Thursday, April 25, 2019

Working-class actors no more disadvantaged today than 40 years ago – report by Matthew Hemley

Working-class people today are no more disadvantaged when it comes to accessing jobs in the arts than they were almost 40 years

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Richard Jordan: RSC’s embracing of understudy performances shows it has come a long way by Richard Jordan

One of the greatest pleasures of theatregoing is stumbling upon something unexpected that can blindside you on an idle Friday afternoon. A

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Wednesday, April 24, 2019

Exclusive: diversity of West End musicals revealed for first time by Georgia Snow

Exclusive research by The Stage has revealed the breakdown of West End musical casts by gender and ethnicity for the first time.

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West End musicals diversity report: reaction from the industry by The Stage

“While diversity is embraced, as an idea, I don’t believe I see differently abled leads or leads of colour (and not just

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Editor’s View: West End musicals lead the way on diverse casting but there are still some major gaps by Alistair Smith

Our research into West End musical theatre casts makes for some refreshingly upbeat reading. This marks the first time that we have

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Other People’s Money review at Southwark Playhouse, London – ‘an intriguing snapshot of an era’ by Theo Bosanquet

Written in 1989, Jerry Sterner’s Off-Broadway hit play is as 1980s as shoulder pads and Wham. The central character, played on screen

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English Touring Opera restructures leadership team by Matthew Hemley

English Touring Opera has restructured its leadership team, with James Conway becoming artistic director and Jane-Eve Straughton taking the new role of

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Performers to share experiences of changing their bodies for work as part of survey by Giverny Masso

Concerns that actors bodies are being treated as “objects open to negative comment” have prompted the launch of a research project. Performers

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Market Boy review at Union Theatre, London – ‘a riotously overstuffed slice of 1980s nostalgia’ by Sally Hales

David Eldridge’s hymn to the 1980s, written in 2006, is a huge undertaking. It requires a large cast playing multiple roles to

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Ruby to light up Madame JoJo’s one last time by Tabard

When they’re bringing your curtain down, demand to be buried like… drag queen Ruby Venezuela. Tabard hears the legendary drag queen, once

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Former EIF director bemoans British theatre lagging behind the continent – 20 years ago in The Stage by The Stage

In the April 29 edition of The Stage, we reported on former Edinburgh International Festival director John Drummond launching an attack on

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Arts Council should prioritise audiences, not box-ticking (your views, April 25) by The Stage

In his speech reported on your front page (April 11), Arts Council England’s Simon Mellor declares that “relevance” will be “the new

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Our Country’s Good review at Tobacco Factory Theatres, Bristol – ‘an articulate production’ by Jeremy Brien

First performed in 1988 and inspired by the stories of first-ever convicts shipped to Australia, Timberlake Wertenbaker’s political powerhouse, Our Country’s Good,

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Billy Budd review at Royal Opera House, London – ‘visually spectacular and musically arresting’ by Amanda Holloway

The good ship Indomitable sailed into London last night to a hero’s welcome, after triumphs in Milan and Rome. The cast for

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Theatre industry must fight to give children the chance to see Shakespeare plays, say arts leaders by Giverny Masso

Creatives involved in a new pop-up Shakespeare theatre have urged the industry to fight to allow schoolchildren to experience the playwright’s works

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Careers Clinic: Will my ‘stupid’ past online haunt me? by John Byrne

My journey on social media has been similar to most actors I know. I initially didn’t see the point of it, then

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Dear West End Producer: ‘How do you deal with a fellow lead who cuts off your lines every time?’ by @westendproducer

@westendproducer How do you deal with a fellow lead, who cuts off your first few lines everytime? By interrupting, with theirs??? #dear

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Sweet Charity at London’s Donmar Warehouse starring Anne-Marie Duff – review round-up by Fergus Morgan

This is the end of an era. Josie Rourke bids farewell to the Donmar Warehouse – her home for the last seven

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Alistair Brammer to join cast of Wicked by Giverny Masso

Alistair Brammer has been announced to join the cast of Wicked in London’s West End. He will take on the role of

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All My Sons review at Old Vic, London – ‘stunning performances from Sally Field and Bill Pullman’ by Tim Bano

Arthur Miller’s first Broadway success has remained popular since it premiered in 1947. In a way that’s surprising. It’s a play that

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Obituary: John Toogood – Theatre administrator and manager who oversaw a series of iconic West End shows by Michael Quinn

John Toogood’s first encounter with the stage as the middle legs of a dragon in the Theatre Royal, Lincoln’s 1958 pantomime was

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Technician James Andrew Dawson: ‘I loved my first job at London’s Vault Festival’ by John Byrne

My first paid job as a technician was at London’s Vault Festival, where I worked for a few months, on and off,

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The Green Room: What have you learned from your job in theatre that you use elsewhere? by Jon Dryden Taylor

Meet our panel: We have given our panellists pen-names and used stock images but their biographies reflect their real career details…​​​​​​​​​​ Ros

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Creative and Cultural Skills’ Melanie Shee: ‘Employers are looking for soft, transferable skills’ by John Byrne

What organisations / colleges have you worked at? I have worked in business development and as a trainer, assessor, qualification designer and fundraiser for

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Giles Terera: ‘Shakespeare is a metaphor for life – persistence pays off’ by Holly Williams

The desire to be challenged has propelled Giles Terera to an impressive CV of performances and an Olivier award-winning turn in Hamilton.

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David Benedict: Theatre should tune into BBC Proms for ways to boost accessibility by David Benedict

I was 11 years old, terrified in a strange building and I blame Antony Hopkins. No, not the one who played Hannibal

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Tuesday, April 23, 2019

Tootsie review at Marquis Theatre, New York – ‘superb performances, ho-hum score’ by Nicole Serratore

Despite a rather flavourless score by David Yazbek, the screen-to-stage adaptation of Tootsie, the film that scored Dustin Hoffman an Oscar nomination

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The Garden review at Queen Elizabeth Hall, London – ‘endearingly whimsical’ by George Hall

Opera, of course, this isn’t – though Richard Ayres has already composed two of them: The Cricket Recovers, a success at its

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Poll: Has anxiety ever prevented you from going on stage? by The Stage

This week actor Jake Quickenden told fans on social media that he was forced to miss a recent performance of the musical Hair

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How can I pursue a career in hair and make-up? by Paul Vale

Artists working on some of the UK’s biggest shows tell Paul Vale how they got into the business and offer advice for people

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