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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.
Eleanor Lang tells us about the twists and turns that have led her to become the new Executive Director of Cheek by Jowl.
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.
Remember Dolly Parton’s work ethic and surround yourself with love: Bryony Shanahan – from the team behind ‘Bitch Boxer’ – shares her top tips for starting a theatre company.
Despite a thriving theatre scene, Arthur Stafford couldn’t help but feel Manchester’s playwrights weren’t receiving the support they needed. So he set about changing things.
After moving to a new box office system, an Atlanta theatre secured nearly three times more in donations in the last half of 2015 than its 2014 total. Libby Penn shares the story.
Meet as many people as you can, and put your self-esteem in your own hands, not the hands of others: advice from Jennifer Jackson for young professionals.