Taylor Leigh Lamb’s Post

This is a sad day for Black British Theatre. Eclipse Theatre has shut down. Black British Theatre has been feeling the heat in recent years, especially after the pandemic. Covid was a real disaster for the theatre world. Creatives are also feeling it because to survive is getting harder. When the foundation shuts down like this, it affects more than the people who work at this particular theatre company. It affects the ecosystem. Theatre as a whole has been going through a rough time since the pandemic ended. You may have noticed ticket prices have gone up a bit. Maybe you noticed the theatre was cold during a show like a friend pointed out to me. I like the cold, so it doesn't bother me. However, she was freezing. Her theory, it could be they are turning down the heating to save cost. That was a new one for me. It never crossed my mind. Things have been tight. The Stage digital platform has had a number of stories about this. There was hope the budget would soften the blow. If the big boys and girls of theatre are struggling, imagine what the small league members are dealing with. Multiply that by 10 for Black British theatre companies and practitioners. One of the issues at the core of this struggle for the theatre space is FUNDING! Same with other creative sectors. I can't help but think about Talawa Theatre and Tiata Fahodzi at this time, and other pioneering Black British Theatre Companies? While we await the full context - https://lnkd.in/eMTBdnzk - for the shutdown of Eclipse, we hope for the survival of the ones we have left. #Theatre #BlackBritish #BlackBritishTheatre #BlackStories #BlackNarratives

🎭 I started working at Konträr in August, Konträr is Sweden’s only contemporary international and national theatre. Sadly, due to a lack of funding, Konträr had to close its doors in September. 💔 In just two years, Konträr showcased 50 premieres, featuring both Swedish and international artists. 🌍 Despite the overwhelming support, the real challenge isn't ticket sales or public interest but the lack of state funding for culture. It’s a harsh reality that many think ticket sales alone can sustain a theatre, but that’s simply not the case. This closure raises important questions about the future of art and culture in Sweden. How can we keep producing bold, innovative theatre when the system doesn’t support us? 🤔 I wonder—is this a unique issue in Sweden, or are theatres worldwide facing similar challenges? I’m eager to hear how other cultural institutions are managing in this environment. Running a theatre is a lot like running a business, but with its own set of challenges: while companies can generate profits through various products or services, theatres often rely solely on ticket sales, which aren’t enough to cover all expenses. Despite these challenges, the desire for theatre remains strong in our society. So, how can we continue to provide this vital cultural experience? 🎭 I’m incredibly grateful to be part of the Konträr team during these trying times. We’re not giving up—we’re strategizing and hoping for a way forward. 🙌 While I don’t have the wealth or influence to save the theatre myself, I do have a voice. 🗣️ I hope this message resonates with those who value the arts. Let’s raise awareness, discuss what’s happening, and advocate for a future where culture is prioritized and funded. 💪 👉 If you believe in the importance of culture, please share this post to help spread the word. If you have ideas or want to support Konträr financially or in other ways, please reach out— https://kontrar.se/ Together, we can make a difference! 💬 #Konträr #SaveKonträr #CultureMatters #ArtsInCrisis #Theatre #SupportTheatre

Check out this great article with Garlia Cornelia Jones and her work!

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

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.

There can be so much "gloom and doom" in our field, it is important to shine the spotlight on what is working. Thirty years ago, Robert Brustein warned the field of becoming McTheatre - if everyone produces the same thing, we run the risk of destroying our hyperlocal importance. The companies in this article illustrate his foresight.

Nine successful years and first results in the fight against toxic theater structures in the German-speaking theater system It was only 9 yrs ago that we all began to fight for a better theater system and for better working conditions. Discussions about abuse of power, overstepping of boundaries and management mistakes only began in 2015 with the theater directors K Sibelius at the Theater Trier and M Hartmann at the Burgtheater in Vienna. Since then, the ensemble-network and many other action groups have been formed, articles have been written, the book "Theater, Krise und Reform" was published in 2016, and a discourse space has developed that advocates changes in organizational structures, the fight against abuse of power and the development of new management models. In the process, many board members who had abused their positions of power for their own benefit and who had not used their power carefully enough fell victim. 9 years - a very short time, but one that has already brought initial success. But it is not enough, because there are still toxic directors in power, there are still special regulations and production conditions for theater directors, organizational structures need to be transformed, salaries are still too low and working hours are still abysmally bad. So there is still much to be done. But as the success so far shows, it can be done. The example of the first two directors held accountable shows that the public is interested in these cases. What is striking, however, is that the charges are dropped - in exchange for a payment of only 10,000 euros. Those who have earned a lot can afford expensive lawyers... Nachtkritik writes: "Karl Sibelius, general director of the Trier Theatre from 8/2015 to 11/2016 with overall responsibility, has to answer for breach of trust before the Trier Regional Court as of today. Various media, including SWR, are reporting this in unison. Sibelius (...) is accused of exceeding the theater's budget by 1.3 million euros in 2015 and 1.7 million euros in 2016. The city reportedly had to take out a loan of one million euros to cover the deficit. Sibelius' lawyer, Andreas Ammer, reportedly said that the allegations in the 53-page indictment were essentially correct. However, the wrong conclusions were drawn from them. (...) It was not until May 2016 that it became clear that the budget had been exceeded. Sibelius, whose contract was to run until 2020, was let go early. The city had to pay 300,000 euros in compensation. (...) The case was dropped on the first day of the hearing "in exchange for a payment of 10,000 euros," according to SWR. The chamber wanted to "keep things in perspective" and suggested dropping the case due to "lesser guilt". (9/2/24) https://lnkd.in/e7ctzdZ4

Theatre offers a host of benefits for beginners, from boosting confidence and communication skills to fostering creativity and empathy. It’s also a highly entertaining and enriching activity, providing a unique way to engage with art, culture, and community. Whether you’re interested in acting, directing, or simply enjoying performances, theatre has something valuable to offer. ✨Entertainment Value of Theatre 🎈Live Performances 💅🏻Immediate Connection: Unlike movies or TV shows, live theatre provides an immediate connection with the performers, creating a unique and engaging experience. 💅🏻Unpredictability: Each performance is different, with the potential for unexpected moments that make live theatre exciting and dynamic. 🎈Variety of Genres 💅🏻Diverse Offerings: Theatre offers a wide range of genres, from comedy and drama to musicals and improvisation, catering to various tastes and interests. 💅🏻Something for Everyone: Whether you enjoy a classic Shakespearean tragedy, a light-hearted musical, or a thought-provoking modern play, there’s something in theatre for everyone. 🎈Interactive Experiences 💅🏻Audience Participation: Some theatre performances, especially improvisational and experimental theatre, encourage audience participation, making the experience more interactive and immersive. 💅🏻Close-Up Action: In smaller venues, the audience can experience the action up close, adding to the intensity and involvement. 🎈Educational Value 💅🏻Learning Through Entertainment: Theatre often deals with important social, historical, and cultural themes, offering education through entertainment. 💅🏻Historical Context: Many plays provide insight into different periods of history, making learning engaging and enjoyable. 🎈Social Experience 💅🏻Community Building: Participating in or attending theatre can help you connect with like-minded individuals and become part of a creative community. #deeyahanna #deeya #hanna #cathartic #theatretherapy #healyourinnerchild #transformationaltheatrecoach #theatre #therapy #theatreofthefuture #theatreoftommorrow #digitaltheatre #digitaltransformation #theatre #therapy

Scenario-1 You have spent money to purchase the latest movie tickets, to enjoy the lavishness of theatre, or to cherish the large-scale moments at theater. While in the theatre, you decide to watch the movie later, when it will appear on various OTT or similar platforms, and surf through social media apps or sites. How many of you have done this, and how many times have you done it? Never, right? As the theatre experience is uniquely different and fun to enjoy, observe the life-sized, rather larger than life-sized, thoughtfully woven events for your entertainment. Theatre fun is impossible to get in four walls of a home. Generally, you plan such an occasion with friends and family by spending quite an amount, so you wish to be there and relish every moment of it to its maximum. You know how costly it is to see the large screen these days, and hence we generally do it once in a while, not every day or regularly. Continued...

Theatre is only for the rich! Or at least that's what it's beginning to feel like these days with some top price tickets in the West End reaching as much as £300 a seat! 💰 💰 💰 How many people can afford that?! Especially when you add travel to London on top, and for those who are too far away for a day trip, overnight accommodation as well. Suddenly a trip to the theatre is costing as much as a 4 night holiday in Spain! And it's not just the West End that's expensive. Local theatres can be pricey too... though maybe not quite as eye watering as £300pp. Last season, many theatres had their panto ticket prices at £50... £200 for a family of 4... plus parking, plus drinks, plus sweets, plus a programme, plus merch! It makes it a very expensive day out. According to a report published by Campaign for the Arts and Data Culture Change, based on a survey by the Department for Digital, Culture, Media and Sport, only 28% of UK adults attended the theatre between Oct 21 and Sept 22. This is a shockingly small number of people. Could the price of the tickets be a contributory factor? And if such a small percentage of adults are going, then how many children get to go? Or is the school panto the only experience of live theatre for the average child these days? How about you? When did you last go the theatre? Would you go more often if it were more affordable? https://lnkd.in/eJSRU8B4