The number of original plays and musicals produced by the UK’s leading subsidised theatres has dropped by nearly a third over the past decade, according to BBC research.
In 2024, only 229 new productions were opened by the 40 most heavily funded theatre companies, down from 332 in 2014—a decline of 31%.
Theatres such as the National Theatre and the Colchester Mercury cite rising costs and funding cuts as major contributors to this downturn.
Kate Varah, executive director at the National Theatre, recently stated that many in the sector are nearing “breaking point.”
Similarly, James Brining of Leeds Playhouse acknowledged reducing their in-house productions from 12 to eight per year due to escalating expenses.
This cutback has reduced opportunities for emerging artists, as fewer shows mean fewer chances for early-career professionals to gain experience.
Industry veterans like actress Lesley Manville have raised concerns about the impact on young talent, warning that stage work opportunities are diminishing compared to previous decades.
Carl Woodward, a theatre blogger and arts education consultant, highlighted the broader consequences for the entertainment industry, noting that many successful film and television actors began their careers in regional theatre—a path now at risk of vanishing.
Theatres are increasingly turning to co-productions with other venues or commercial partners to manage costs.
While this has enabled the production of larger-scale shows, it has also led to a reduction in smaller, riskier productions that often rely on subsidies to be viable.
Rachael Thomas, chief executive at Birmingham Rep, pointed out that the venue’s loss of over £1 million in council funding has squeezed out many such projects.
In some cases, new work that once flourished in smaller spaces is no longer financially feasible.
Thomas reflected on the 1995 debut of East Is East in the Rep’s studio theatre, stating that staging a similar show today in their 133-seat space would be “nigh on impossible.”
Changing audience preferences have also influenced programming decisions.
Gareth Machin of Salisbury Playhouse noted that economic uncertainty makes audiences less willing to take chances on serious or unfamiliar productions, favoring more entertaining and predictable offerings instead.
Despite the overall downturn, a few venues have managed to increase their output.
Leicester Curve has notably expanded its work in musical theatre by partnering with commercial producers, which has helped double its box office revenue over the last decade.
Chris Stafford, Curve’s chief executive, emphasized the importance of resource-sharing to maintain production levels amid declining public investment.
Stephanie Sirr of Nottingham Playhouse acknowledged the challenges posed by soaring operational costs but praised co-productions for allowing theatres to stage larger works.
Nottingham’s production of Dear Evan Hansen is currently touring the UK as a result of such collaborations.
However, broader issues remain.
Annual public funding from UK Arts Councils has remained flat over the past decade, failing to keep pace with inflation.
At the same time, many theatres are dealing with cuts to local subsidies and ongoing recovery from the COVID-19 pandemic.
A recent survey by Freelancers Make Theatre Work described a workforce on the edge, struggling with poor pay, job insecurity, and burnout.
Spokesman Paul Carey Jones said the findings should be a wake-up call to government and industry alike, urging systemic reforms to protect the freelance workforce that underpins British theatre.
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