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Diamonds and Dust’s liquidation lays bare the fragility of theatre finances

The Olivier Awards still has a long way to go on equal representation

BAFTA incident exposes the need for more relaxed theatre performances

Seven Dials Playhouse warnings ignored – this month in Your Views

Your views by The Stage

Nancy Medina: Industry often views global-majority work as mediocre

News by Giverny Masso

English National Opera appoints Rambert’s Helen Shute as chief executive

Appointments by Matthew Hemley

Seyi Omooba loses bid to reopen Color Purple case against Curve in Leicester

News by Katie Chambers

Five factors causing visa issues for theatre shows touring to the US

Early birds and night owls: why a show’s start time can make all the difference

The Oliviers enjoyed a welcome return to prime-time TV – long may that continue

People-powered creativity will outlive AI, and this theatre design is proof

Curtain calls: To film or not to film, that is the question

Why have we normalised the idea of being miserable for your art?

Olivier Awards 2026: who should and who will win this year?

Diamonds and Dust’s liquidation lays bare the fragility of theatre finances

Curtain calls: To film or not to film, that is the question

ACE can only genuinely change if its relationship with artists matures

As regional theatre coverage sadly narrows, let’s hear it for the local critics

The Olivier Awards still has a long way to go on equal representation

Recommended for you

Seven Dials Playhouse warnings ignored – this month in Your Views

Your views by The Stage

Nancy Medina: Industry often views global-majority work as mediocre

News by Giverny Masso

English National Opera appoints Rambert’s Helen Shute as chief executive

Appointments by Matthew Hemley

Seyi Omooba loses bid to reopen Color Purple case against Curve in Leicester

News by Katie Chambers

Amanda is an associate writer for The Stage. Her career spans leadership and consultancy across screen production, broadcast, arts and culture. She is the former editor of Arts Professional and an Oliver-Award-winning sector leader on equality, diversity and inclusion in theatre.

More from this author

Diamonds and Dust’s liquidation lays bare the fragility of theatre finances

The Olivier Awards still has a long way to go on equal representation

BAFTA incident exposes the need for more relaxed theatre performances

Opinion

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Five factors causing visa issues for theatre shows touring to the US

Early birds and night owls: why a show’s start time can make all the difference

The Oliviers enjoyed a welcome return to prime-time TV – long may that continue

People-powered creativity will outlive AI, and this theatre design is proof

Curtain calls: To film or not to film, that is the question

Why have we normalised the idea of being miserable for your art?

Curtain calls: To film or not to film, that is the question

Early birds and night owls: why a show’s start time can make all the difference

Olivier Awards 2026: who should and who will win this year?

Why have we normalised the idea of being miserable for your art?

The Oliviers enjoyed a welcome return to prime-time TV – long may that continue

Diamonds and Dust’s liquidation lays bare the fragility of theatre finances

Advice

Five factors causing visa issues for theatre shows touring to the US

by Amanda S Brill

Rayxia Ojo: ‘You never really know when you’ve left a lasting impression on someone’

by John Byrne

Lucy Fennell: ‘It’s a lifelong quest to understand and stay in touch with who you are’

by John Byrne

Haydn O’Reilly: ‘I hounded a theatre company relentlessly until I got an audition’

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Cuckoo-Land review

High energy music and psychedelic staging surround a political drama, where men in suits do battle offstage

Lloyd Webber-owned West End theatres to fundraise for music therapy charity

Andrew Lloyd Webber’s LW Theatres is backing a fundraising campaign for a leading music therapy charity at its venues, under what is being billed as a ’powerful’ new partnership