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Women are disproportionately burdened with caring responsibilities, which limit income and opportunities for both employed and self-employed professionals.
Chelsea Theatre’s Community Development Manager Michelle Abbey discusses her career engaging audiences and promoting diversity.
Be prepared to make mistakes and consider reaching out to other organisations running relaxed events, says Kate Lovell.
From Robert Lepage to Captain Kirk, Turtle Key Arts’ Alison King names those who guide and inspire her.
Volunteer promoter Tom Speight writes about the joys of hosting professional performing arts right on his doorstep as part of a rural touring scheme.
Failure to diversify will cause theatre to become irrelevant to the majority of the British population, the report concludes.
Andy Dawson explains how the RSC’s schools programme inspires children through Shakespeare while avoiding a ‘one size fits all’ model.
Theatres of all sizes can apply for grants of up to £15k, which will be awarded in summer 2017 and January 2018.
Who has been attending the events marking Shakespeare’s death this year? James Doeser and Georgina Chapman reveal some surprises.
West Yorkshire Playhouse’s commitment to dementia-friendly theatre has enhanced Barney Bardsley faith in humanity. She reveals how it came about.
The multi-million pound reboot of the Lighthouse in Poole is only the beginning of its journey towards an inclusive participatory future, says Stephen Wrentmore.
The University of Bradford may be a technology university with no arts department, but it still saw the need for a theatre on its campus. Javaad Alipoor explains why.
Drama is a highly effective teaching tool in schools, so why don’t teachers use it more, asks Luke Hollowell-Williams.
Recently appointed Artistic Director Emma Rice is to end her tenure in 2018, as board and management reject her use of contemporary sound and lighting technology.
Theatre has seen a rise in income over the past four years, although the increases are concentrated in the hands of large organisations, a major new report has found.
As she leaves the Theatres Trust, Mhora Samuel looks back on her career in theatre, dance and cultural regeneration.
The majority of theatres do not think screenings have affected their touring, and audiences still attend live events.
Royal & Derngate has put forward proposals for a new free school that will specialise in the cultural and creative industries – the first to be run by a theatre.
An action research programme aims to find more and better solutions to the problem of juggling family commitments with a career in the performing arts.
As he prepares to leave Nottingham Playhouse, Giles Croft pays tribute to those who have guided and inspired his career.