Why would a theatre want the hassle and financial risk of producing its own productions rather than just presenting touring shows? John Baker explains why – and how – the Marlowe Theatre is doing both.
With a background in commercial marketing, Adam Buss recognises the power of Audience Finder. He tells Katie Flaherty how he has been using it to QUAD’s best advantage.
Revenues are growing, and staff and customers are happier since Regent’s Park Open Air Theatre moved its box office to a cloud-based system, reports Libby Penn.
Artichoke’s Lumiere light festival is hugely reliant on sponsorship. As it prepares to come to London for the first time, Sarah Coop describes the unique challenge of securing support in a new city.
Time traveller Steampunk Bob has become (rather surprisingly) a primary school resource for teaching social, moral, cultural and spiritual values, writes Tina Corri.
Opera North’s singing programmes were recently praised for greatly improving the SATs results at two primary schools. But was it really the opera that did it, asks Jacqui Cameron.
There are many barriers to young people engaging in dance. Amy Dalton explains how a programme in Lincolnshire schools is getting around them, and why it’s so important.
Struggling with a growing library of video files, London Symphony Orchestra urgently needed a new system. Chris Rogers explains why a web-based solution was ideal.
When Jim Mulligan joined Spare Tyre's workshops for older people, little did he know that he would go on to write four plays for the company and become a trustee.
How many older people do you expect to see in a contemporary art gallery? Clare Hankinson tells how Fabrica’s older audience programmes welcomed over 1,000 people last year.
How can a council support the arts when its budget has been cut completely? Charlotte Fergusson shares the inspiring story of Westminster City Council.
