Five London venues have jointly hosted a one-woman show – and then pooled the box office takings. Kaya Stanley-Money explains how it worked.
Changing the role of the box office at Vancouver’s summer Shakespeare festival from an operational one to a marketing one resulted in an increase in ticket revenue, says Ethan Joseph.
Hull Truck Theatre’s pop-up box offices in local supermarkets sell tickets to new audiences and also create valuable community relationships. Magda Moses tells the story.
With over 80% of staff under 30, Lincoln Performing Arts Centre’s workforce is relatively young. Craig Morrow reveals how providing training and clear progression routes have been key to its success.
To work in a museum you need the right academic qualifications and the resources to volunteer, but new initiatives in Scotland are starting to open up the sector to young people from more diverse backgrounds, says Catherine Cartmell.
Creative organisations in East London have joined forces to offer local young people the chance to develop employment skills in paid internships. Julia Hayes tells the story.
Bespoke segmentation modelling helps Sadler’s Wells talk to its audiences with personalised precision across venues and genres. Sebastian Cheswright Cater explains how.
At the very heart of Jasmin Vardimon Company is a dedication to education and nurturing talent. Lauren Baldock explains who benefits and how.
As new technologies open up the possibilities for creativity in stage performance, a new children’s theatre production showcases the potential of augmented reality. Sasha Kreindlin tells the story.
Realising how many of its visitors had a family member with a disability was the catalyst for Z-arts to launch its inclusive family fun days. Ramsey Janini tells the story.
With the Mayflower Theatre recently listed by the Sunday Times as one of the best organisations to work for, Robin Hancox explains the recent workforce initiatives that helped secure the listing.
Why would a cultural venue install a swimming pool? Alexia Jacques Casanova charts the evolution of inclusive and participatory practice in museums and shares advice from Bozar in Brussels.
Artists need special skills to deliver projects in community settings, including care homes and schools. Evan Dawson explains how Live Music Now supports musicians.
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.
Open House arts festival took a risk when it moved from Belfast to Bangor in Northern Ireland, but one that is paying off now that it’s making a difference again. Colette Fahy tells the story.
Nick Wesson explains how working with a disabled-led theatre company helped ARC Stockton achieve long-term sustainable change.
Cultural regeneration in London has seen local communities priced out of their homes, but an arts organisation in Bradford is determined to prove it can work to the benefit of local people and businesses. Bernard Ginns explains how.
Out of the Blue has weathered the storm of arts funding cuts in Scotland thanks to its social enterprise model and the support of ethical finance providers. Rob Hoon shares the story.
Neil Beddow explains how acta in Bristol overcomes the challenges of engaging migrant and refugee communities in theatre making.
Working with a children’s hospice has allowed Birmingham Hippodrome to make its productions accessible to families who might otherwise miss out, and it has learnt a lot along the way, says Nichole Cooper.