Online presence & Outreach for collaboration

After the success of our first ZOOM iteration, we decided that it was the time to establish an online presence for CrushRoom. This would, firstly, define our goals and expectations for the company to the wider public, connect us with larger demographics (e.g. younger people and artists on instagram, industry professional on our website, and an older and socially diverse group on Facebook) and make our business accessible to consumers and those seeking information.

Our website ( serves as the core of our marketing campaign - explaining and convincing readers that CrushRoom offers a viable and appealing product i.e. our shows. It offers a description of CrushRoom artistic intentions and professional ambitions - what kind of import and influence did we want to have on the London theatre scene. In this, we also need to explain why we were a unique service, what separated us from our competitors in London. Firstly, our global background (members hailing from the UK, Denmark, Australia and the USA) - ‘We wish to blend and dive into each facet of the arts which excites and inspires us - creating new forms of theatre which pays homage to performers and creatives across the globe.’ Our dogma is also essentially pointed towards creating art in a pandemic ridden or post-pandemic world. This involves a new theory of care for the creative team and audience - once that adheres to social distancing guidelines and dramaturgical devices in-world which provides safety both in the fictional and actual reality. As we say on our website:  ‘Your comfortability is crucial to ensure that everyone is having a good time at a CrushRoom show. We welcome feedback about how to accommodate everyone's needs.’ Alongside this, there is company member information, ‘After the Flood’ promotion material, contact information, an in-world foundation stone (the first theatre company after the end of the world) and a stellar gallery. All these materials demonstrate our professionalism and legitimacy as a business.

Our instagram (@crushroomtheatre) was an incredibly viable marketing tool as, instead of offering finished products, it allowed insight into our production process, from rehearsals to scenographic design to writing sessions and more. After some audience research, we discovered that the majority of our audience demographic was ‘Experience Seekers,’ i.e. younger singles or couples with an interest in unconventional artistic forms (e.g. gig theatre), especially events which celebrate diverse social/cultural ideologies. They usually have disposable income and a high reliance on social media for event information. With Sarah acting as our social media coordinator (based on her experience as a social media officer in New York for a fashion brand -, we were able to accumulate over 100 followers in approximately 2 weeks. These followers included industry professionals (e.g. @blueembercollective), academics (e.g. @shaunaturgy), and potential collaborators from both the theatre and music industries. Utilising the hashtag forum, we were able to pop up and popular searches such as ‘fringe theatre ',’ ‘new writing’ and ‘experimental theatre’ giving us exposure to a wide demographic. This was effective as we had numerous messages requesting tickets for ‘After the Flood’ despite it being invitation only. Therefore, through stories and posts we were able to successfully convey CrushRoom’s style and aesthetic in an approachable and appealing way, enhancing the sociability which is so important to our creed. Our online presence becoming an effective marketing tool and injecting a sense of fun within our professionalism


Press release - Broadwayworld. com 

The full press release is available at: