Jump to navigation
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.
Last year Leicester’s Curve Theatre increased its turnover by 30%. Chris Stafford discusses touring, hospitality and rejecting capital funding.
Theatre for young audiences has suffered from low status and under-investment, but perceptions of its quality are changing, says Nina Hajiyianni.
Born Mad give us a peek at the preparation for their week-long run at Ovalhouse in London.
Red Ladder’s #GisATenner campaign appealed to the company’s Twitter followers to donate as little as £10 to help save the company following funding cuts. Chris Lloyd reveals what happened next.
The theatre’s business model bears fruit, as a local tech company signs a rental agreement that will deliver an ongoing revenue stream for its artistic and education work.
The new ‘Spend a Penny’ fund has been launched by the Theatres Trust with support from Susan and Simon Ruddick.