Now that the votes are counted, the leaflets binned and the posters removed, what will the elections of 2016 mean for the arts?
Antony Thorncroft takes a stroll down memory lane that leads him up surprising byways
Deafinitely Theatre was founded 14 years ago to be a showcase for deaf talent, for hearing as well as deaf audiences. its artistic director is the actor and director Paula Garfield, who is herself deaf
The innovative and unconventional Opera Holland Park marks its 20th birthday this summer with a new independence, a new season – and a film. AI talks to its founder Michael Volpe
The Lowry’s chocka calendar has had an extra festival squeezed into it around may day. its chief executive, Julia Fawcett, explains
AI talks to the film maker Phil Grabsky about Exhibition on Screen and a new way to see art
There are almost 200 events happening in London on and around April 23, the 400th anniversary of Shakespeare’s death, from a midnight matinee of Much Ado About Nothing on the remains of the first Bankside Tudor theatre, The Rose, to the recreation of Elizabethan honey and mead doughnuts. AI talks to Dr Lucy Munro (left), co-ordinating the events from King’s College
Simon Tait on how the Royal Shakespeare Company’s plans for marking the death of its inspiration on the 400th anniversary this month are both contemporary
and a credit to the bard
Storme Toolis burst onto the national scene three years ago in BBC TVs New Tricks, one of the few disabled actors to appear on screen whose disability is not a feature of the plot. now the 23-year-old has taken on one of the most demanding roles in the shakespearean canon – in a production of which she is creative director and which is the subject of a forthcoming television documentary
Barrie Rutter first played Macbeth on the quatercentenary of Shakespeare’s birth, so it’s fitting that here he is again on the stage at Leeds West Yorkshire Playhouse, some 52 years later, strutting his stuff as Sir John Falstaff in The Merry Wives on the 400th anniversary of the great playwright’s death.
Antony Thorncroft, a fan for 50 years, advises English National Opera to abandon its shock tactics and look to its laurels to survive