Young offenders in Wales gained the Arts Award during a Summer Arts College – for some it was their first ever qualification. Angela Rogers tells how their success was realised.
Male prisoners at risk of suicide or self-harm may be apprehensive about signing up for a theatre project, but some finish Geese Theatre Company’s five-day course giddy with pride. Louise Heywood shares the story.
Helping prisoners devise and perform a piece of children’s theatre for their families may help reduce re-offending rates, but Selina Busby questions whether the evaluation of such projects is as effective as it should be.
When a production of Hamlet promised to be the hot ticket of the year, RADA embraced technology to make the box office experience fairer for customers and less stressful for staff. Helen Slater tells the story.
London’s West End is full of receiving theatres, but the Jermyn Street Theatre has recently rebranded and restructured itself as a producing house. Tom Littler tells the story.
Stafftember was an opportunity for employees at Theatre Royal Plymouth to find out about each other’s jobs, from operating the spotlights to casting a production. Rebecca Pettitt explains how it came about.
In the lead-up to the opening of new venues in Hong Kong’s West Kowloon Cultural District, Anna CY Chan is embracing technology to broaden dance audiences and develop future talent.
For an amateur theatre company to be financially stable and well supported it needs the right volunteers in key roles, as well as an awareness of when to call in the experts, says Clare Simpson.
How did Sadler’s Wells manage to increase its membership and ticket sales while cutting discounts and other incentives? Sebastian Cheswright Cater shares the secrets of their success.
For many venues pre-show dining is an important revenue stream, but for customers it can be a rushed and poor experience. Alice Young explains how pre-booking online can make it a more attractive option.
Many arts graduates are struggling to find employment, but a British Council scheme is helping some to bridge the gap between education and work by spending a month at the Venice Biennale. Laura Broderick and Emma Dexter explain how it works.
Fabrica in Brighton has raised extra income through venue hire for some years, but it needed a more commercial approach to maximise its potential. Anne Rupert tells the story.
Arts leaders involved in a new two-year programme for organisations seeking to create significant change gathered together for the first time recently. Richard Watts discusses the aims of the programme.
Oldham Coliseum’s new extension will provide access for everyone to future-proof itself in a borough that is home to many people with disabilities, writes Kevin Shaw.
Abbot Hall in Kendal, a Grade I listed mansion and now home to an art gallery and museum, is in the early stages of its redevelopment. Gordon Watson outlines the proposals.
When Bradford Theatres recognised that its online booking system was a bit creaky, it chose a phased approach that satisfied customer expectations and resulted in a higher average spend, says Libby Penn.
Charles Quick describes how a programme of creative activities built around the Preston and Lancashire City Deal has brought together artists, residents and policy makers, and been met with a surprising amount of enthusiasm.