Navigating the Dynamic World of Theatre Marketing

Damian Bazadona: Tom, as someone who’s worked across different industries, what was your biggest surprise about the theatre world when you joined Situation?

Tom Fox: The pace of it, without a doubt. In most industries, you have the luxury of revisiting a campaign or adjusting over time. In theatre, there’s no buffer—if a seat isn’t sold for tonight’s performance, it’s gone forever. That immediacy makes everything we do has incredibly high-stakes, and it demands precision and adaptability. It’s also rewarding because you can see the direct impact of your work almost in real-time.

Sophie Mai: I completely agree. Coming from a media agency background, I was used to working on big brands where things moved fast, but not like this. Here, you’re managing ticket agents, repricing, analytics, and creative all at once. You have to juggle so much, and the learning curve is steep—but it’s also incredibly exciting.

Damian Bazadona: With digital media dominating so much of the landscape, what misconceptions do you think people have about its role in theatre marketing?

Tom Fox: One of the biggest misconceptions is that digital can completely replace traditional media. It can’t—at least not if you want a truly integrated campaign. Traditional media, like out-of-home or TV, still commands attention in a way that digital often struggles with. Digital is fantastic for precision targeting and follow-up, but there’s nothing like a bold outdoor campaign to catch someone’s eye on their commute. Both have their place, and they’re most powerful when used together.

Sophie Mai: Another misconception is that digital is always cheaper or easier. While it can be more targeted, the sheer volume of ads out there means it’s harder than ever to stand out. You’re constantly competing for attention, and even a well-targeted ad can get lost in the noise. People assume digital is a silver bullet, but it requires just as much thought and strategy as any traditional medium.

Damian Bazadona: The West End draws a significant tourist audience. How do you think about reaching people before they arrive versus once they’re here?

Tom Fox: It’s all about leveraging the tools at our disposal. Platforms like TripAdvisor and Google let us target people planning trips weeks or months in advance. Once they’re here, geo-targeting tools like Locala allow us to reach them in real time, whether they’re near the theatre district or visiting other attractions. Combining these approaches ensures we’re engaging tourists throughout their journey.

Sophie Mai: And it doesn’t stop there. Remarketing is a huge opportunity—whether it’s through email or social ads, we can continue the conversation after someone sees a show. Sending follow-up offers or loyalty incentives encourages repeat visits and builds a lasting relationship with the audience.

Damian Bazadona: Are there any particular metrics or measurements that you think are overrated or underrated?

Tom Fox: ROI is often treated as the be-all and end-all, but it doesn’t tell the whole story. A strong ROI might look great on paper, but if you’re underspending and missing out on potential revenue, that’s a problem. Metrics like engagement rates and intent signals—such as add-to-cart actions—are often more telling, especially in the early stages of a campaign.

Sophie Mai: I’d add that shares on social media are an underrated metric. A share shows that someone is not only engaged but also invested enough to pass the content along. That kind of organic reach can’t be bought, and it often leads to deeper conversations and connections.

Damian Bazadona: What excites you most about the future of theatre marketing?

Tom Fox: For me, it’s the potential of immersive technologies like AR and VR. Theatre is already such a deeply immersive experience, and these tools could take that to the next level—both in the advertising itself and in how people engage with the shows. Imagine being able to preview a show in augmented reality before buying a ticket. It’s a natural fit for the theatre world, and I’m excited to see where it goes.

Sophie Mai: I’m fascinated by how AI can personalize campaigns in real time. The idea of dynamically tailoring ads based on someone’s interests, location, or even the weather is incredibly exciting. It could make marketing feel more like a conversation and less like an intrusion, which I think audiences will really respond to.

Damian Bazadona: Lastly, what do you love most about working in theatre?

Tom Fox: It’s the sense of community. When you’re in a theatre, you’re sharing that space and energy with the performers and the audience around you. It’s an experience you can’t replicate anywhere else. Being part of the team that helps bring those moments to life is incredibly fulfilling.

Sophie Mai: I agree. Seeing the passion of the creative teams and producers inspires me every day. Working so closely with them, you want to fill those seats as you know how amazing the show is and the amount of work that goes on behind the scenes’. It’s fast-paced and challenging, but it’s also incredibly rewarding to know you’re part of something that brings so much joy to people.