Jump to navigation
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.
New funding aims to bring disabled artists into the mainstream of European dance and theatre, and build a network committed to presenting their 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.
Setting up a new theatre in a former bus depot with no funding was a leap of faith for its two founders. Peter Tate and Anthony Biggs tell the story.
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.
The email and phone service, set up by Society of London Theatre and UK Theatre, will offer support on health and wellbeing issues.
She will join the children’s theatre as Executive Director in August as it gears up for a major redevelopment.
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.
Five London venues have jointly hosted a one-woman show – and then pooled the box office takings. Kaya Stanley-Money explains how it worked.
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.
As new technologies open up the possibilities for creativity in stage performance, a new children’s theatre production showcases the potential of augmented reality. Sasha Kreindlin tells the story.
With the Mayflower Theatre recently listed by the Sunday Times as one of the best organisations to work for, Robin Hancox explains the recent workforce initiatives that helped secure the listing.
Presenting theatre in pubs and social clubs can help breathe life into communities and engage non-arts audiences. Rod Dixon explains how Red Ladder has created a touring model dependent on local promoters.