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David Gibbs of DARR Publicity has been a theater publicist in New York City for the past four years. He is the publicist for the critically acclaimed one-woman show Cirque Jacqueline: Behind The Façade of Jackie O, which has been playing in NYC and throughout the country for the last two years. He has handled publicity for the new Theater Row Theaters, Rude Mechanicals Theater Company, The Flea Theater, White Horse Theater Company, The Cocteau Club at The Jean Cocteau Rep, Bank Street Theater, TKO Entertainment, Double Helix Theater Company, Queens Theater In The Park, Crossroads Theater, One Little Goat Theater Company, The People's Theater, Titans Theater Company, The Corcoran Gallery of Art in Washington, DC and the highly acclaimed one-man show Mercury: The Afterlife and Times of a Rock God, about Freddie Mercury. He is also the personal publicist for Andrea Reese, star and creator of Cirque Jacqueline. Contact: 212-502-0845. http://www.darrpublicity.com David has also worked as an actor over the last seven years performing on stage, in film and on TV. He had a supporting role in Gasline, which won the Sundance Film Festival Jury Prize as a short. He has appeared on One Life To Live in a recurring role and performed at The Flea Theater in three shows directed by Jim Simpson. He performed in the lead role in Michael Murphy's The Uninvited Guest at The Mint Theater and as Paul Westerberg in Paul Westerberg at Soho Rep under the direction of Carl Forsman. He worked with Israel Horovitz on The Widow's Blind Date. As a professional drummer, David worked with The Rembrandts and with members of both Guns N' Roses and The Matthew Sweet Band.

How did you become involved with PR, and what do you love about it?

I originally became involved with PR years ago when I played in rock’n’roll bands as a drummer and was the band member who would send out the press releases and get us gigs, radio appearances, and magazine and newspaper articles. Handling PR has always been something I’ve enjoyed and gotten a kick out of. I became involved with PR in the theater world after being fortunate enough to have a very successful first job handling PR for the one-woman play about Jackie O., Cirque Jacqueline. Following that first job, a lot of people became interested in having me represent their shows.

I basically love the process of PR. It is a lot of fun for me. Every show is totally new and interesting. I really enjoy going to shows and greeting press, the communication with people in the media, collaborating with others on finding the show’s hook, and most of all, making clients happy by getting them in newspapers and magazines, and on the radio, TV, and internet.

What is your job description as a PR agent?

It is my job to get articles and reviews written on my clients along with getting them listed in every place possible. Also, I’ll contact media at radio, TV and Internet sites.

What’s the difference between PR and Advertising?

It costs a lot of money to place ads, but if someone writes an article about you, it’s free publicity. Everyone is always looking for something interesting to write about and it’s my job to convince them to cover your project. Also, PR is more valuable because someone is writing about you as opposed to advertising, which you are paying for, and everyone knows that. That’s what makes PR special. It means the press has shown an interest in your project, which makes people take notice.

Why is it important for actors and/or shows to use PR?

PR builds the credibility of a theater group or actor. The more people read about your good work the more likely you will be hired for better projects and the more likely your career will progress.

Can you describe the process you go through when working with a client to promote a show?

We’ll start off with a meeting where a client will bring me all past press history. I will use the best quotes and resources from that to promote the new show. At the first meeting we’ll also go over basic elements of the play and company to make sure we cover everything in the press release. We will collaborate and find the best hook for the show. I also hire writers to put together a first draft of a press release. From there, I’ll edit along with another editor I like and we’ll get it all together for the client to have a second look before sending out the press release. I then follow-up with phone calls, emails and faxes doing my best to get as many press people interested in the project as possible. I also take a long look at the many angles we can use to obtain maximum publicity. If you’re creative, you will be able to come up with interesting angles and pitches, which will lead to more PR for the client.

What are the most important tools used for promotion, and how can actors insure that their promotional tools look professional?

I think a great tool that an actor can use is an impressive press review from a show that they were in. Also, these days, a short but slick DVD or vhs of your work. Keep it clear, easy to use or read and always spell check and proof your text.

What is a “press kit”, what should it look like, and what should be included in it?

A press kit is basically a folder that contains information on the show. It should be neat and clean, have a concise and informative press release and any articles or reviews on the show or company. It could also contain some articles or reviews on a past show that the company produced although the emphasis should be on the new project. Headshots can be included but they are generally not necessary. For a one-person show, you might want to include a headshot. If you’re putting together “industry” packets for agents and casting directors you would definitely include a headshot of every actor in the play.

Is an Electronic Press Kit important? If so, what should it include?

I don’t use electronic press kits. I use email to send clients press releases and photos and that seems to be all they need. If they ask for more information, we’ll then messenger a press kit to them.

How early should an actor or a theater company begin promoting an upcoming show?

The majority of the promoting will happen 2 months in advance right till opening night. As a publicist, I know the best way to reach each individual press person, whether by hard copy, email, or fax. However, if a publicist has contacts at monthly magazines, promoting a show could start as early as 4 or 5 months before opening. Monthly magazines sometimes have four month lead times. So plan early and give yourself the maximum opportunity for exposure.

Getting quotes and reviews seems essential to promoting a show and ones’ self as an actor. What’s the best way to get a show reviewed by New York Press?

First off, and this is most important, find a press rep that you really trust. I’ve been on both sides coming from an acting background. Honestly, I think a lot of PR firms take on too many clients. I try to keep it at around two a month. It’s impossible for a PR firm to properly push your show if they’re pushing seven others at the same time. You will get cheated out of press. That’s the bottom line. The press rep should be in love with the show. Then they’ll really fight for you and do their best. A good press rep knows which people in the media will be excited by the type of show you are presenting.

Also, try to run a show when it might be quiet on Broadway or Off-Broadway. This is becoming harder to predict with shows opening at many different times of the year. In general, opening in January and during the summertime will probably yield the best press opportunities for a new company. But again, there are no set rules and if you’ve got a really interesting show there’s no telling who’ll show up, including The New York Times.

What is the most effective way to get “industry” (agents, casting directors, etc) to come see your show?

This one is a puzzle to me. You would think that even with great press they’d come to a show but it’s not always the case. I believe a show with a large cast gives you the best chance. I worked with a client who had great press across the board with The NY Times, The New Yorker, Time Out NY, Village Voice, NY Post, etc. and still found it difficult to get casting directors and agents to come. I just didn’t get it.

Also, I worked with an actor who had a lead in a play at The Flea Theater that had raves in The NY Times, Village Voice, etc. and he still couldn’t get an agent to come and see him. I think he had invited about one hundred agents and no one came, and he was getting raves in the most prestigious newspapers. Explain that one to me. He was eventually cast in a movie with Harrison Ford through a smart casting director who made it down to the show.

My two cents - be your own agent. Invite casting directors. They are more valuable to you. They can cast you in roles. Agents can only get you auditions that you can sometimes get on your own. Use every source possible to find audition listings.

Mailing and handing out fliers and postcards is a common way to promote a show. Is this effective in bringing in an audience?

Somewhat. I think it can help. They are necessary because it’s unprofessional to not have them. But unless someone knows you or makes a solid connection, what is the likelihood that they’ll actually show up? Don’t spend too much on them. Get a low amount like one thousand if possible. Unless you plan on extending the show of course. I recommend 4over4.com for the best quality postcards and service.

[ActorsLife.com is not affiliated with 4over4.com]

Is it welcome or frowned upon to call media and industry on the phone to let them know about your show? Is there a certain protocol for making phone contacts?

I think it’s fine to call as a follow-up to a mailing you did for a show. Just be concise, clear and professional. Don’t take a short phone call personally. They are just probably very busy. The more and more you talk to someone the more you will get to know them and in turn they’ll give you more time. I feel the key to getting them to respond is the importance of contacting them with only the highest level of projects. If it isn’t going to be great, I wouldn’t even approach them. Send too many clunkers their way and they won’t take the call.

Are there common mistakes you see actors make when promoting themselves or their shows?

Be honest about the level and professionalism of everyone involved. Don’t invite industry to something you think might not be high level. It has to be great or they will remember wasting their time at a bad show. It’s harsh, but I feel that’s the truth. Also, don’t be too pushy. People get it, and will come if they have the time providing you are presenting them with something worthwhile.

Can you offer any creative ideas for self-promotion that actors overlook?

Find something unique about yourself or a show that you’re involved with. I once bought this goofy wig and had a photographer take pictures of me with it and created an alter ego with a different name. I use that photo to go after roles that I normally wouldn’t get to play. Why not. Also, everyone’s doing it these days, but creating your own one-person show is a great way to go. Nothing satisfies the ego more than that.

I think it’s important for actors to empower themselves. Create a one-person show. Start a theater company. Write a play. Make your own movie. Create your own buzz. Utilize your additional skills to further your career. Don’t wait for anyone to give you a handout. Unless, of course, your father is Dustin Hoffman. Have a sense of humor about this business. It’s crazy, but don’t let it get you crazy.

Contact David Gibbs of DARR Publicity by calling 212-502-0845 or email him at
david (at) darrpublicity dot com
Check out his PR work with a few of his clients at:
http://www.jackieoshow.com/
http://www.whitehorsetheater.com/press.htm
http://www.nahproductions.com/mercury.html

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