Over the past ten to fifteen years, the UK’s theatre sector has faced mounting challenges. While the COVID-19 pandemic brought its struggles into sharp focus, the deeper story is one of long-term underfunding, arts cuts, regional inequality, and systemic neglect. For drama teachers, this has real consequences, not just for how we teach, but for how we nurture the next generation of theatre-makers and storytellers.
A recent BBC article has drawn attention to some of these issues. It also noted a far more human problem: the significant drop in new plays being produced in the UK. And behind that drop lies a sobering reality. Theatre is currently under threat… again!
A decade of damage
According to a 2024 report by the Musicians’ Union, local authority spending on arts and culture in England has fallen by 35 percent in real terms since 2010. Many councils have now cut arts funding altogether. This trend is mirrored across the UK, with devolved nations experiencing similar, or in some cases more extreme, reductions.
Data from the House of Lords Library shows core government funding for Arts Council England dropped by 18 percent in England, 22 percent in Scotland, 25 percent in Wales, and a staggering 66 percent in Northern Ireland. At the same time, local government contributions fell by nearly half in England.
These cuts have created a fragile funding ecosystem, one where major institutions are pitted against grassroots organisations for limited resources, and regional venues are consistently overlooked.
The Independent reported that 82 percent of public arts funding in England goes to London, despite the capital accounting for just 16 percent of the population. While the city’s cultural offering is rightly celebrated, this imbalance has left many regional theatres chronically under-resourced.
By User:Cj1340, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=50574203
Regional theatres like The Royal Theatre, Northampton, are under threat.
Regional theatres are at breaking point
Lyn Gardner, writing in The Stage, warns of a looming collapse in regional theatre, calling it a crisis that is being dangerously underplayed. She notes that small and mid-scale venues across the country are facing closure, and those that remain open are having to reduce their programming, cut staff, or abandon education departments altogether.
These theatres are more than performance spaces. They are community hubs, training grounds, and cultural lifelines. They offer first jobs to actors and directors, and first theatrical experiences to countless young people. Their disappearance has far-reaching implications for who has access to the arts, and who sees themselves as welcome within them.
Regional theatre is also often the starting point for massive West End and world hits – think of “Blood Brothers”, “East is East”, “Teechers” and many more which all strated in regional theatre.
The English National Opera and the reality of relocation
One of the clearest signs of this shift came when Arts Council England announced it would remove funding from the English National Opera unless it relocated from London to Manchester. While the intention may have been to support cultural investment outside the capital, the manner and speed of the decision sparked uproar.
Relocation is not as simple as booking a new theatre. It affects jobs, audiences, and entire artistic ecosystems. The ENO example is a warning to all institutions: adapt quickly or risk being cut off.
For schools and colleges, especially those already stretched for resources, this instability is worrying. When large-scale companies struggle to stay afloat, smaller ones have little chance of survival without sustained support.
By Mike Quinn, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=14002927
The impact of the pandemic
Although long-term funding cuts set the stage here, we can’t forget the impact that the pandemic had on pulling the curtain down. It’s not the first time in British theatre history that theatres have been forced to close – plague outbreaks in Elizabethan times, recent world wars took their toll. The political elite banned theatre altogether for 18 years between 1642 and 1660!
In recent times, from early 2020 and through much of 2021, theatres across the UK were closed. Productions were cancelled, tours were halted, and freelance creatives lost all income. Many companies tried to adapt with digital programming or streamed performances, which was a testament to their tenacity and adaptability, but the trickle of revenue never truly matched what was lost.
TicketSource reported that between 2019 and 2021, the number of theatre productions dropped by 67 percent. Audience numbers per performance dropped by 37 percent.
Even now, despite a recovery fund and innovation in the sector, the revival is slow. Many audiences have not returned. Venues face higher running costs due to inflation and staffing challenges. For drama students, this has meant fewer shows to watch, fewer professionals to meet, and fewer chances to feel part of a wider creative industry.
What it means for drama teachers and students
Theatre does not exist in a vacuum. What happens in regional playhouses and national venues ripples through classrooms across the country. Here are some of the consequences we face:
Fewer live performances for study
Many GCSE and A-level specifications require students to experience live theatre. For years, this meant school trips, local productions, or even touring performances visiting schools. Now, with fewer shows being staged, access is harder to secure. And when tickets do become available, rising prices and travel costs can make them unaffordable.
In response, teachers are increasingly turning to digital platforms. While filmed performances can be helpful, they cannot fully replicate the energy and immediacy of live theatre. Students miss out on the communal experience, the unpredictability, and the sense of shared space that makes theatre unique. When you are trying to teach the students about the audience connection that the actors need to create, it’s much more difficult if you are watching a filmed version of the show.
Shrinking career pathways
As the industry contracts, so do the opportunities for young people who dream of working within it. Where students once saw a clear route into acting, design, or directing, many now see only uncertainty.
Worse still in my opinion, schools are under pressure to steer students towards “safer” subjects, often at the expense of the arts. Some schools have reduced drama teaching hours. Others have cut the subject altogether at Key Stage 4 or 5.
For many young people who learn best through movement, storytelling, or collaboration, this is a real loss and something to be fought. See my article: https://drama-teachers.com/why-drama-should-be-included-in-school-curriculums/.
Loss of local inspiration
In the past, students might have encountered professional actors leading workshops, seen backstage tours of nearby theatres, or worked on youth productions. But with local venues struggling, many of these outreach programmes have disappeared.
Without visible, local examples of creative success, some students may never realise what is possible.
How can drama teachers respond?
Despite the challenges, drama teachers remain an incredibly resilient and resourceful bunch! “Never say never” is a motto we often adopt in all aspects of our work. Here are a few ways to continue making a difference in this changing landscape:
Advocate clearly and often
Use the data from recent reports to make a case for drama within your school. Link it to employability, well-being, and academic progress. Show that drama is not a “soft” subject, but a space for real learning and development, a source of invaluable life skills and a creative force for the future, whatever industry students finally end up in.
Make the most of digital resources
Platforms like Digital Theatre Plus, the National Theatre Collection, and YouTube channels from theatre companies offer high-quality recordings and behind-the-scenes content. These can help bridge the gap when live theatre is out of reach.
Build or rebuild local partnerships
Even struggling theatres may welcome collaboration with schools. Whether it is a Q&A, a rehearsal visit, or help promoting a youth production, reconnecting with local venues can benefit everyone. Could you use your local theatre for your next production instead of your school hall? Isn’t is worth asking?
Encourage student-led work
When professional productions are thin on the ground, let students create their own. Encourage them to write, devise, direct, and perform. Use what is happening in the industry as a stimulus for discussion and creativity. Ask them what kind of theatre they want to make, and why.
Signs of hope
There are reasons to be hopeful. Actor Michael Sheen’s announcement of a new Welsh National Theatre is a powerful gesture, reminding us of what can be achieved with vision and purpose. Campaigns across the UK are calling for a fairer distribution of funding and better recognition of regional venues.
Community theatres, amateur groups, and school productions continue to provide joy and meaning in towns and cities across the country. The spirit of theatre has not disappeared. But it does need protecting.
A shared responsibility
We are now at a turning point. If we do nothing, we risk losing the infrastructure that supports future generations of artists, technicians, and storytellers. But if we act, advocate, and adapt, there is still time to build a more equitable, vibrant theatre culture.
Drama is not just about entertainment. It is about connection, communication, and transformation. In our classrooms and studios, we hold the future of that tradition in our hands. We also have a long tradition of fighting back and making our work more relevant than ever in the face of attack from any quarter. So, let’s not give up now.
Let us make sure the next act is one worth watching for our own sake and for the generations to come.
References:
- Musicians’ Union (2024). The damage caused by a decade of arts funding cuts
- The Independent (2023). Regional theatres face ruin due to underfunding
- House of Lords Library (2024): Impact of the budget 2024 on the cultural sector
- The Stage (2024). The show can’t go on – time to raise the alarm
- TicketSource (2021). Theatre Trends Report
- BBC News (2025). Big drop in plays staged by theatres over the past decade
- ITV X (2024). Funding confirmed for Welsh National Theatre
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Why Drama Should Be Included In School Curriculums
This article really hits home. The impact of a decade of arts cuts goes far beyond just fewer performances or canceled programs—it affects the creative confidence and emotional expression of an entire generation. Drama and the performing arts play such a crucial role in helping students build communication skills, empathy, and self-awareness, and it’s heartbreaking to see those opportunities steadily diminish.
In many ways, these cuts send a message that the arts are “non-essential,” when in reality, they are essential to a well-rounded education and to the cultural richness of society as a whole. It’s encouraging to see educators and advocates continuing to fight for the value of the arts despite the challenges.
This piece is an important reminder that the stage may be quieter, but the need for creative spaces is louder than ever.
Hi Edmund. Thanks for your comments here and I’m so glad you feel that the arts are a crucial part of education. I certainly do and most of the people I know have found some solace in the arts in one way or another. Like I often say, not many of us return home from a hard day’s work and decide to tackle a GCSE maths paper! And I love Maths!! Instead, we turn on the TV, watch a film, read a book or listen to music – these are all rooted in the arts and we need to recognise that they are as essential to our wellbeing as a trip to the doctor’s or the water than we drink!
Hello Gail!
Thank you for your powerful and heartfelt article on the impact of a decade of arts cuts. As someone who has witnessed firsthand the transformative power of the arts in education and community, your words deeply resonate with me.
The statistics you’ve shared are indeed alarming, highlighting the significant reduction in funding across the UK. The disproportionate allocation of resources, with 82% of public arts funding directed to London, leaves regional theatres and community arts programs struggling to survive. These local institutions are not just venues for performance; they are vital spaces for cultural expression, education, and community engagement.
The example of the English National Opera’s forced relocation underscores the challenges faced by even the most established institutions. Such decisions, made without adequate consideration of the broader implications, can disrupt entire artistic ecosystems and diminish access to the arts for many communities.
Your article serves as a crucial reminder of the importance of sustained investment in the arts. Without it, we risk losing not only cultural heritage but also the opportunities for individuals, especially young people, to engage with and be inspired by the arts. Thank you for shedding light on this pressing issue and advocating for the future of the arts in our society.
Angela M 🙂
Dear Angela. Thanks for your understanding and thoughts here. I’m so pleased that you benefitted from some arts funding when you were growing up and I only hope that we can turn the tide in the future so that generations don’t miss out. Everyone can do their bit – going to the theatre one more time a year, patronising local arts venues and supporting things online all help. Thanks for your input. Have a great day. Gail.