The drive-in tour of the hit musical Six, due to be performed across the UK in August and September 2020, has been cancelled due to concerns about local lockdowns.
The Royal Shakespeare Company has confirmed full performance dates for its previously scheduled productions of The Magician’s Elephant and The Wars of The Roses Part 1 and 2 which will now take place in Winter 2021.
Following the announcement that the Edinburgh Festival Fringe will not be going ahead as planned in 2020, the Fringe Society has unveiled alternative digital plans taking place this summer.
Culture secretary Oliver Dowden has announced the first relaxation in the rules regarding theatre performance, with the statement that open air venue productions can go ahead from Saturday 11 July 2020.
Actress Lucy Aarden is part of #IsolationEnsemble, a company formed by director Abbie Riddell to raise urgent funds for theatres across the UK.
Birmingham Stage Company has announced new tour dates for Horrible Histories: Barmy Britain in association with Car Park Party, Troubadour and Live Nation.
Chancellor Rishi Sunak has bowed to pressure from the arts world and unveiled a £1.57 billion lifeline for the UK’s theatres, venues and museums struggling to stay afloat in the wake of the Coronavirus pandemic.
Guildford Shakespeare Company first performed their adaptation of Kenneth Grahame’s classic in 2015. After a successful series of Zoom murder mystery evenings, they decided to recreate their hit family production.
In collaboration with theatres across the UK, #scenechange – a community for stage designers taking action for theatre – has launched #MissingLiveTheatre, wrapping theatre buildings in a positive message of hope and visibility to the industry.
Toby Marlow and Lucy Moss’ hit musical Six looks likely to become the first West End musical to resume performances across the UK in August and September 2020.
The Da Vinci Code, Dan Brown’s 2003 novel that became an international bestseller and a 2006 film starring Tom Hanks, is now to become a new stage thriller.
A new production of Shakespeare’s Hamlet, directed by Sean Mathias with Ian McKellen in an age-blind interpretation of the young Prince, will go into rehearsals on Monday 29 June 2020.
The Edinburgh Festival Fringe Society, the charity which oversees the Edinburgh Fringe, has been awarded £249,000 grants and a £1million interest-free loan to help support it through Covid-19 recovery.
Theatre Royal Newcastle is the latest regional venue to announce lengthy closure extensions in the face of uncertainty around coronavirus and Government social-distancing guidelines.
It is with a heavy heart that we write to announce that Newcastle Theatre Royal will remain closed until 24 November 2020.
If you have a booking that will be affected by this closure, you do not need to do …
Knowing that some 600 people had applied the week previous to that, I had no great expectation that I would be selected but, to my amazement, I was offered the part of Costard.
Wales Millennium Centre has announced that the venue will remain closed until at least January 2021, due to the devastating impact of the Coronavirus pandemic on the theatre industry. Productions that have been cancelled or postponed include The Lion King, Welsh National Opera’s autumn season, The Book of Mormon and The Phantom of the Opera, which were all due to …
Part informal chat, part performance, this series of bi-weekly Sunday evening sessions is designed to support creatives in the entertainment industry during this strange and challenging time.
Alan Bennett’s epic multi-award-winning drama The Madness of George III, starring Mark Gatiss in the title role, will be streamed from next Thursday 11 June 2020 via National Theatre at Home.
Due to the continuing lockdown, alongside Government advice that social distancing will need to remain in place for some time, the Company has made the difficult decision to postpone all remaining planned performances.
‘There is no doubt that this is the first of many events from the Burn Bright family. A family that has staked it very existence on the fact that we need a seismic shift in the way we create, present and support theatre.’