The city theatre in Ghent, Belgium has a new rulebook, aiming to open it up to the independent scene and international touring. Milo Rau introduces his 'Ghent Manifesto'.
Dover’s contribution to the Armistice Centenary in November will be a collaborative community production about the arrival of the body of the ‘Unknown Warrior’. Andrew Dawson tells the story.
When James Haddrell took on the directorship of Greenwich Theatre over ten years ago, he didn’t know if the company had a future at all. Here he charts its imaginative route to recovery.
A project run by the Royal Exchange Theatre in Manchester and a housing provider started with cultural visits and ended with a full-scale theatre production. Inga Hirst tells the story.
Ovalhouse’s FiRST BiTES programme ensures that it takes the risks necessary for creating diverse and experimental theatre, explains Owen Calvert-Lyons.
Creative Scotland has announced details of a new Touring Fund offering organisations outside its Regular Funding portfolio the chance to make and tour new work.
Bolton's Octagon Theatre offers refugees and asylum seekers a warm welcome and opportunities to share their experiences. Deborah Dickinson tells the story.
Now Co-Director of both a major arts centre in Madrid and BE FESTIVAL in Birmingham – roles he shares with his partner Isla Aguilar – Miguel Oyarzun reflects on his career to date.
For people reluctant to pay to see a full-length Shakespeare play, the RSC’s open-air, non-ticketed theatre staging amateur productions offers a relaxed alternative, says Nicola Salmon.
Few arts venues have programmed main stage shows starring performers with learning disabilities, but new diversity requirements for England’s NPOs could change that, says Gus Garside.
Tax relief can be a lifeline for many arts organisations, so why are so many smaller theatre companies and independent producers missing out, asks Clara Giraud.
A group of actors with Down’s Syndrome travelled to Lesotho in southern Africa to help change attitudes to people with learning disabilities. Jon Dafydd-Kidd tells the story.
Changing the role of the box office at Vancouver’s summer Shakespeare festival from an operational one to a marketing one resulted in an increase in ticket revenue, says Ethan Joseph.
Hull Truck Theatre’s pop-up box offices in local supermarkets sell tickets to new audiences and also create valuable community relationships. Magda Moses tells the story.
