Apprenticeships in theatre: what are the options?
Apprenticeships are an alternative path into a career in theatre, offering a different mode of training that can work better for some young people and also help the sector tackle skills shortages and widen access. Ahmet Ahmet talks to those in the know to find out more about this route into the industry
There are many different pathways into a career in theatre, some more common than others. Apprenticeships are an alternative option to the more traditional routes of drama school or university training. They provide a paid careers development environment for young theatre talent and are helping the sector address skills gaps and widen access. There are various apprenticeship pathways available – some sector-specific to the theatre industry and others with transferable skills. They include: technical theatre, costume making, scenic metalwork and carpentry, as well as marketing, learning and participation, and business administration. All share the aim of opening up different routes to the next generation of the theatre pipeline.
Guy Ellis, a current apprentice event manager at the Royal Ballet and Opera, sums up the thinking for many when applying for apprenticeships, saying: “I loved the idea of being able to study while working in a full-time position. Going to university was not for me.”
Theatre apprenticeships are a way to build skills, create authentic industry insight and heighten employability based on the requirements needed in the sector.
“An apprenticeship is the best way to start in an industry,” says Thomas Fogden, a scenic carpentry apprentice at the National Theatre. “It allows you to gain knowledge from people who’ve been working in their field for years while also being able to put their advice into practice. It is an excellent first step into an area that you would like to pursue a career in as you get to build connections to people who could help you discover other aspects of an industry.”
It is an opportunity to take a workplace learning approach, which can be a more practical option to university or drama school training. Apprenticeships also provide a paid training placement in contrast to higher educational study.
There are some variations in how apprenticeships work in different parts of the UK. Theatr Clwyd chief executive Liam Evans-Ford explains: “Apprenticeships are often run slightly differently in devolved nations or at least have unique quirks. We have run technical apprenticeships in partnership with Wales Millennium Centre for close to 10 years. In Wales, we have a core higher or further education partner who serves multiple organisations. This means the apprenticeship offer is shaped to inform the specific skills in that region.”
‘By creating new [apprenticeship] standards and using them [at the National Theatre], we are able to give real-world training for our industry’ – Kate Lovelock, technical qualifications project manager, NT
In February, the National, partnering with Royal Ballet and Opera, announced that new apprenticeship standards were being introduced. These standards are designed to ensure apprenticeships align with the evolving needs of the industry, reduce skills shortages and boost recruitment within theatre and the creative industries.
This is part of new government investment for the National Theatre Skills Centre, which was announced in March last year. The new standards mean that the apprenticeship experience is much more centred on developing young talent within a theatre context and nurturing the specific skill sets for theatre work.
“By creating these new standards and using them, we are able to give real-world training for our industry. It recognises the needs of our industry and the work our industry does as specialist and important,” says Kate “There are new standards for scenic art, scenic automation, scenic construction, costume technician and wigs, hair and make-up technician, all of which have been developed by industry professionals including teams here at the National Theatre. For example: previously, a wigs, hair and make-up apprenticeship mandated a hairdressing qualification, which bypassed all the make-up and wig-making skills that they would actually need to work in theatre.”
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As well as the theatre pathways with the new standards developed by industry partners, there are alternative apprenticeships that provide a variety of routes into theatre but “are not directly involved in making work for the stage”, says Lovelock.
The new standards in apprenticeships now create a diverse range of hands-on, practical learning alternatives to traditional drama school or university study. However, non-theatre apprenticeships also provide a strong option for transferring skills into theatre departments in addition to stage-focused roles, providing opportunities in other theatre departments.
“We have plans for significant tourism and hospitality apprenticeship schemes alongside our dedicated theatremaking ones,” says Evans-Ford. “This is likely to cover our food and beverage offer both front and back of house, but also duty management, events management, marketing and communications roles. This is due to a regional skills shortage.”
Kieran Corrigan, the Royal Shakespeare Company’s apprenticeship programme manager, uses his own example as evidence of transferable skills in apprenticeships: “I took a learning and development apprenticeship at a bank, which may not seem like a direct route into the arts, but the skills I gained – such as training design, communication, coaching and organisational development – have been invaluable in my current role in managing apprentices at the RSC.”
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Sarah Waterman, apprenticeships and work experience manager at the Royal Ballet and Opera, agrees: “We have had great success with business administration apprentices who have been taken on at the Royal Ballet and Opera in departments such as IT or development and advocacy.”
Also, in February this year, the government announced new legislation to cut red tape and enable employers as apprenticeship providers to decide whether English and maths GCSEs are needed to be part of a course when employing adult learners over the age of 19 – this is something that several theatre employers had previously found an impediment to attracting the correct apprentices.
“Now we just need to demonstrate and assess on job-specific English and maths skills relevant to their apprenticeship standard,” explains Corrigan.
‘Apprenticeships offer training routes into theatre careers where people do not have to get into debt’ – Sarah Waterman, apprenticeships and work experience manager at the Royal Ballet and Opera
This means that skills are embedded into the design of an apprenticeship, rather than assessed in isolation of the learning outcomes.
“By prioritising job-specific skills over exams, access to theatre apprenticeships will also be broadened and more inclusive. This means potential apprentices from working-class or neurodivergent backgrounds can acquire inclusive career pathways,” he adds.
As well as creating an alternative, skills-centred route into the industry, apprenticeships play a key role in improving equality of access to a theatre career.
“We continue to work hard on building a more diverse workforce in the theatre industry,” says Waterman. “Apprenticeships offer meaningful training routes into theatre careers where young people do not have to get into debt to train.”
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Focusing on the future of apprenticeships, Waterman explains: “I think as technology in the theatre changes, more skill gaps will need to be filled, so apprenticeships in those areas will be very useful.” This means that if apprenticeships are going to continue to bring value to the theatre sector in addressing skills gaps, they must continually adapt to the industry’s changing needs.
Corrigan agrees: “We are mindful that apprenticeship standards must evolve to keep up with technological advancements, sustainability goals and increasing accessibility needs.”
Theatre-specific apprenticeships and transferable apprenticeship options are creating alternative routes into theatre and different modes of training while working for young people. They provide a solution that is addressing skills gaps, assisting with cost barriers to training and are improving access for those who are not suited to higher educational study routes.
As Evans-Ford sums up: “Apprenticeships keep people working locally rather than relocating, help people train while earning, and upskill in our industry’s areas of need.”
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