Services
Marketing for Theatres and Producers
Many cultural projects reach their audience with a small team, a tight budget and a campaign that starts too late. I work with theatres, producers and companies so that communication stops being a final layer and becomes part of how the project is conceived, presented and chosen.
Who I work with
Cultural teams that need strategy, not just execution
Theatres and venues
Year-round programming, loyal audiences and new ones still to win — with an in-house team that cannot always communicate everything with the consistency each opening deserves.
Producers and companies
Projects born without a permanent communications structure, needing a campaign able to match the artistic ambition, from announcement to final performance.
Festivals and cultural events
Demand concentrated into a few days, several programmes running at once and the need for clear choices about where to invest time and budget.
Municipal teams and institutions
Cultural services programming for entire territories, needing to read their audiences, their channels and the results of each campaign more closely.
What I do
From diagnosis to campaign
- 01
Campaign strategy
Defining what is truly being promised, to whom and why it should matter now — and turning that into a plan with priorities, a calendar and a budget.
- 02
Digital marketing and social media
Making content, paid advertising, box office and audience behaviour stop being parallel areas and start informing one another.
- 03
Box office, data and ROAS
Reading the numbers behind each campaign — spend, cost per ticket, occupancy, break-even — so decisions rest on evidence, not intuition alone.
- 04
Audience development
Building relationships that outlast each production: those who already come, those who do not yet, and what each group needs to hear in order to return.
- 05
Creative direction and content
Building a language able to recognise the project's artistic identity while making it legible and desirable to those outside it.
- 06
Consultancy and ongoing support
Helping cultural teams think before they execute, and build learning that does not vanish at the end of each production.
How I work
Three stages, one continuous learning
01
Diagnosis
Before proposing anything, it is essential to understand the project, the context, the audiences and what the data already reveals — including what internal enthusiasm cannot always see.
02
Strategy
An organising idea, clear choices of channels and messages, and a realistic plan for the team and budget that exist — not for the ideal ones.
03
Support
The campaign is read as it unfolds: what works is reinforced, what does not is corrected, and in the end a record remains of what was learned for the next production.
In a real context
A Theatre as a laboratory
Teatro Politeama has been my main professional laboratory: it is where I test, every day, the relationship between artistic decision, communication and box office. The projects I have worked on — from Mil Vezes Revista to Carmen Miranda, the Musical and FÁTIMA Rock Opera — show how this way of working translates into concrete campaigns.
View work →For a first reading of a campaign's numbers, the Box Office Simulator lets you explore ROAS, advertising break-even and occupancy scenarios — free of charge.
Try the Box Office Simulator →