Forcepoint specialises in providing centrally-managed security, which provides protection wherever data is, regardless of where increasingly-mobile users are located.
The performing arts venue on London's South Bank presents more than 3,000 live performances each year. It relies on extensive collaboration between people on highly sensitive information. In IT terms this means a variety of users sharing documents across a variety of devices and software platforms, all around the world.
"The reason we chose Forcepoint is because it's a platform-as-a-service and a cloud technology, so it's on all of our devices all of the time," George Tunnicliffe, the head of IT operations at the National Theatre told Computerworld UK.
"The combination of seeing where your data is going, assisting the users in using the internet, and keeping them safe without them having to really think about it is really crucial and useful for us. We didn't want anything to interfere with their work, and we don't want to set up lots of onerous policies."
Tunnicliffe is responsible for keeping up to 1,200 members of staff, the theatre's intellectual property (IP) including scripts and stage designs, and the private information and correspondence of actors, directors and designers safe from cyber attackers.
The recent hacking scandal at American TV network HBO showed that no production company is too big to be breached. Attackers stole an unreleased Game of Thrones screenplay and unaired episodes of hit shows such as Ballers and Room 104. According to the Hollywood Reporter, the 1.5 terabytes of data stolen was seven times that of the infamous 2014 Sony hack linked to The Interview, a comedy about North Korea.
The National Theatre wants to ensure that the plays it produces don't join the growing list of leaks. Its information is stored and shared across various services, such as Google Drive and with cloud-based document storage vendor Box. The theatre recently migrated from its on-premise Microsoft Exchange system to Office 365 to improve collaboration in the cloud.
The workforce regularly changes across productions and is highly mobile. They may be working in the South Bank theatre, at home, or with a producer at an international location, which makes access controls and onboarding extremely important.
"There's a lot more collaboration in the theatre across different mediums that I've not seen at this level anywhere that I've worked before," says Tunnicliffe. "A lot of adjustments of plans, things going back and forwards, and lots of people looking at one document."
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