Captioning live theatre performances for the deaf is often seen as costly and inflexible, says Laura Arends. But new automated technology promises to be "truly transformative".
The RSC’s Open Stages project has brought professional theatre companies and amateur theatre-makers together. Kelly Donaldson reports on the exchange of skills.
Alan Cleaver responds to ArtsProfessional's revelation that Arts Council England used more than £10m of spare capital funds to pay off the debts of five London-based organisations.
As the first arts venue to be awarded a 3* Industry Green rating, the Lyric Hammersmith is a model of best practice. Kim M Grant describes the work of its green team.
Bethany McDonald Shepherd believes that students must develop their business knowledge and practice, and the Commercial Education Trust Entrepreneurs’ Award is helping them to do just that.
Part of the Brighton Festival, 'caravan showcase' presents contemporary English theatre to international programmers. Catherine Love explains how English theatre companies can benefit from the showcase and other year-round activities.
A three-year theatre residency at a secure clinic for forensic psychiatry patients is benefiting not just patients but carers and staff too, say Fiona Miller and Karen Richard.
Can our theatres be considered as ‘community theatres’ and be listed as Assets of Community Value? Mhora Samuel discusses the significance of this question.
How does a tiny Georgian theatre survive in a working class town? Esther Harris talks to Richard Stride, owner of the Groundlings Theatre in Old Portsmouth.
