A unique opportunity to gain insight intohow we successfullymarket shows at
the UK's largest working theatre and as part of the Ambassador Theatre Group.
Drinks reception and networking to follow.
Since you’re here…
… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.
You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids. Donate to Mama Biashara now
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa. Donate to Theatre MAD now
Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £600,000 to support theatre workers affected by the pandemic. Donate to Acting For Others now
that she’s such a much-loved public entertainer, an all-too-obvious challenge
in creating a musical based on the early life of the late Cilla Black—born
Priscilla Maria Veronica White—is that, while she certainly had some big hit
singles—“Anyone Who Had a Heart”, “You’re My World”, and “Alfie”, to name just
three—her back catalogue of really familiar hits arguably isn’t large
enough to fill a two-hours-plus musical...
To present such a talk upon the ins and outs of theatre at its bare business-driven bones is both innovative and opportune during the fracas of the Fringe, when an attentive audience is sure to be had...