Charcoalblue’s Post

Here’s the link to sign up for our #ActGreen 3 webinar. The biggest and most comprehensive view yet of audience views on sustainability in cultural organisations.

ICYMI: Drumroll please, for the results of the 2023 Youth Theatre in Scotland Sector Review, the national survey that helps us identify how we’re all developing as an overall youth theatre sector, and how we can develop further. Findings from the research provide a snapshot of youth theatre provision in Scotland in 2023 and how it compares it to the sector in 2015 and 2020. The findings help YTAS to capture the big picture, and sharpen the focus of our work. Read the full report and our findings over at https://buff.ly/4atAU5a

Mmm, fascinating. Are audiences choosing to engage with digital innovations in theatre? I certainly love it, but will our older audiences? And not surprised at all to find out that younger theatregoers are most likely to have experienced digital theatre.  A fascinating read, thanks Creative Australia.

ICYMI: Drumroll please, for the results of the 2023 Youth Theatre in Scotland Sector Review, the national survey that helps us identify how we’re all developing as an overall youth theatre sector, and how we can develop further. Findings from the research provide a snapshot of youth theatre provision in Scotland in 2023 and how it compares it to the sector in 2015 and 2020. The findings help YTAS to capture the big picture, and sharpen the focus of our work. Read the full report and our findings over at https://buff.ly/4atAU5a

Did You Know – Top Ten Reasons a Dealer is not a Theatre Consultant - By Paul Sanow Sometimes there is confusion in the marketplace about the roles of theatre consultants and dealers. Some owners or architects elect to work with a dealer, thinking they will receive the same level of service as they would from a dedicated theatre consultant, and possibly for free. Theatre consultants and dealers may each be considered “theatre experts”, but they have very different roles and agendas in the construction process. READ THE ARTICLE: https://lnkd.in/gV7y3AdX

Wow what an honour to be recognised and make it into, for the very first time - The Stage top 100 for 2023! We couldn’t do it without all our amazing teams, cast and performers and everyone who makes our family business what it is. Team @entertainersuk A big thank you to KWPR and everyone involved. Dynamic father and son duo Michael Taylor & James Taylor, who run entertainers from their Canvey Island HQ - have made THE STAGE 100 - for the first time! The Stage 100 is intended to reflect the 100 most influential people working in theatre and the performing arts. https://lnkd.in/d7R-YZnH The Stage 100 is intended to reflect the 100 most influential people working in theatre and the performing arts. It is considered from the point of view of The Stage, as a trade publication, and so focuses both on theatre as a business and an art form. Inclusion within the list and ranking is weighted towards impact over the past 12 months. We also aim to have a list that – as much as is possible and plausible – reflects the astonishing breadth of the theatre industry. However, the list also seeks to reflect how the theatre and performing arts industry is, not what it aims to be, or we would like it to be.

Wow what an honour to be recognised and make it into, for the very first time - The Stage top 100 for 2024! We couldn’t do it without all our amazing teams, cast and performers and everyone who makes our family business what it is. Team @entertainersuk A big thank you to KWPR and everyone involved. Dynamic father and son duo Michael Taylor & James Taylor, who run entertainers from their Canvey Island HQ - have made THE STAGE 100 - for the first time! The Stage 100 is intended to reflect the 100 most influential people working in theatre and the performing arts. https://lnkd.in/ds8SBGYx The Stage 100 is intended to reflect the 100 most influential people working in theatre and the performing arts. It is considered from the point of view of The Stage, as a trade publication, and so focuses both on theatre as a business and an art form. Inclusion within the list and ranking is weighted towards impact over the past 12 months. We also aim to have a list that – as much as is possible and plausible – reflects the astonishing breadth of the theatre industry. However, the list also seeks to reflect how the theatre and performing arts industry is, not what it aims to be, or we would like it to be.

My essay for HowlRound Theatre Commons, "We Can't Build an Equitable Theatre While Ignoring Covid," is now published. If we want to build an accessible, anti-racist, equitable theatre field, we MUST enact COVID precautions. It is my hope that my fellow theatremakers (and arts workers of all kinds) will read this essay and it can serve as a loving call-in and an offering for us all to re-commit to our values. Please let me know your thoughts! https://lnkd.in/es9Htf8y

With the huge interest Godwin's Macbeth has generated. There is scope for other creatives to risk using unconventional venues for their productions. While this is not a new thing, the popularity this show has garnered may bleed into the creative community of Liverpool, resulting in us seeing a lot more of this rough and ready flavour in our industry. what are examples of theatre performed in 'unconventional settings' that you've seen and how was your experience with it? The more we discuss these ideas, the more can be done in ways of making this style of theatre more accessible for the masses! put your opinions in the comments below

Have you read our 2023 Youth Theatre in Scotland Sector Review? This national survey helps us identify how we’re all developing as an overall youth theatre sector, and how we can develop further https://buff.ly/4atAU5a