Digital Disruption in Theatre PR: Peter Cromarty’s Innovations with e-Releases and Online Media

In theatre, timing is everything. A beat too late, and a line falls flat. A missed cue, and the rhythm breaks. In public relations, the timing might be different, but the pressure is the same. Information has to arrive quickly, clearly, and in a way that grabs attention. Long before most Broadway publicists had embraced digital tools, Peter Cromarty saw where things were going—and moved ahead of the curve.

As the president of Cromarty & Company, a long-standing theatrical publicity firm, Cromarty had already built a reputation for understanding how to position productions. Whether he was handling Broadway shows like “Victor/Victoria,” “Damn Yankees,” or “The Sound of Music,” or smaller Off-Broadway pieces, he always paid close attention to how stories traveled from the stage to the public.

But he also saw another stage rising: the internet. And while many in the theatrical world were slow to embrace online platforms, Cromarty leaned into them.

Cromarty & Co. became the first Broadway press agency to launch its own website, www.cromarty.com. It may seem standard now—almost unremarkable—but at the time, it was a significant shift. Most publicity firms relied on printed press kits, mailed headshots, and phone follow-ups. The website changed all of that. It created a place where journalists, producers, and fans could get access to show materials instantly, without waiting for a package to arrive in the mail.

But Cromarty didn’t stop with a website. He also developed and introduced something that came to define his firm’s digital strategy: the “e-Release.” This was more than just an emailed version of a press release. It was a full digital package that included thumbnail photos, clickable tabs, and hyperlinks to printable images and background materials. It was clean, organized, and efficient—a far cry from the crowded envelopes and photocopied press sheets that had dominated for decades.

Perhaps more importantly, the e-Release was built with intention. Cromarty didn’t just send PDFs; he designed the release to be navigated quickly and visually. He knew that editors, bloggers, and theatre writers often worked under pressure. By giving them everything in one place—show art, cast details, downloadable assets—he wasn’t just sending information. He was saving them time.

That small difference had a big impact. Media professionals could now write faster, with better materials. Shows got coverage sooner. And Cromarty’s clients—many of them working in highly competitive spaces—got the edge they needed. The firm became known not just for what it promoted, but for how it promoted it.

He even signature-marked the term “e-Release”—a subtle but clear sign that this wasn’t just a passing idea. It was a branded concept, something Cromarty believed in and wanted to develop further. In an industry often slow to adapt, that kind of forward thinking wasn’t just useful—it was rare.

The move toward digital didn’t mean Cromarty abandoned traditional methods. His work still included personal connections, industry experience, and a deep understanding of theatre. But by adding tech tools to the mix, he gave his clients more reach—and more relevance.

It also sent a message to the rest of the industry: that PR didn’t have to stay stuck in the past. That innovation had a place in theatre, even in areas that weren’t on stage. And that reaching an audience wasn’t just about posters and Playbills—it was about making sure the right person saw the right story at the right time. What’s striking is how early all of this happened. Cromarty’s digital work came well before social media became standard in PR, before online press kits were the norm, and before most theatrical agencies had any kind of web presence. His e-Releases were an early sign of the direction the industry would eventually take.

In that way, Cromarty wasn’t just responding to change—he was setting the stage for it.

Today, almost every show, agency, and actor has an online footprint. Websites are basic requirements. Press materials are shared via cloud links. And digital strategy is a standard part of every publicity campaign. But it’s worth remembering that someone had to do it first. Someone had to imagine that theatre publicity—rooted in tradition, timing, and craft—could benefit from a little code, a little screen, and a little rethinking.

That someone was Peter Cromarty.