Lyn Gardner

Does theatre need to consider that there is a vast difference between a sudden enforced stoppage and taking a considered and intentional break to ensure artist development and opportunities continue?, asks Lyn Gardner

The National Theatre’s 100% cut to its live touring to primary schools is a huge own goal at a time when the industry needs to show the government the key role it has to play in supporting the arts in education

The recent Budget has made it clear that theatre can longer rely on outside help. The only way to fix the sector is to reinvent and restructure it ourselves

Finance may not be the first field many people associate with a career in theatre, but as one-time wannabe producer Rozzy Knox has found out, it involves just as much strategy as spreadsheets, and the decisions she is involved in dictate the direction of a venue and its artistic endeavours. She spent the day leading Lyn Gardner through the real-life drama of her department

Fringe theatre has played a significant role in the development of playwriting and of careers over the past 60 years – and it’s crucial for audiences too, says Lyn Gardner

The growing gap between the haves and have-nots is mirrored in the theatre world in the pay of freelancers and salaried staff. Will Arts Council England’s new director of individual practitioners be able to shift the balance of power?

There is much talk about theatre’s lack of risk-taking, but critics have a role to play in embracing risk too, says Lyn Gardner

Rufus Norris’ comments about needing a year off to recover after his time at the NT indicates there is something not right with the way British theatre works, says Lyn Gardner

Charlie Bunker and Gabby Vautier of imPOSSIBLE Producing are on a mission to create a ‘South West End’, developing an ecosystem of talent based in and around Cornwall that can form a pipeline to the rest of the country. Lyn Gardner meets the pair as they prepare to stage their first musical, The Creakers, which will play at Theatre Royal Plymouth before a run at the Southbank Centre in London

It’s tough to get a start into theatre and will be tougher still for those entering the profession over the next decade, a generation whose primary and secondary educations have been blighted by an insistence that it is necessary to learn to count but entirely unnecessary to learn to create, says Lyn Gardner