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The playhouse in Prescot will be based on Inigo Jones’ original design for a Jacobean theatre in Whitehall.
Liam Evans-Ford reveals the people and companies that have inspired his work making brave and bold theatre.
What do audiences for Shakespeare look like today? As theatres prepare to mark the 400th anniversary of the bard’s death, The Audience Agency reveals some valuable insights.
Families are key to audience development, but how do you attract them? Patrick Spottiswoode reveals how Shakespeare’s Globe plans to market a new festival to family audiences.
In some jobs, it’s normal for people to pour glitter over their heads and for babies to take over your desk. Flavia Fraser-Canon shows us a snapshot of her working week.
What does a tech week in theatre look like? Gary Wood, appearing in The House of Inbetween at Theatre Royal Statford East, offers a peek into his.
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.
From Tamasha Theatre Company to the Free Word Centre, Bryan Savery traces the course of his career.
Encouraging individual giving may not make financial sense, but it’s helped Unfolding Theatre build invaluable relationships, says Annie Rigby.
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.
The Theatres Trust is to take on an expanded role in protecting theatre buildings in Wales through the planning system.
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.
Independent theatre producer Tara Finney takes us along as she zips through the final weeks of a tour.
Mhora Samuel responds to Angus MacKechnie’s call for theatres to be shared with the communities that surround them.
London Classic Theatre’s Michael Cabot shares his tips for those hoping to hit the road.
Arts Council England is asking theatre professionals to share their opinions on the opportunities and challenges facing theatre in their area.
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.