In The Paper

From a London council estate via an Oxbridge education, Theresa Heskins is now making in Staffordshire as the artistic director of the New Vic Theatre. Steve Orme speaks to her to find out about what drives her, the importance of engaging the whole community and what the theatre has planned in its programme of events

I wanted to take the audience on a bit of a theatrical adventure, tell a narrative as much through the physical and visual language as through the text. I was surprised how immediately and quickly the audience grasped it and were excited by it.

Dave Gorman’s show Genius returns to BBC2 next month as part of the Corporation’s autumn comedy season. We talk to the travelling comedian about live touring, his darts obsession and the revamp to the Genius format

With TV being a slightly different medium, when we did that kind of “we’re taking ourselves very seriously, finding geniuses and it will be good for the country” thing, it sort of looked like we meant it.

The tongue in cheek element wasn’t always apparent, even though it was there in our intentions. So we wanted to make it more relaxed and more of a conversation.

The New Diorama Theatre, which opened in April, is gearing up for its first official season with a diverse schedule of epic tales and gripping yarns. David Byrne, the venue’s programme manager, shares his vision with Elizabeth Davis and reveals his ambitions to offer a London home for touring companies

As the Royal Court is the place of writers, I want this to be the place for ensembles… They love the fact they don’t have to beg — and that is so often the case, to get good space in London

Also this week:

• Southport singer James Loynes won The Stage/PureSolo search for a musical theatre star. We follow him as he takes up his prize, recording a song for Silva Screen Records’ forthcoming album of musical standards

• At one point it looked like the Edinburgh Comedy Awards — formerly the Perrier and if.comeddies — may not happen at all in 2010. Then Foster’s Lager stepped in as a sponsor. Simon Tait look at why corporate sponsorship is becoming increasingly important to the arts

• Dear John: How do I make best use of this year’s Edinburgh Fringe experience?

• Insight: In the sceond of two pieces exploring casting in the online age, head shot photographer Michael Wharley observes the accelerating pace of change and usggests actors - and agents - need to do more to keep up

• We are on the hunt for your regional theatre champions as we begin the search for the recipient of the Stage Award for Special Achievement in Regional Theatre, to be awarded at this autumn’s TMA Theatre Awards.

• Tblisi International Theatre Festival is making waves, and with a co-production showcasing at this year’s Edinburgh Festival Fringe, Nick Awde finds out how it is building an international reputation

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In the 1980s more than 15 million people regularly tuned in to watch Cannon and Ball performing every week on ITV. As their first TV series is released on DVD, the duo tell Tony Cooke about their rise and fall from fortune, finding God and what it takes to keep going

In the clubs, we were all over the place on purpose to get attention, because people were eating chicken in a basket. When we came to do television, we thought we could do the same thing. The director David Bell said the cameramen were falling over trying to keep up with us

She has become one of the most recognisable faces of the BBC prom season. Kim Criswell talks about her love affair with Rodgers and Hammerstein, why she calls some of their famous characters ‘the old trout’, and why London has become the place the Tennessee-born star calls home

If you are in love with the score of one of these classic musicals and you have the chance to see a symphony concert version of the show or a theatrical version, the symphony concert is the one where you will hear the music played as it originally was

Also this week:

• Andy Secombe talks about what it was like growing up in the shadow of his famous father Harry Secombe

• Insight: The headshot is, and will probably continue to be, a central feature of casting — but in the age of digital photography, should we embrace colour or stick with black & white shots? In the first of two articles looking at the future of casting in the digital age, Michael Wharley looks at evidence the time is right for a change

• Backstage focus: With a steam engine as one of its star performers, the live version of The Railway Children demands a lot of hard work for the backstage crew at Waterloo station

• Dear John: “I keep hearing that staying focused is the key to success. But how does this work when I have to do several jobs for a living?”

• We take a look at some of the many training opportunities outside the university or drama school route, including BTECs, HNDs, private courses and foundation degrees

• Does enforcing a minimum wage in the arts open up the profession to a wider variety of talent or limit the quantity and quality of productions making it to the stage?

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