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.
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.
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.
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.
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.
Mandy Precious considers herself lucky to have discovered the arts, but are the next generation getting the same chances she did?
As a small but fast-growing touring theatre company run by part-time staff, Hubbub Theatre Company has benefited from appointing a Director of Business Development. Jo Kemp explains what her job entails.
Artistic Director of Théâtre Volière Natasha Wood describes how death ‘snapping at her heels’ propels her on. That and Davie Bowie, of course.
Has panto become culturally inappropriate, racist even? Oh yes it has, calls out Daniel York.
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.
Tax relief has enabled many theatre companies to take creative risks and invest more in productions without the fear of financial loss. Margot Madin explains how.
Purging inactive subscribers from Chichester Festival Theatre’s email list has helped improve the effectiveness of its marketing campaigns. Alice Young explains how.
When prisoners are actually requesting more arts activities, why are we not giving them what they want, asks Jess Thorpe.
Male prisoners at risk of suicide or self-harm may be apprehensive about signing up for a theatre project, but some finish Geese Theatre Company’s five-day course giddy with pride. Louise Heywood shares the story.
Helping prisoners devise and perform a piece of children’s theatre for their families may help reduce re-offending rates, but Selina Busby questions whether the evaluation of such projects is as effective as it should be.
When a production of Hamlet promised to be the hot ticket of the year, RADA embraced technology to make the box office experience fairer for customers and less stressful for staff. Helen Slater tells the story.