How many theatres offer audio description services to blind and partially sighted people? Matthew Cock carried out some research and is disappointed with his findings.
Make full use of the senses – even those you don't have: Deafinitely Theatre’s Paula Garfield explains how to create theatre for deaf and hearing audiences.
Not many know that Oxford has some of the worst rates of child literacy in the country. Louise Chantal describes how a playwriting programmes is making a difference.
Frustrated by a shortage of touring opportunities for black and Asian theatre, Jatinder Verma and Jonathan Kennedy made it their mission to change the hearts and minds of artistic directors and inspire audiences across the country.
Realising that its audience members were all in ‘a stage of transition’ was a revolutionary moment for Jabberwocky Market. Caroline Pearce explains why.
At The Watermill Theatre, the cast lives on site – alongside ducks and chickens – for the whole production process. New Artistic Director Paul Hart reveals the effect on the company.
Audiences and rural promoters are the life-blood of Northumberland Theatre Company. Gillian Hambleton reveals how the company harnessed that loyalty to keep the company going through hard times.
Financial support forms part of a new series of sector-led schemes aimed at breaking down major barriers to young theatre companies being able to showcase their work.
Every year, 40,000 people are drawn to Sheffield’s Crucible Theatre for an event that is neither a play nor a musical. Bookey Oshin reports on an unusual partnership.
When Pilot Theatre first livestreamed a theatre production eight years ago, it did not foresee this leading to a significant new income stream, says Marcus Romer.
For small arts companies, it’s a fiercely competitive time to be applying for funding from trusts and foundations. Annie Rigby and Natalie Querol share their very different experiences.
