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Theatre and performing arts companies · CRM

Keep audiences, schools and sponsors in one list so no relationship fades.

A CRM for a theatre company is a simple record of everyone the company deals with: past ticket buyers who agreed to hear from it, schools, corporate contacts, sponsors and venues. GullySales works on the fields, the stages and the reminders.

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Scope, fee, reporting and term are agreed in writing after we have read your brief and spoken to you.

A venue manager and musician reviewing a running order beside stage equipment

What CRM means

A CRM is the record where every enquiry, call and quote is kept against a customer, replacing separate notebooks, spreadsheets and memory. GullySales sets up or cleans an existing CRM and reports from it by enquiry outcome rather than by activity logged.

Also for theatre and performing arts companies

Sales and marketing for theatre and performing arts companies, the overview.

Last updated 22 Oct 2026.

For theatre and performing arts companies

Where it usually goes wrong, and what we would do.

  • “The mailing list is the company's memory”

    A list from five years ago with no record of who agreed or who still reads is a liability. A clean list with consent notes, sources and interests is an asset.

  • “A sponsor relationship runs across several conversations”

    A sponsor who gave support for one production may support the next if the company keeps in touch. A record of what was agreed, delivered and thanked makes the second ask easy.

  • “Schools book on a cycle”

    A school that held a workshop last year plans its calendar months ahead. A note of when it booked and who made the decision tells the company when to write.

  • “Venue managers need an organised file”

    A hall manager deciding on dates remembers the company that sends a profile, a technical rider and a clear request. A record of each venue's needs speeds this up.

What we do

What we deliver for theatre and performing arts companies.

Every deliverable, what it covers for you, and the result it is there to produce. Nothing here is an extra.

  1. A contact record for each audience type

    Fields for ticket buyers, educators, corporate contacts, sponsors and venues.

    Result: Each relationship has a place in the list.

  2. A pipeline for institutional bookings

    Stages from first message to proposal, confirmed date, delivered and thanked.

    Result: The company can see which bookings are moving.

  3. A consent record for the audience list

    Source, date and wording of consent for every person on a mailing or broadcast list.

    Result: The company contacts only those who agreed.

  4. Reminders for renewals

    Dated prompts to write to past schools and sponsors before their next planning cycle.

    Result: Past partners hear from the company in good time.

  5. A sponsor delivery log

    A record of what each sponsor was promised and what was delivered.

    Result: The company can show a sponsor the credit it received.

How the result is measured

  • Enquiries logged in the CRM
  • Data completeness
  • Reports generated from CRM data

Recorded as a baseline before work starts, so every later report has an honest comparison.

Read the full CRM implementation and customisation page

Fields worth keeping

The fields a company keeps on each audience member, school and sponsor.

Consent to be written to
Filled in by whoever takes the booking or the sign-up. It lets the company message the person about the next show and shows when and how they agreed.
Shows attended and language preferred
Filled in from the booking list. It lets the producer invite a Hindi-theatre regular to the next Hindi play and not to every announcement.
Institution and decision-maker
For a school or office: the name, role and who approves the booking. Filled in by the producer after the first call, it lets the next message reach the right person.
Workshop or performance date and renewal point
The date a school last booked a workshop and when its next term or annual day falls. It lets the producer write before the school has booked someone else.
Sponsor deliverables promised and delivered
Each credit, logo placement or mention agreed, with a tick when it was done. The sponsor liaison fills it in, and it is the basis of the report the sponsor receives.

Who it is for

This is written for these theatre and performing arts companies.

  • Kannada, Hindi, Marathi, Tamil and English theatre groups
  • Dance companies for Bharatanatyam, Kathak and contemporary work
  • Children's theatre and storytelling groups
  • Musical theatre and stage show producers
  • Street theatre and social-message theatre groups
  • Opera, western classical and choir ensembles
  • Theatre-in-education companies working with schools
  • Corporate theatre and training drama troupes

Not for

It is not the right fit if.

  • The mailing list sits in the producer's own phone and the company has no agreed owner for it, so a shared system would be empty from the first day.
  • You have not got consent from the people on your list, and loading them into a system does not fix that.

How it works

How the CRM work runs

The work itself, in order. How an engagement starts, from your brief to a written scope, is set out on our method page.

  1. 1

    Map the sales process

    We sit with the people who sell and write down how a deal moves from enquiry to payment, including where it stalls.

  2. 2

    Agree stages, fields and owners

    Each stage gets a name your team already uses and a proof that the deal has left it. We agree which fields are required at which stage, and who may change what.

  3. 3

    Build on a copy

    Pipeline, fields and views are built on a trial copy where the CRM offers one, or in a separate pipeline where the plan allows. Live work stays untouched.

  4. 4

    Connect channels, then switch on automations

    Channels are connected first. Each automation is then switched on separately, so a misfiring rule is easy to find.

  5. 5

    Test with real deals

    The people who will use the CRM run open deals through it. Gaps are fixed before the whole team switches over.

  6. 6

    Switch over and trim

    Once real use shows which fields stay empty and which stages nobody uses, those are cut and the handover record is updated.

Where this fits

Three pieces of sales work, in this order.

This work sits inside sales management. A target, a review routine and someone who owns the number.

  1. Step 1

    Sales audit

    Find where deals are being lost and what to fix first.

    Start here if you cannot say where orders are lost.

  2. Step 2

    Sales process design

    One written way to sell, from first enquiry to repeat order.

    Start here if every salesperson sells differently.

  3. Step 3 · you are here

    Sales management

    A target, a review routine and someone who owns the number.

    Start here if the team has targets and no routine.

Tell us what you need Your brief is read before we call. Scope, fee and term in writing.

FAQ

Questions owners ask before they call.

Not here? More answers, or ask on WhatsApp.

Tell us what you need
Which tool should we use?
A shared spreadsheet is enough to begin, and a simple CRM tool in ordinary use in India can follow. The right tool is the one the producer will keep up to date.
Can we message everyone who bought a ticket?
Only those who agreed to hear from the company. A ticket purchase on a booking app does not give that consent. Ask clearly and let people leave the list.
Who should own the list?
One person, the producer or the audience-development lead. Others may add contacts, but one person keeps the list clean.
Can we keep patrons' personal details on a shared sheet?
Keep them where only the people who need them can open the file. A patron gave a phone number to book a seat, not to be passed round, so limit access and record who holds the list.
How much does it cost?
There is no price list, because the work differs by business. The fee is scoped after we have read your brief and spoken to you, and put in writing before anything starts, split into our time, your media spend and production.
How long is the contract?
The term is agreed in writing after we have spoken, along with the fee and the reporting. It is never a default twelve months, and renewal is decided on the numbers against the baseline recorded at the start.
How soon will we see results?
It depends on the trade, the channel and what is already in place. After we have read your brief and spoken to you, we say what we would expect to move first and how it will be measured against the baseline. Nothing here is guaranteed.
Who will actually do the work?
The person you speak to before anything starts. We work from one office in Nagarbhavi, Bengaluru, with no account managers in between.
What do you need from us?
Your brief, and a conversation. After that, access to whatever this work touches, such as your website, your accounts or your enquiry record, and time with the people who handle your enquiries.
What if we are not happy with the work?
Tell us and the plan changes. Everything is reported against the baseline, so a number that is not moving is visible to both sides. The term is in your written scope, and the refund and cancellation policy sets out the rest.

More for theatre and performing arts companies

Everything else we would do for you.

Closest to this: leads and follow-up

Also for theatre and performing arts companies

Or start from the overview: sales and marketing for theatre and performing arts companies.

Your next practical step

Tell us what you are trying to grow, and we will read it before we call.

Eight short steps, mostly taps. Skip anything you would rather answer on the call.

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