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The Broadway PR landscape is getting a major shake-up.
O&M Co.’s Rick Miramontez, one of the leading press agents — and most colorful characters — on the Great White Way, has joined DKC PR, one of America’s top 10 independent PR firms by fee revenue. Miramontez is bringing with him two senior execs — his creative director, Andy Snyder, and VP, theatrical division, Molly Barnett — as well as other key staffers.
O&M will now be known as DKC/O&M and will serve as DKC’s Broadway and Live Events division — the first of its kind at a national PR firm — under the leadership of DKC’s EVP and Director of Entertainment Joe Quenqua, a Broadway vet himself who came to DKC two years ago from Walt Disney Studios, where he created and oversaw the first in-house global publicity department for Disney Theatrical Group (and consulted with O&M).
The company will remain headquartered in New York, but will now have offices in Los Angeles, Chicago, Miami, San Francisco and Washington, DC, as well.
O&M Co. orchestrated the publicity campaigns for the past three winners of the most coveted prize in the theater, the best musical Tony, 2013’s Kinky Boots, 2014’s A Gentleman’s Guide to Love and Murder and 2015’s Fun Home. In addition to Fun Home, other currently-running shows it reps include Beautiful: The Carole King Musical, Hand to God, King Charles III, and Allegiance. It is also working on the upcoming productions of Bright Star, Eclipsed and School of Rock.
Additional O&M clients include the American Theatre Wing, MCC Theater, Jujamcyn Theaters, Carole Shorenstein Hays’ Curran Theatre in San Francisco and numerous artists (including Harvey Fierstein) and institutions (such as Joe Allen restaurant) that make up the theatrical landscape.
But O&M is perhaps best known for its work on two of the most controversial productions in recent Broadway history: Spider-Man: Turn Off the Dark and Finding Neverland. Miramontez was in his element as ringmaster of the Spider-Man media circus — spinning countless accidents, delays and the clamorous ouster of original director Julie Taymor when the new creative team was brought in — and became one of the few people ever to fire Harvey Weinstein, as opposed to the other way around, when he walked off the Neverland campaign.
“Rick is a true visionary who has shifted the landscape of Broadway and live entertainment over the past decade with the unparalleled success of O&M,” says Sean Cassidy, President of DKC. “This is a major transformational move for DKC, establishing the entertainment division as a wholly unique practice with major footprints in arts and culture hubs throughout the country.”
Miramontez adds, “DKC understands that our unique and eclectic client roster requires special attention and expertise. This opportunity will allow us to provide our clients with all the resources of a leading, beautifully-run national agency, while still allowing us to maintain the quirky, boutique spirit we’ve built our reputation on.” (He also mentions something that Broadway insiders will be pleased to know: “DKC is very excited to help us keep our Tony Awards Carlyle Hotel party going into the next millennium.”)
While the landscape of top Broadway publicity firms fluctuates periodically, in the current configuration O&M is one of three dominant firms, alongside the long-established Boneau/Bryan-Brown and the younger but fast-growing Polk & Company, which splintered off from BBB. Smaller but significant boutique presences include Philip Rinaldi Publicity, which handles Lincoln Center Theater shows as well as recent and upcoming Scott Rudin productions; Jeffrey Richards Associates, repping in-house productions; and Sam Rudy Media Relations, which has the current-season blockbuster Hamilton.
While O&M will change as a result of its assimilation into DKC, something else remains the same: Miramontez’s sense of humor. He tells THR, “I hope that we get to have a bang-up reunion with Harvey Weinstein at DKC/O&M — and have already sent roses (on their dime) to ensure that happens.”
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