Theatre at a Crossroads: Securing the Future of Wales’ Creative Workforce
Theatre, an art form with a lineage spanning millennia, faces an existential challenge. At the recent Future of Theatre conference, Graeme Farrow, Chief Creative and Content Officer at the Wales Millennium Centre, sounded an alarm: without decisive action, the industry may struggle to sustain a workforce in the coming decades. His warning underscores the need for collaboration, investment in skills, and a reexamination of artistic programming—especially in Wales, where theatre is deeply intertwined with cultural identity.
Graeme Farrow, Chief Creative and Content Officer (Image (C) Arts Professional)
The Workforce Crisis: Are We Losing Generations of Talent?
Farrow’s concerns are rooted in a visible decline in theatre professionals entering the industry. Nationally, reports from organisations such as UK Theatre and the Society of London Theatre highlight a skills shortage, particularly in backstage and technical roles. In Wales, this issue is compounded by a lack of long-term pathways for emerging creatives, leaving many feeling disconnected from the sector.
Recent research from Creative Wales suggests that fewer young people view the theatre industry as a viable career. The rise of digital entertainment and uncertainty around arts funding further complicate the landscape. If the trend continues, Wales risks losing not only performers but also directors, designers, and technicians essential to the craft.
Investing in Skills and Collaboration
Farrow praised initiatives such as the National Theatre’s expanded Skills Centre, made possible through major funding from Bank of America. Yet, he emphasised the importance of ensuring such schemes benefit young creatives nationwide—beyond major cities like London.
In Wales, the Sherman Theatre’s creative learning programmes and the Welsh National Opera’s youth initiatives provide vital training opportunities, yet their reach remains limited. Farrow’s call to “bring young people backstage” suggests that venues must actively partner with education providers and community organisations to demystify theatre careers and offer hands-on experience.
Programming and Risk-Taking: Building Tomorrow’s Audiences
Beyond employment concerns, Farrow warns of the dangers of stagnation in theatrical programming. His hypothetical scenario—where venues programme *Mamma Mia!* indefinitely to secure revenue—illustrates the tension between commercial sustainability and artistic innovation.
Risk-taking has historically propelled theatre forward, introducing audiences to new voices and narratives. Welsh productions such as *Iphigenia in Splott* and *Theatr Clwyd’s Home, I’m Darling* demonstrate how bold storytelling can resonate widely. However, many venues face financial pressures that dissuade experimentation. How can theatres balance commercial success with creative risk?
One potential solution is greater cross-institution collaboration. Farrow’s vision includes partnerships where venues collectively invest in bold productions, ensuring artistic work finds audiences beyond a single location. Such approaches could safeguard artistic diversity while maintaining economic stability.
A Call to Action for Welsh Theatre
Theatre is more than spectacle; it’s a reflection of society and a vehicle for cultural storytelling. Farrow’s warning should galvanise Welsh theatre-makers, policymakers, and audiences to safeguard the industry’s future. By embracing skills development, forging collaborations, and committing to artistic risk-taking, Wales can ensure theatre not only survives but thrives.