Victor/Victoria and Beyond: Iconic Productions Championed by Peter Cromarty

In the world of theatre, it’s easy to focus on the names above the title—the stars, the directors, the playwrights. But behind every production that captures attention and fills seats, there are individuals quietly working to ensure that the show is not only seen but seen in the right light. For more than 30 years, Peter Cromarty has been one of those people, helping shape the public image of some of Broadway’s most memorable productions through his work at Cromarty & Company.

While Cromarty’s background includes early acting and theatre management, it was in the realm of public relations that he found his long-term role—serving as a bridge between the stage and the public. His firm’s client list reads like a selective timeline of Broadway history. These weren’t just shows—they were major cultural moments, each with its own mix of glamour, nostalgia, and artistic ambition.

Take Victor/Victoria, for instance. The show, which starred Julie Andrews, was a high-profile musical revival based on the 1982 film. It wasn’t just a production; it was an event. Later iterations of the show featured none other than Liza Minnelli and Raquel Welch, each bringing their own star power and audience draw. Cromarty & Co. didn’t just promote the show—they helped manage the narrative around these transitions, giving each version its own momentum while maintaining the show's brand.

Another standout was Damn Yankees, which featured the legendary comedian Jerry Lewis in the lead role. Lewis wasn’t just a casting choice—he was a headline. The show needed a careful PR strategy that balanced the nostalgia of the original production with the comedy legacy Lewis brought to the role. Cromarty & Co. handled the task with precision, making sure the buzz supported the production’s creative goals.

Then there’s Annie, a show already beloved by audiences for decades. But Cromarty’s involvement came during a special moment: the 20th Anniversary production, which starred Nell Carter. Revivals like this come with both opportunity and risk. How do you bring something back without making it feel dated? How do you invite new audiences while honoring longtime fans? The work Cromarty did here—though behind the scenes—was about finding that balance.

His firm’s Broadway portfolio also includes The Sound of Music, Swing, Busker Alley, On the Waterfront, Say Goodnight Gracie, and Liza's at the Palace. Each one posed its own unique challenges and demands. Some were revivals of classic shows. Others were new stories or tributes to iconic performers. In every case, Cromarty’s approach was about clarity, consistency, and alignment with the production’s tone and identity.

But it wasn’t just Broadway where Cromarty made his mark. National tours became a major part of the firm’s work. Productions like Fame, Picasso at the Lapin Agile, and Joseph and the Amazing Technicolor Dreamcoat (starring the Osmonds) took their stories on the road, reaching audiences well beyond New York. These tours needed flexible, locally tailored PR campaigns—something that Cromarty & Co. developed to help each show build its presence from city to city.

Some Like It Hot, starring Tony Curtis, was another touring success. The production had to carry the weight of a beloved film while offering a fresh stage experience. Cromarty’s job, in essence, was to make sure audiences saw both the legacy and the promise.

One theme that runs through all these projects is range. Cromarty didn’t specialize in a single kind of theatre. He worked across genres—from family-friendly musicals to one-person biographical dramas, from golden-age revivals to contemporary experiments. This variety required more than good instincts; it required an ability to listen closely to what each production wanted to be, and then help that vision connect with an audience.

It’s easy to overlook the role of public relations in theatre. The work is often quiet, even invisible. But without it, productions can fall flat—not because the performances are weak, but because the right people never knew when or why to buy a ticket. Cromarty & Company stepped into that gap. And over the years, they didn’t just promote shows; they helped shape how those shows were remembered.

The job wasn’t about selling a product. It was about translating a story from the language of theatre into the language of public conversation. Cromarty did that not with hype, but with understanding—of the productions, the performers, and the people who fill the seats.

So, while actors took their bows and directors earned their ovations, there was someone like Peter Cromarty a few steps offstage, quietly ensuring that each show had a spotlight before the curtain ever rose. From Victor/Victoria to Liza's at the Palace, his work helped shape the cultural imprint of some of Broadway’s most beloved productions.