Lord Jay of Ewelme said the Government had failed to address concerns “that applying the current visa system to EU nationals would make it harder to bring talent to the UK”.
The opportunities for very young children to experience the arts in rural Devon are few, as well as inconvenient and expensive. How can less culturally engaged families enjoy live performances, asks Amy Bere.
While touring three productions around the UK, Unlimited Theatre developed a model for working with venues to engage local audiences. Tessa Gordziejko explains the role of the local engagement practitioner.
Politicians questioned major ticket resellers on their ability to distinguish genuine ticket buyers from ‘bots’ and why the industry seems plagued by low approval ratings.
Creative Scotland has announced details of a new Touring Fund offering organisations outside its Regular Funding portfolio the chance to make and tour new work.
The House of Lords EU Committee says that multi-country, multi-entry visas allowing cultural workers to make short term visits between the UK and the EU would support touring when freedom of movement ends after Brexit.
Taking an outdoor show on tour presents many challenges, quite different to those for venue-based touring. Irene Segura explains how a consortium model is supporting artists and companies.
Presenting theatre in pubs and social clubs can help breathe life into communities and engage non-arts audiences. Rod Dixon explains how Red Ladder has created a touring model dependent on local promoters.
Is it possible that our impression of rural touring is outdated and even cynical? Anne Torreggiani and Jonathan Goodacre reveal how wide-ranging it is and who the audiences are.
New research found audiences in rural Lincolnshire are hungry for culturally diverse theatre and dance, but the provision isn’t there. Arya Madhavan and Sreenath Nair explore the issues.
When Clod Ensemble decided to work on a completely different scale and tour a one-woman show to rural Scotland, it was faced with a creative challenge. Roxanne Peak-Payne tells the story.
Rural touring can be exhausting and unpredictable, but the key to making it a rewarding, rich experience is finding the right people to work with, says Jack McNamara.
When project funding slowed after the financial crash, Jaybird Live Literature was unable to put on the technically complex poetry shows it was known for. Julia Bird explains how it adapted its work to stay in business.
Fans of touring companies are perfect customers – booking early and often in large groups. Sian Dudley reveals how a receiving venue like Cast in Doncaster works with visiting companies to make the most of ‘fandom’.
After updating its approach to data collection and sharing, Sadler’s Wells noticed a surge in email sign-ups for its visiting companies. Sebastian Cheswright Cater and Matt Kirby tell the story.
Many international dance companies tour the UK thanks to the Dance Consortium, but venues, young dancers and many others also benefit from its work. Ros Robins explains how.
Selling new work to audiences and venues can be difficult enough, but how do you sell a new artform like storytelling? Naomi Wilds explains how Adverse Camber has faced up to the challenge.
At the end of a three-year project touring contemporary theatre to small venues in the north east of England, Annabel Turpin and Kate Sanderson share the lessons they have learned.
