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© Elias Djemil-Matassov What a year it has been, one which has proved three things simultaneously. The first is that faced with a disaster, theatre people are inventive, resourceful, and endlessly resilient. The second is that there is a real thirst among the public for what they do; since theatres closed across the country in March, every single flicker of activity and life, be it online or in socially-distanced spaces, has been supported, enjoyed and cheered to the rafters. The third is that for all their fine words, and a modicum of financial support, our government doesn t quite understand either of these things. Of course, the arts aren t the first priority in a pandemic, but the theatre business, and in particular its endlessly creative and hopeful freelances, have been treated shoddily, thanks to a lack of knowledge about how theatre actually works (it was heartbreaking to see houses struggle back to life only to be instantly closed, and at some cost) and a lack of sympath

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