Cromarty’s Involvement with Theatre Associations and Guilds

Most people know Peter Cromarty as the president of Cromarty & Company, the public relations firm behind some of Broadway’s best-known productions. His work on shows like “Victor/Victoria,” “Annie,” and “The Sound of Music” has helped shape how audiences and critics alike discover and remember theatre. But beyond his success in PR campaigns and production promotion, Cromarty has spent a significant part of his career supporting the larger theatrical ecosystem—through service, leadership, and advocacy.

These contributions aren’t always visible to the public. They often happen in meetings, in committees, and during the planning of industry initiatives. But they are essential. They ensure that the theatre world stays connected, organized, and able to advocate for its own future. Cromarty didn’t just contribute his time to these efforts—he brought with him decades of insight and a deep respect for the art form.

One of the most formal roles Cromarty holds is as a member of ATPAM—the Association of Press Agents and Managers. ATPAM is a long-standing union that represents professionals working in press and theatre management. It’s a place where policy is shaped, professional standards are upheld, and labor concerns are addressed. By being part of ATPAM, Cromarty aligns himself with a tradition of advocacy that extends beyond individual productions. It speaks to his commitment to industry-wide health and equity, not just the success of his own firm.

Cromarty also took on a leadership position as the Vice President of Public Information for the New York City Opera Guild. This role placed him at the intersection of arts and communication for one of the city's major cultural organizations. As vice president, his job wasn’t just about generating media coverage—it was about managing public understanding and perception of the Opera Guild itself. That kind of work requires balance. It means knowing how to speak to donors, artists, and the general public—often all at once.

His involvement with the League of American Theatres and Producers adds another layer to his influence. Cromarty served on the Press Committee for the organization, which plays a major role in shaping the direction of Broadway and touring theatre across the United States. The Press Committee is more than just a collection of PR professionals—it’s a place where messaging, policy, and industry challenges are addressed with a long-term view.

Sitting on such a committee requires more than just knowledge of press strategies. It requires a working understanding of how the theatre business operates, what audiences respond to, and how the media landscape continues to evolve. Cromarty brought all of that with him and contributed to the League’s ability to adapt and grow.

But his engagement wasn’t limited to Broadway-focused institutions. He also contributed to broader cultural and community-based organizations like the Alliance of Resident Theaters/New York and the League of American Producers and Theatre Owners. These groups support smaller companies, independent producers, and resident theatres, helping to ensure that the arts remain accessible across a range of settings, not just the big-name stages.

Involvement with these organizations reflects a broader philosophy: that theatre is a shared responsibility. It isn’t just about putting on a great show. It’s about ensuring the infrastructure is in place to support it. That means strong unions, clear communication policies, ethical standards, and collaborative networks.

It’s easy to forget that every performance we enjoy depends on this kind of behind-the-scenes work. Someone has to advocate for funding. Someone has to clarify the rules around crediting artists. Someone has to handle communication when a show tours to ten cities in six weeks. Cromarty understood this, and his committee and leadership work show how much he valued the foundations that allow art to flourish.

There’s also a kind of humility in this kind of service. Unlike a major press campaign, this work doesn’t come with headlines or opening night applause. It comes with emails, negotiations, and slow, deliberate progress. But without it, the industry would be weaker, more divided, and less responsive to the needs of the people who make it all possible. Cromarty’s roles in these organizations show a willingness to think beyond the immediate, to consider not just how to help one show succeed, but how to help the field as a whole grow stronger. That’s the kind of leadership that sustains a career, not through spectacle, but through quiet, consistent support.

While Peter Cromarty’s name may be best known in playbills and press kits, part of his legacy lives in the policies and partnerships he helped shape across the theatre world. It’s a legacy that reminds us that great theatre doesn’t just come from a creative spark—it comes from shared structure, community trust, and mutual respect.