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Pulling a community venue back from the brink needs vision, commitment and cost-effective solutions for tackling commercial challenges. The Royal Hippodrome Theatre has harnessed all three, writes Claire Boot.
Theatre and concert composer Adrian Sutton looks back on the trajectory of his career, from computer magazine reviews editor to becoming the musical brains behind the score for War Horse.
The news that Oldham Council has decided to drop its support for a new Oldham Coliseum Theatre comes as the theatre’s long-serving Artistic Director announces he is leaving this month to go freelance.
Lotte Wakeham has set out her vision for the theatre, which includes “tonnes of participatory work” as the venue undergoes a major capital redevelopment.
When Oxford Playhouse was asked if it could run acting technique workshops for John Lewis, the answer had to be a yes, says Louise Chantal.
London Bubble’s Creative Elders programme has encouraged residents in sheltered housing units to socialise, be creative – and perform in public, says Helena Rice.
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.
Trish Wadley reveals the trajectory of her globe-trotting career.
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.