is making their prices more accessible, make sure to write Back Stage and let us know about your discovery.
The following is a list of the publicists featured in this article.
Jim Baldassare
201 W. 70th St.
New York, NY 10023
(212) 362-3346
Rice-Gonzalez Public Relations
Charles Rice-Gonzalez
940 Garrison Avenue
Bronx, NY 10474
(718) 542-0267
Publicity Outfitters
Timothy Haskell/Christopher Joy
445 W. 45th St.
New York, NY 10019
(212) 307-1118
Scotti Rhodes Publicity
82 Washington Place, #5D
New York, NY 10011
(212) 260-8052
Brett Singer & Associates, LLC
1501 Broadway, Suite #1502
New York, NY 10036
(212) 575-0263
Jonathan Slaff & Associates
55 Perry St., # 1M
New York, NY 10014
(212) 924-0496
Spin Cycle
Ron Lasko
160 Allen St. #1
New York, NY 10002
(212) 505-1700
Pull quotes:
Even if you hire a well-respected publicist, there are still uncontrollable factors they're up against.
(from Amelia's body copy)
"Find your audience or following first, before you develop your press audience"
Jonathan Slaff,
Jonathan Slaff & Associates
"Make your run accessible to the press's schedule, by having opening night on a Monday."
Jim Baldassare,
Press agent
"When looking for a publicist, make sure the person you're hiring-not just their assistant-will be available to take your call."
Brett Singer,
Brett Singer & Associates LLC
"The most important thing to a young company should be the work they're creating, then when you can't do it all, that's the time to switch over to a publicist."
Charles Rice-Gonzalez,
Rice-Gonzalez Public Relations.
"The single most important thing to have is a great picture and remember it's a mistake to force a critic to come see you and risk a bad review."
Ron Lasko,
Spin Cycle