Editor’s View: Are private-equity companies always bad news for theatre?

SUBSCRIBE

We should be concerned that 20 of the top 35 producing theatres are dark in November

If the National Theatre can’t afford primary schools tours, who can?

What can theatre learn from the campaign for grassroots music venues?

Protesters rally to save beleaguered east London theatre company

News by Katie Chambers

Simon Friend launches theatrical licensing company

News by Matthew Hemley

University of Sussex offers severance to hundreds of staff

News by Georgia Luckhurst

Cannock theatre in line for closure as part of council budget cuts

News by Katie Chambers

With Bluesky on the horizon, is the sun going down on ‘Theatre Twitter’?

Regional theatres are evolving with – and for – their communities

Did Tammy Faye lose its sense of proportion on the way to Broadway?

Beyond ticket prices: the battles and benefits of regional theatre

Musical theatre lost so much talent to AIDS, but we must remember how it also helped change perceptions

We should be concerned that 20 of the top 35 producing theatres are dark in November

The National Theatre’s cut to its school touring scheme is damaging to theatre – and children

Call me Scrooge, but this over-told tale is so rarely done well

Wicked is casting a spell over film audiences – what's the secret to its screen success?

Two stars of technical theatre have left us too soon, but they will keep on inspiring me

I’m back where I began, but as a tutor not a student – it’s inspiring... and petrifying

Fallow years: could theatre learn something from Glastonbury?

Recommended for you

Protesters rally to save beleaguered east London theatre company

News by Katie Chambers

Simon Friend launches theatrical licensing company

News by Matthew Hemley

University of Sussex offers severance to hundreds of staff

News by Georgia Luckhurst

Cannock theatre in line for closure as part of council budget cuts

News by Katie Chambers

Alistair Smith is editor of The Stage. He is also the author of two major industry reports (the London Theatre Report and the Theatre Workforce Review) and is the chair of theatre careers charity Get Into Theatre.

More from this author

We should be concerned that 20 of the top 35 producing theatres are dark in November

If the National Theatre can’t afford primary schools tours, who can?

What can theatre learn from the campaign for grassroots music venues?

Opinion

Latest
Most Read

With Bluesky on the horizon, is the sun going down on ‘Theatre Twitter’?

Regional theatres are evolving with – and for – their communities

Did Tammy Faye lose its sense of proportion on the way to Broadway?

Beyond ticket prices: the battles and benefits of regional theatre

Musical theatre lost so much talent to AIDS, but we must remember how it also helped change perceptions

We should be concerned that 20 of the top 35 producing theatres are dark in November

Wicked is casting a spell over film audiences – what's the secret to its screen success?

Did Tammy Faye lose its sense of proportion on the way to Broadway?

I’m back where I began, but as a tutor not a student – it’s inspiring... and petrifying

Regional theatres are evolving with – and for – their communities

We should be concerned that 20 of the top 35 producing theatres are dark in November

Beyond ticket prices: the battles and benefits of regional theatre

Advice

The Stage/Bridge Theatre Training Company scholarship winners 2024

by Paul Vale

Sofia Jones: 'You can always learn from those around you'

by John Byrne

Sadie Pearson: 'The more work you put on, the more opportunities come your way'

by John Byrne

Alexa Morden: ‘I’d love to demolish the hierarchy of power that exists in the industry'

by John Byrne

Bring on the clowns: how Slava’s Snowshow is marking 30 years

Since its UK premiere at the Edinburgh Fringe in 1994, the award-winning clowning show has toured all over the world, enchanting audiences of all ages. As it blows back into the UK after a seven-year absence, creator Slava Polunin and producer Gwenael Allan talk to Nick Smurthwaite about the key to the longevity and success of a company of “fools” that has become a global phenomenon

Danielle de Niese eyes up West End staging for Glyndebourne hit

The opera star has revealed ambitions to bring her production of The Merry Widow to the West End and revive it with Alfie Boe

Jobs

Marketing Executive

City: London Salary: £23K

Are private-equity companies always bad news for theatre?

Support The Stage by registering or subscribing

More from this Author

More on this topic

Opinion

Recommended for you

More from this author

Opinion

Advice

More on this topic

Advice

Recommended for you

Most Read

Your subscription helps ensure our journalism can continue

Newspaper

More

Info

Awards

Legal

Digital