[NoHo Arts District, CA] – This month’s Soaring Solo blog focuses on “Getting the Word Out About Your Solo Show: Hiring a Publicist.”

“Any press is good press.” -Vanna White

One of the biggest game changers in my career as a solo artist was when my producer decided to hire a publicist. This was back when I lived in New York City and I had the good fortune of working with the talented David Gibbs of Darr Publicity. 

David and his team worked tirelessly to raise awareness about my first solo show “Oblivious to Everyone” during my Off-Broadway run. David was able to use his professional relationships with various media outlets to elevate the presence of my solo show in the New York City theatre scene. This enabled me to get featured in radio, television and print. Fox 5 News even ran a story on me and my show!

Because of the exposure I received, I obtained enough assets to create a solid press kit.  My press kit enabled me to get the attention of casting directors, agents and managers who profited from my film and television pursuits. It also helped me competitively book my solo show at colleges and universities all over the country who compensated me generously for my time and talents. It also made it possible for my solo show to garner the attention of theatre festivals all over the world which led to an international tour.

Those incredible results caused me to become a big believer in the benefits that can come from bringing the right publicist onto your creative team.

With that in mind, for this month’s blog, I have caught up with three different publicists in Los Angeles who represented many of the Soaring Solo shows over the last decade or so. I asked each of them a few questions to help you decide if hiring a publicist is the right move for you and your solo show goals.

Without further ado, please meet Anita Lee, Phil Sokoloff and Bertha Rodriguez.

JESSICA: Thank you all so much for joining me today and being willing to answer a few questions about the world of Publicity, specifically for solo Sshows. Let’s start with the basics. How would you define what a publicist does? 

ANITA: Writes. For you, about you, with you. Collaborates with you to create your press release, then distributes it to their nurtured contact list of entertainment media, editors, journalists. A publicist is your liaison to the press and handles scheduling, interview and reservations with your box office. Your publicist understands the symbiotic relationship between PR & Marketing and makes sure you have all the elements you need to promote your show. A publicist communicates with the media about your show and encourages them to give you coverage.

PHIL:  I see my function as making the media aware of your show. I get you listed, interviewed, reviewed, and written about. I also post on social media.

BERTHA: A theater publicist plays a crucial role in promoting theater shows by conducting media outreach to critics, journalists, publications, podcasters, bloggers etc. They help create an overall PR campaign that should include a timeline to gradually build momentum and generate excitement for the theater production. The publicist tries to arrange interviews, and pitch stories about the production. They also craft press releases and media kits tailored to highlight the unique aspects of the show, the performer’s background and any notable achievements or awards. Additionally, they ensure the show is listed in relevant theater guides and online event calendars to increase visibility and attract potential audience members. 

JESSICA: That is A LOT of stuff! I admire how hard you all work and I have seen the fruits of those labors on the shows you’ve worked on within the Soaring Solo community over the years. So, how do you think a publicist can help a solo artist get the word out about their one-person play? 

ANITA: The basics are the same for getting the word out for almost everything. The 1.2.3’s. 

PHIL: The solo artist has a big job already: To give the best performance possible. The artist doesn’t have time to contact the media. The artist also doesn’t have the relationships that I’ve built over the years with certain media outlets and certain arts journalists.

BERTHA: Depending on the theme or content of the solo play, the publicist can help identify niche audiences or communities who might be particularly interested in the production and tailor outreach efforts to reach these groups. In addition, the publicist can suggest various ways the solo artist can promote their theater show which can involve a combination of traditional and digital marketing strategies to reach a diverse audience to new ideas that are completely out of the box. In addition, I encourage my clients to attend special events associated with the festival or event they are participating into network, meet other artists, and promote their show. 

JESSICA: I can definitely see all those benefits. So, what can a solo artist do to properly prepare themselves to work with you and get the most out of the experience? 

ANITA: Know your goals for the show? Now and beyond. Commit to it. Be honest with yourself about your budget and understand the value of delegating what you can afford and also become a fierce steward of your own work. Organize all the information, description, artwork, the what, where, when, who and how to buy tickets and have it ready to go. Know your audience. Be ready and willing to invite them. No publicist can guarantee coverage. Earned media is earned and while a publicist can tell your story, they don’t control it. 

PHIL: Have bios of themselves, their writer, and their director. I can use one good headshot, jpeg,  high-res and in color. About two weeks before your show goes up, I can use production stills (jpeg ONLY) of the artist as they appear in performance. I’ll also need the show’s poster graphic (jpeg again). I’ll need you to make yourself available for interviews.

BERTHA: If I’m going to promote their work effectively, I start by speaking with them to get an idea of the production, their goals and needs. I follow with a questionnaire based on our conversation. I request they provide detailed information about their show. They should have high-quality promotional materials ready to share, including production photos, graphics, videos, bios, and other relevant assets. The solo artist should have a clear understanding of their goals and objectives for their publicity needs. Some of the questions that I ask are, are they looking to increase visibility and if so by whom, attract larger theater or audience, secure reviews, or achieve specific milestones and so on. In addition, I feel collaboration is key to a successful publicity campaign, so the solo artist should be open to working closely with me and provide input and feedback in a timely manner throughout the process. This includes participating in interviews, attending events to help promote their show, and engaging with potential audiences. 

JESSICA: Ok, great. That really helps make the solo artist’s role in this tangible. Is there anything a solo artist should not do when working with a publicist?

ANITA: Avoid embellishing credits or claiming awards that don’t really exist. 

Don’t contact an editor or journalist that your publicist has contacted on your behalf.  Allow your publicist to act as your liaison.

PHIL: Do not contact a critic yourself. Nothing will piss off a critic more than bypassing your publicist and going to a critic directly. They hate it a lot. Don’t shoot yourself in the foot. Also, let me write the press release for your show. I’ve done it for 3000 shows and I know how. Your director should NOT be involved. Their job is to get you to give your best performance possible. That’s already a lot for them to accomplish.

BERTHA: Solo Artists should avoid micromanaging the publicity campaign and instead trust their publicist’s expertise. Patience and flexibility are essential, as publicity efforts may not yield immediate results. They need to understand that building visibility and momentum takes time. Also, neglecting to communicate in a timely manner and failing to respond to feedback can hinder the success of the project.

JESSICA:That all makes a lot of sense. Definitely good tips on what to avoid. Being that you all are such busy publicists, how do you determine which projects to work on?

ANITA: I’m a sucker for a good story and cause driven to a fault. 

PHIL: I’m pretty open to accepting most projects. One thing I ask new clients is: Who’s the audience for your show? If it takes longer than 15 seconds for the client to come up with an answer, it indicates to me that the project might not yet be ready for presentation. Why ask about an audience? Because somebody has to buy the tickets.

BERTHA: When deciding which projects to take on, I choose projects that align with my experience and skill set to ensure I can provide the best possible representation and results. I like to take projects that have a compelling story, strong creative vision, and the potential to resonate with the target audience. In addition, I consider the level of support the solo artist will need. 

JESSICA:  I already feel like from this handful of questions and answers, my readers will have so much substance to chew on. Really great input. Have I missed anything? Is there anything else you would like to share with my readers?

ANITA: Promoting artists and productions in Los Angeles for nineteen years has been the joy of my life. So much has changed in the way shows are covered, many publications and people  have moved on… it’s a more condensed lightning strike environment and the competition is real. Know your message, communicate well and know that what sets you apart is what connects you. Believe.

PHIL: Audience members are leaving their homes and spending $25 (or whatever you’re charging) with the expectation that you’re going to entertain them. It’s your responsibility as the artist to see to it that they get entertained. Remember, they could stay home and watch Netflix. They honor you with their presence. Honor them back by giving them a show that you would pay to see.

BERTHA: Regardless of whether the artist works with a publicist or does their own publicity, I strongly recommend they create a week-by-week timeline for themselves. This structured approach will facilitate timely completion of publicity tasks and enable them to gradually build momentum and generate excitement for their theater production leading to the first show. Moreover, it will alleviate feelings of being overwhelmed by the multitude of tasks required for the success of their production.

JESSICA: Wow. That was a truly awesome interview! I really appreciate all of those pearls of wisdom. If solo artists want to reach out to you about possibly working together on PR for their solo shows, what is the best way for them to get in touch with you?

ANITA: My website is anitaleepublicity.com and my email is anitaleepublicity@gmail.com

PHIL: They can contact me via email at showbizphil@gmail.com

BERTHA: Email me at bgrodrigueza@gmail.com or call/text to 415-225-5537

JESSICA: Great! I am sure you will be hearing from this community about their solo show press needs. Thank you again!

Well, solo artists, I hope you learned a lot from this month’s blog and I trust it will position you to decide if hiring a publicist is the right move for you at this time in your solo theatre career.

Please continue to persist along on your solo journey. It may not be easy, but it is so worth it!

Jessica Lynn Johnson
Founder & CEO of Soaring Solo LLC
SoaringSoloArtist@gmail.com
www.SoaringSoloStudios.com

Enjoy these Solo Theatre Resources to further guide you on your solo journey!

Tune in and Support the Soaring Solo Community as we share our stories from stage!

Award-winning director and veveloper Jessica Lynn Johnson hosts a slew of powerful solo show script readings and full staged productions addressing various impactful and inspiring topics.

This enticing lineup can be found by CLICKING HERE FOR MORE INFO.

Start writing your own Solo Show one Freewrite at a time with “FREEWrite Friday”!

Join BEST NATIONAL SOLO ARTIST WINNER Jessica Lynn Johnson for FREEWrite Friday!

Utilizing thought-provoking writing prompts, Jessica will lead you in writing exercises that are sure to assist you in the development of your solo show.

A one-person play is not typically written in one fell swoop. Rather, the Soaring Solo Methodology teaches that the creation of solo art is much like that of creating a Mosaic…one beautiful piece at a time.

All that is required to attend this inspiring event is a willingness to explore, having a pen, paper, or some other means of capturing your thoughts, the ability to access Zoom, and signing up on this page as your official RSVP.

We look forward to having you join the Soaring Solo Community in this event because your story matters!

CLICK HERE TO RSVP and obtain the Zoom link and password.

Attend the Soaring Solo FREE One-Person Play Development class ONLINE!

No matter where you are in the creation of your solo show, idea phase, curiosity phase, full draft written, touring the festival and college market,BEST NATIONAL SOLO ARTIST & Founder of Soaring Solo, Jessica Lynn Johnson, will meet you where you are at and take you to the next level! All that is required to attend is a willingness to explore, a pen, and some paper. No previous writing or performance experience necessary, and no need to have written anything to bring to class. Each week Jessica will guide you in exercises to help generate and stage NEW material! So come and meet other creatives in a supportive space for expression and exploration! The class is ongoing and so you may pop in and out as you please as long as you RSVP by clicking here for this FREE ONE PERSON PLAY CLASS.

Schedule an Online Coaching Consultation with Jessica Lynn Johnson to discuss the possibilities for your solo show!

Jessica brings her 15+ years of solo theatre expertise to work privately with solo artists from all over the world on an as needed basis.

A 1 on 1 Consultation is for you if…

-You are curious about creating a solo show, but you need writing prompts to help you generate material.

– You are tossing around ideas for your solo show, but you need some accountability and encouragement to commit those ideas to the page.

-You have already written some material, but you need expert feedback on editing, story structure and play formatting.

-You have a great first draft, but need guidance on how to utilize multimedia and solo theatre technique in order to make your show a dynamic piece of solo theatre.

-You already premiered your solo show and now you want some tips on how to tour colleges and festivals, and garner accolades and great reviews!

-You have heard great things about Jessica’s work and you’re curious about hiring her as a Director & Developer for your solo show, but first you want to feel her out and see if she is the right fit for you and your project.

Wherever you may find yourself on your solo journey, Jessica will help you overcome whatever immediate obstacle stands between you and your solo success.  

If you resonate with many of the things on this list, then take the next step by emailing SoaringSoloArtist@gmail.com for more information.