Tuesday, 27 March 2018
Newly appointed artistic directors often have to cope with living up to a predecessor’s apparently faultless reputation – or worse still, having to turn a struggling institution around. Andrew Dickson finds out how they do it.
Monday, 26 March 2018
Big business is a big friend to the arts, but there should be proper scrutiny of where every donation – however generous – comes from, says Alice Jones.
Can classical music be made more accessible to young people by calling it ‘orchestral music’? Camilla Turner talks to James Williams about new research.
If an arts festival celebrates freedom of expression should it accept sponsorship from a political regime that supresses it, asks Jonathan Emmett.
Thursday, 22 March 2018
John Fox sets out a new manifesto for the role of the artist, aiming to extract art from the ‘ghettos’ of theatres and galleries and return it to the community.
Wednesday, 21 March 2018
The lived experience of hundreds of thousands of people is becoming unspeakable, with self-censorship influencing what makes its way into our arts venues, writes Julia Farrington.
Artistic Director of English National Opera Daniel Kramer talks to Katie Law about his creative and commercial vision for the organisation, following years of financial uncertainty.
Emma Sheppard reports on a poetry reading group at a care home in Liverpool, which is helping participants with dementia improve their mood, concentration and social interaction.
Watching an opera student stun an unsuspecting comedy audience has given Chris Addison hope that the artform can shake its elitist image.
Thursday, 15 March 2018
Catherine Love explores the history of the class barrier in theatre, suggesting ways of becoming more accessible for audiences and creatives.
What learning do museums and galleries need to truly become inclusive for people with disabilities? Steph Niciu reflects on a symposium focused on forcing necessary change.
Wednesday, 14 March 2018
Rosemary Goring rebuffs emotive calls for cuts to Scottish Youth Theatre to be overturned, saying the national funding system will not get better or fairer if sense is easily overruled by sensibility.
Tuesday, 13 March 2018
Richard Watts returns to a speech made by Belgian festival director Frie Leysen, who argued that art should disturb, not try to please audiences, sponsors and the press.
Monday, 12 March 2018
Perturbed by a rejected Freedom of Information request, Bendor Grosvenor questions whether more transparency is needed at the National Gallery.
The creative sectors have the potential to power a post-Brexit UK, but too few decision-makers realise this. It’s time for the industry to raise its voice, says Stuart Barr.
Thursday, 08 March 2018
After fully embracing Pay What You Decide for audiences and a flat wage for all employees, Alan Lane believes arts organisations should always be trying to challenge and improve the capitalist system.
Alice Saville responds to theatre critic Mark Shenton’s declaration that he will not review work by companies that do not pay their actors, arguing that much creative work relies on impossible economics and long-term investment without short-term rewards.
J.C. explores a new production of Samuel Beckett’s ‘Not I’ which joins a movement of creative performances putting disability at the heart of storytelling.
A Canadian ballet company’s decision to programme a triple bill of performances about women by three male choreographers highlights everything that is wrong with classical dance, argues Luke Jennings.
Monday, 05 March 2018
Facebook is no good for not-for-profit arts organisations because the only way to reach your fans is to pay, argues Steve Lambert.