In Moscow, theater promotion boils down to the same set: you need to cram as many media outlets as possible into partners, so that these media outlets make announcements that no one reads, but the work is GREAT, huge media outlets as PARTNERS.

After that, you need to endlessly run contests, no matter with whom, no matter where. This is for reach and reputation. I looked at the reach data of contest posts for one project, it turned out to be about 20,000 people per month. Two departments worked for a month.

You also need to give away tickets to everyone who asks, because that will also give reach.

In one of our current projects, I made a tough decision.

No useless contests and everything that cannot clearly and in numbers answer the question "What will this give the project?".

No abstract reach. If a partner cannot clearly state the average reach, they are lying.

No long negotiations about unclear things that end with us owing something, while they owe us nothing.

In general, to hell with all the askers and demanders, of which there are many in a children's theatrical project. No more wagonloads of tickets for charity, only targeted special projects with verified charitable foundations and clear PR support for these activities.

There's a crisis outside. No more idiotic theater PR for show at the cost of large batches of tickets. It's harmful, ugh, drop that crap.

Sell tickets.