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Twespians Event

Hosted by Whatsonstage.com deputy editor Andrew Girvan, the latest Twespians Fringe event brings PRs and journalists together with a panel discussion on ‘Theatre PR: Are we doing all we can?’

PR has been changing as an industry at the same rate that Twitter changes trending topics recently. Is theatre PR keeping up with the moving industry? We discus the good side and bad side of current theatre PR, where we can move forward and where we need to trim the fat in an industry that Lyn Gardner refers to as ‘criminally undervalued’.

The event combined a combination of questions from Andrew, the live audience and Twitter.

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News has slowly spread that Musical Theatre @ George Square will not be operating as a dedicated musical theatre venue again this summer. No official announcement seems to have been made but companies looking for venues for their 2010 Edinburgh Fringe run have had the news confirmed by the Edinburgh University Festivals Office. The Festivals Office, which previously played a large role in the running of the venue advised looking to other Fringe venues.

Operated as a dedicated home for musical theatre on the Fringe, the venue first opened it doors for the 2008 Fringe with programming and leadership from then Head of Musical Theatre Matters UK and ex-Head of Licensing with Cameron Mackintosh, Chris Grady at the helm. Chris has since moved on to become Head of External Relations at the Theatre Royal Bury St Edmunds whilst his job administering Musical Theatre Matters UK has passed to Laoise Davidson. Chris retains chairmanship of the organisation but presumably does not have time to programme and manage a Fringe venue in addition to his new job.

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Musical Theatre on TV: Glee comes to E4 December 15I have quite an admission to make. I have just spent the evening gorging on the first 8 episodes of Fox’s surprising ratings winner, Glee. I first read about the American musical comedy series on Ken Davenport’s blog, Producer’s Perspective, where he highlighted how good for Broadway the series was. Ken felt it was a great way of getting Broadway stars working in a high profile project as well as bringing musical numbers into line with pop songs and onto TV.

It would appear that the launch and marketing behind this musical theatre bonanza could not have been better primed. The pilot episode was premiered straight after an episode of American Idol in May, capturing a ready made audience of tweens, lovers of all things camp and those who appreciate a tight dance routine – the perfect musical theatre audience.

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