About Devoted & Disgruntled

Devoted & Disgruntled is a nationwide conversation about theatre and the performing arts, run by theatre company Improbable.


Author: Sarah Grange

Join the national conversation about the future of theatre

Run by theatre company Improbable, Devoted & Disgruntled is an ongoing conversation using Open Space Technology, giving theatre and performing arts practitioners the space and time they need to create positive change. 

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D&D is run on a non-profit basis. Help us to keep the space open for all, including Deaf, Disabled and disadvantaged participants


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Target amount: £1,000.00

Amount raised: £132.00

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Latest reports

  • #PhysicalFest 13 06 19. I am female leader, what do you need/want from me?

    "How do we improve female working class visiblility in the arts?" was the question posed at the start of day. As a female arts sector leader (Festival Director - therefore a programmer, fundraiser, commissioner, debater, network lead/contributor, ambassador, etc), I felt it was important to ask what people wanted or needed from me, as someone who has a voice -in certain spaces- to offer. I was trying to buck the assumption that I would already know what women wanted from their peers and lead Read more

  • Bridging the gap between core programming and education/participation work

    How can we better develop the connection between main stage and education/participation work? Is there a stigma attached to participation work from an audiences perspective that means they don't attend performances with this at its heart? Do audiences fear it will be of lesser quality therefore not want to risk wasting their valuable money? Read more

  • Bel Canto: Cog or Creative?

    A wide-ranging discussion about the role of the Vocalist within Opera Read more

  • Are international co-productions good for opera?

    The use of co-productions between opera houses across different parts of the world is claimed to be a way to pool companies’ resources and save money. However, is a consequence of this practice that such productions are likely to communicate less effectively with the audience of any single theatre because they are trying to reach too many different audiences at the same time and because taste varies so greatly across the world? Read more

  • An Ideal Critic? What should they be writing about? Who are they writing for?

    Charlotte called the session because, not being a musician herself, she often wonders whether she is really an ideal opera critic (her reviews coming from a dramatic, rather than musicological standpoint). Michelle also called the session, having identified several unanswered questions about critics and their working process in the course of her professional experience. Read more

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