Cultural investment in Salford’s regeneration may have created The Lowry, but its impact comes from a distinctive, entrepreneurial financial model, says Julia Fawcett.
Jim Beirne describes how Newcastle’s Live Theatre has created a portfolio of creative enterprises to support the theatre's core new writing and education work.
Jonothan Neelands warns that although creativity and cultural vibrancy are part of our shared DNA, the flourishing Creative Industries will wither unless attention is paid to their delicate root system which relies on public subsidy to survive.
Beatrice Pembroke sees a new role for old institutions in a changing world that needs fresh thinking in new spaces – spaces that they themselves are not agile enough to occupy.
Three-quarters of income at the self-financing venue came from ticket sales and admission charges in 2013, though almost a half of all tickets were priced at £5.
Artistic Director of London’s Young Vic David Lan is leading the core artistic team at the ‘the PAC’ in New York, as it gears up to become a global cultural and community hub.
Support for the professional development of young directors will be extended to ensure that opportunities are accessible to young people from the widest breadth of social, ethnic, educational and cultural backgrounds.
Burns Night is celebrated in some style in Dumfries, with three days of music, theatre and carnival. Graham Main describes how thousands of local people take part and many more attend.
Word/Play is an initiative in Somerset for people with mental illness or a learning disability. Mark Helyar describes how it has engaged with this predominantly rural community.
