In The Stage newspaper this week: March 19
The Stage newspaper comes out once a week and is brimming with industry news, advice, analysis and reviews from all over the UK. Here are some of the highlights from the March 19 issue. Find out where to buy your copy here
The Big Interview: Jez Bond
The hands-on artistic director of London’s Park Theatre was so involved with the construction of the award-winning venue that he knows every millimetre of the space. He talks to Honour Bayes about his vision for the venue, why narrative is a must and how he earned his reputation as a schmoozer.
Bringing Adrian Mole to the stage
Leicester’s Curve has brought Sue Townsend’s much-loved book to the stage as a musical. Matthew Hemley talks to Jake Brunger and Pippa Cleary, the writing duo behind the new show, and Curve chief executive Fiona Allan. Plus: read The Stage review.
Backstage: building pictures with headphones
The creators of 3D audio piece Fiction talk to Catherine Love about their latest experiment using binaural sound and total darkness where audiences, deprived of other sensations, are taken on an immersive journey into their dreams.
International: The not so grand Budapest festival
Budapest performance art festival Dunapart3 is, with international support, challenging the conformist attitudes that increasingly underpin the current Hungarian government’s views of arts provision. But it must do so on a shoestring, says theatre critic Tamas Jaszay
Training: Embracing inclusivity
Susan Elkin looks at the companies, drama schools and organisations putting inclusive performance and training at the heart of their work, and asks what else we can do to improve access for all.
Theatre503: ‘Our focus is on the artist’
Paul Robinson tells Matt Trueman how making the Battersea theatre a haven for new writers kept it alive when the London pub that houses it switched owners.
Ticket touts: who’s exploiting who?
Dan Eastmond dismisses the notion that secondary ticket sellers exploit customers and divert revenue away from artists and producers, arguing that they are the cultural entrepreneurs we love to hate.
Matt Trueman ‘West End is the standard bearer for British Theatre’
Paul Clayton ‘It’ll be a sad day when all the laughter has gone’
The Half West End Producer, casting advice, Careers Clinic and scholarship offers
Michael Urie ‘It’s almost like I have to do a toxins purge’
The Green Room How do you stay ‘match fit’?
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.