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.
A large increase in income from musicals and concerts offset falling ticket sales for plays last year, according to box office data from UK Theatre.
London’s West End is full of receiving theatres, but the Jermyn Street Theatre has recently rebranded and restructured itself as a producing house. Tom Littler tells the story.
Stafftember was an opportunity for employees at Theatre Royal Plymouth to find out about each other’s jobs, from operating the spotlights to casting a production. Rebecca Pettitt explains how it came about.
An immersive theatre performance lasted 13 hours – the time it took to fly from Heathrow to New York via Iceland. Kate Hargreaves tells the story.
Amy Zamarripa Solis’s first attempt at crowdfunding was not a success. She explains what went wrong and reveals how – after raising less than 50% of her target – she still managed to stage a successful fringe theatre production.
For an amateur theatre company to be financially stable and well supported it needs the right volunteers in key roles, as well as an awareness of when to call in the experts, says Clare Simpson.
A lack of online information is leaving many publicly funding arts venues inaccessible to deaf and disabled members of the public, a new VocalEyes report has warned.
For many venues pre-show dining is an important revenue stream, but for customers it can be a rushed and poor experience. Alice Young explains how pre-booking online can make it a more attractive option.
Sheila Benjamin never thought she’d know so much about construction. She reveals what it was like overseeing a £28m capital project for LAMDA.
Oldham Coliseum’s new extension will provide access for everyone to future-proof itself in a borough that is home to many people with disabilities, writes Kevin Shaw.