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How House Plants Helped Me Through 2020

The Art of Writing an Arts Council England National Lottery Projects Grant Application

A Producing Manifesto

Tea with Jake: Furlough Edition

Surviving the Edinburgh Festival Fringe: How to Stay Healthy

Survival Tips for Producing at the Edinburgh Festival Fringe

Snuff Box Theatre BLUSH

What I Learned From Theatre Producing in 2016

London Doesn’t Need Anymore New Theatres

Theatre 2016 Conference and the Arts Council England – Accessibility for who?

Changes to the Grant for the Arts application form from Arts Council England: What you need to know

Seeking an Assistant Producer: Snuff Box Theatre

Shelter me - Circumference

Advice For Independent Producers: When Loneliness Approaches

A Room For All Our Tomorrows

Being Gay and Finding Hope in Dance: Igor and Moreno’s A Room for All Our Tomorrows

Ai Weiwei at the Royal Academy: Freedom Through Art

Reading About Contemporary Art: Dialogues with Marchel Duchamp

Falling in Love with Theatre Companies: A Love Letter to Made in China

Reading About Contemporary Art: Grayson Perry’s Playing to the Gallery

Lessons Learned from the Edinburgh Festival Fringe

Edinburgh Fringe Festival 2015: Top Picks

Why Take Theatre to the Edinburgh Festival Fringe?

Tea in Edinburgh

Edinburgh Festival Fringe: Talk with me over Tea

Men’s Mental Health: Watching Bryony Kimmings’ Fake It Til You Make It

Reading About Contemporary Art: Sarah Thornton’s 33 Artists in 3 Acts

Can Crowdfunding Become Addictive?

Soundscapes at the National Gallery: How do we hear art?

Battersea Arts Centre: At the heart of our community

Education and Engagement: Strangling Young People and the Arts

Theatre is not a club, so why do we make it feel that way?

Top 10 Theatre Moments of 2014: An Idiosyncratic View

Crowd Funding for the Arts: Being Personal, Developing Trust and Creating Visuals

Dancing with Strangers: Fierce Festival’s Slow Dance

Theatre Festivals in the UK

A List of Theatre Festivals in the UK

Barbican Centre

Cultivating Future Audiences or Why I’m Becoming a Member of Barbican Centre

Art in a Vacuum: The Future of Arts Journalism

Review: Drawing The Line, Hampstead Theatre

Review: Operation Crucible, Finborough Theatre

Suspend Disbelief Stuart Semple

Review: Stuart Semple’s Suspend Disbelief, Heritage Rooms

The Light Princess

Review: The Light Princess, National Theatre

Theatre Critics

What is the Future of Theatre Criticism? A Hurtling Car-Crash

Review: Secret Theatre Show One, Lyric Hammersmith

Wicked

Review: Wicked, Apollo Theatre

Secret Theatre

On Revealing Lyric Hammersmith’s Secret Theatre: Mark (Scrooge) Shenton

The Gap Between the Words I and Do: A speech for my sister’s wedding

Edinburgh Fringe Festival: Motherland, Vincent Dance Theatre

Edinburgh Fringe Festival: I Wish I Was Lonely, Chris Thorpe and Hannah Walker

Edinburgh International Festival: Embers, Pan Pan Theatre

Edinburgh International Festival: Eh Joe, Gate Theatre

Edinburgh Fringe Festival: For Their Own Good, Untied Artists

Edinburgh Fringe Festival: La Donna è Mobile, Remote Control Theatre

Edinburgh Fringe Review: Ours Was the Fen Country, Dan Canham

Edinburgh Fringe Review: Don Quijote, Tom Frankland

Edinburgh Fringe Festival: The Way You Tell Them, Rachel Mars

Edinburgh International Festival: Histoire d’Amour

Edinburgh Fringe Festival: The Man in the Moone, Rhum and Clay Theatre

Edinburgh Fringe Review: Globophobia, Dave Fargnoli and Lindsay Miller

Edinburgh Fringe Festival: Titus Andronicus, Smooth Faced Gentlemen

Edinburgh Fringe Festival: Freeze!, Nick Steur

Edinburgh Fringe Review: The Portrait Firm, Council of Handmade Crap

Edinburgh Fringe Festival: HeLa

Edinburgh Fringe Festival: Missing, Gecko Theatre

Edinburgh Fringe Festival: Lauder!, Teatr Hotel Malabar

Edinburgh International Festival: Hamlet, Wooster Group

Edinburgh Fringe Festival: Gym Party, Made In China

Edinburgh Fringe Festival: Solfatara, Atresbandes

Edinburgh Fringe Festival: Titus, MacRobert

Edinburgh Fringe Festival: The Various Lives of Infinite Nullity, Clout Theatre

Review: Circle Mirror Transformation, Royal Court Theatre

Some Thoughts: Big Mouth, Skagen Theatre at Soho Theatre

Review: Charlie and the Chocolate Factory, The New Musical

We Need Societal Culture to Change, Not Advocacy for Arts Funding

Fuelling Creativity: It Lives and Breathes in Everything

Review: Gutted, Stratford East

Review: Fräulein Julie, Barbican Theatre

Review: Table, National Theatre: The Shed

What is the Future of Digital for the Arts: Series 2 – 2013’s Strategies

What is the Future of Digital for the Arts: Series 1 – Understanding

What is the Purpose of Theatre? Who is it For?

Review: Tatty Tales, National Student Drama Festival

Review: Twelve Dancing Princesses, National Student Drama Festival

Theatre-Makers and Critics: Beyond the Press Night

Review: Steptoe and Son, Kneehigh Theatre

Review: Port, National Theatre

Review: The Captain of Köpenick, National Theatre

Review: Choir Girl, Adelaide Fringe Festival

Review: The Book of Loco, Adelaide Fringe Festival

Review: Insomnia Cat Came To Stay, Adelaide Fringe Festival

Review: Glory Dazed, Adelaide Fringe Festival

Review: The Blue Room, Adelaide Fringe Festival

Review: Angry Young Man, Adelaide Fringe Festival

Review: The Unstoppable, Unsung Story of Shaky M, Adelaide Fringe Festival

Review: One for the Ugly Girls, Adelaide Fringe Festival

Review: Breaker, Adelaide Fringe Festival

Review: …HIM, Adelaide Fringe Festival

Developing Critical Communities for Theatre Writing

Review: Perfectly Wasted, Downstage Theatre

Review: War Horse, New London Theatre

Discuss: Rest is Best

Review: Kooza, Cirque du Soleil

Review: Salad Days, Riverside Studios

Review: Viva Forever!

Review: Privates On Parade

Review: The Architects

Review: Beats, Kieran Hurley

Review: Constellations, Duke of York’s Theatre

Review: The Effect, Headlong Theatre

Review: As the Flames Rose we Danced to the Sirens, the Sirens – Sleepwalk Collective

Review: Khadija is 18, Finborough Theatre

Review: Nosferatu, TR Warszawa

Review: The Kingdom, Soho Theatre

Reacting to Contemporary Art: Tim Walker’s Story Teller at Somerset House

Review: London, Paines Plough

Review: Medea, Headlong Theatre

Review: The Tear Thief, Little Angel Theatre

How Do You Fail in the Arts?

On the Beauty of Theatre Brochures and Print Material

ScratchR – Battersea Arts Centre Launches An Online Scratch Platform

The digital home of Jake Orr

Arts Organisations and Twitter: Telling the stories

Review: A Progress, The Yard Theatre

Review: Gulliver’s Travels

Review: Mess, Traverse Theatre

Review: Songs of Lear, Summerhall

Review: After The Rainfall, Curious Directive

Review: Chapel Street

Review: Strong Arm

Review: William, Flanagan Collective

Review: 25: 13 Red, 12 Blue, Middle Child Theatre

Review: Waiting For Orestes: Electra, Kings Theatre

Review: And No More Shall We Part, Traverse Theatre

Review: Grit, Tortoise in a Nutshell Theatre Company

Review: Eurydice, UCLU Runaground

Review: Outland, Belt Up Theatre

Review: Botallack O’Clock, Third Man Theatre

Review: Puppet. Book of Splendor, neTTheatre

Review: Blink, Traverse Theatre

Review: Ceasarean Section. Essays on Suicide, Teatr Zar

Review: Don Quixote! Don Quixote!, Panta Rei Theatre Collective

Review: The Darkroom, Witness Theatre

Review: Ten Billion, Royal Court Theatre

Review: you’ll see [me sailing in antarctica], National Theatre

Review: Ganesh Versus the Third Reich, Stratford Circus

Review: 100% London, Hackney Empire

Review: The Dark Side of Love, Roundhouse

Review: Sluts of Sutton Drive, Finborough Theatre

Review: Motor Show, LIFT Festival

Review: Get Stuff Break Free, National Theatre

Review: Prometheus Awakes, Graeae

Review: Crow, The Borough Hall

Review: Gatz, Elevator Repair Service

Review: The Rest Is Silence, Dreamsthinkspeak

Speech: The Future of Theatre Lies in the Community

Review: Daybreak, Notion Theatre Company

Review: Something Very Far Away, Unicorn Theatre

Review: PULSE Festival 2012

Writing with Emotion and Death in Theatre

Review: The Suit, Peter Brook

Review: Three Kingdoms, Simon Stephens and Sebastian Nübling

Review: Make Better Please, Uninvited Guests

Should Arts Organisations Use Twitter?

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