It’s a Wonderful Life is currently touring village halls in England and Wales until 1 February 2015. Now in its third week, Natalia Campbell, one of the actors in the company, has taken time to write us a blog about the journey so far. For more information on the tour and booking tickets for the show visit It’s a Wonderful Life.
It’s a Wonderful Life opens at the Maltings on 28 November and will tour up and down England and Wales until 1 February 2015. Richard Ede, one of the actors in the company, has taken time out of busy rehearsals to answer a few questions for us. For more information on the tour and booking tickets for the show visit It’s a Wonderful Life.
For more information on the Fireside Festival and to book tickets go to the Fireside Festival website. Catherine has written us a blog about her first experience performing at Edinburgh Festival Fringe this year.
Credit: Mark Dean
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This summer, Little Bulb Theatre were invited to perform Orpheus at the Salzburg Festival. The festival took place all over the city from 18 July until 31 August. The company performed in the Republic theatre and their final show was a sell out. Artistic Director, Alex Scott has written us a blog about their experience.
Associate company Bucket Club are currently in Edinburgh with their show Lorraine & Alan. Co-Founder and Director Nel Crouch discusses Bucket Club’s first professional trip to the Fringe. Follow them on Twitter to read the latest reviews of the show and find out what people have been saying.
Credit: Paul Blakemore
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greenhouse is a three year initiative supported by Esmée Fairbairn Foundation aimed at helping contemporary theatre thrive across the South East and East of England by better connecting the ambitions of theatre makers, venues and audiences. Here greenhouse project manager, Richard Kingdom, talks about some of the thinking behind the scheme and the first round of supported projects.
At house’s first venue network meeting, Jo Taylor of Morris Hargreaves McIntyre gave a talk in which she lamented the once-popular practice of ‘cleaning up’ marketing databases – the idea that by deleting everyone but the art-loving regular-bookers you’d have such a red hot mailing list that one e-bulletin or mail drop would more or less fill your season. The reality, she suggested, was that you were in fact reducing your audience base and withdrawing contact from your biggest potential audience; those who had booked to see something but – for some reason – had not come back. Rather than delete them, call them up and find out why suggested Jo.
As I looked around the room, it struck me that something similar has been going on with the small-mid scale touring circuit. I’d been a Theatre Relationship Manager for Arts Council England for a couple of years, focused on the South East, and here was a room full of programmers from the region and I only knew about a third of them. As funding has been increasingly directed towards producing rather than presenting, the venues actively engaged in programming contemporary theatre have been whittled down to the venue-equivalents of the ‘art-loving regular-bookers’. I was excited – and still am – by house’s efforts to buck this trend, not just because of its potential to re-build that touring circuit, but also because of the impact it might have on what theatre is being made.
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We recently caught up with David Carr, our Box Office Manager, who earlier this year spent a month working in France with a French circus company, Cheptel Aleikoum – their name simply translated to ‘welcome to the big top’. The work that David did was organised through PASS – a three year collaboration with eight French and English creation centres designed to support the development and touring of new contemporary circus funded through the Interreg programme.
Credit: James Millar
In October last year, we awarded grants to a selection of young people through our ‘no strings attached’ scheme enabling them to make their first piece of theatre. We thought you might be interested to hear what they have been up to in the months after meeting with the panel and receiving their awards.
show business is a one-day symposium towards greater connectivity between commercial and subsidised models in theatre’s independent sector. In this blog, Richard Kingdom, greenhouse project manager, discusses the potential of a greater collaboration between these two sectors.
I began discussing ideas for the show business symposium with colleagues last September but the seeds for it were sown around ten years ago, in a penny-drop moment during a post-show conversation at The Hen and Chickens Theatre. My cousin, a couple of years out of drama training and whose show I’d just been watching, and me, a recent Theatre Studies graduate trying to set the world ablaze with my company’s first show, were comparing notes on our respective ventures. I asked what seemed like the most pressing question for anyone mounting a production on the fringe.