Who needs drama school anyway?
John ByrneToday, social media and reality TV can propel performers to fame, leading the value of formal drama training to be questioned. But drama school and industry leaders tell John Byrne why, despite viable alternative routes, robust tuition remains so valuable – offering technique, resilience and a safe space to fail, grow and build sustainable, long-term performing careers
In an era when popular media often spotlights individuals who secure acting roles through music careers, reality TV appearances or other non- traditional routes, the casual observer could be forgiven for questioning the value of formal drama training. With platforms such as YouTube and TikTok allowing anyone to share content with a global audience, it can seem easier than ever to ‘just get out there and go for it’.
What, then, are the practical advantages of formal training – whether in honing craft, sustaining careers, or earning credibility that justifies the time and investment involved?
For Stuart Wood, head of school and co-artistic director at Bristol School of Acting, the answer to that question begins with safety: “There will always be talented individuals who are ‘discovered’ and go on to have amazing careers. However, acting is both an art form and a skilled craft; to develop your artistry and learn the skills required, it’s important to have a safe place to experiment, push the boundaries and to fail. That’s what a good drama school gives its students and that space is worth the investment.”
‘It’s important to have a safe place to experiment, push the boundaries and to fail’ – Stuart Wood, Bristol School of Acting
Wood doesn’t see the formal route and being in control of one’s own journey as being mutually exclusive: “Adaptability is key in the industry today. At BSA, we support students to create their own work alongside whichever course they’re on. That might be play and TV writing, documentary making, social media content creation or setting up their own businesses. In the past two years alone, we’ve supported the setting up of three graduate theatre companies and have students making a living on social media.”
‘Training gives you the skills and knowledge to sustain a career that isn’t based on luck and opportunity’ – Alice White, Royal Welsh College of Music and Drama
Alice White, head of voice at the Royal Welsh College of Music and Drama, stresses the long-term career foundations that training builds: “Training gives you the skills and knowledge to sustain a career that isn’t based on luck and opportunity. You’ll learn technique, and gain an innate confidence in your own skills having spent three intensive years laying that essential groundwork, rehearsing, performing and honing your specific strengths, with a focus on career longevity in the industry.
“During your training you build an awareness of your own habits and skills, finding your creative voice – technically, expressively and, most importantly, artistically – so you can build your portfolio career doing the kind of work you know you want to do. It makes you reliable as a performer: the industry knows that you cannot only excel at the job but also sustain that for the whole of the run.”
Drama schools ’provide time to play’
Mercy Ojelade, associate head of acting at the Royal Conservatoire of Scotland, believes that the three years of training offer something else that can be in short supply in the professional world: time.
“Three years of actor training equips the actor with a safe-practice environment to develop the craft across a variety of mediums; actors are placed in a community of collaborators, peers and staff and introduced to the professional performance industries. These years of learning, self-discovery and performance experience provide the versatile actor with techniques, practice, stamina, rigour, contacts and a confidence to navigate the profession.
‘Being surrounded by others sharing the same passion encourages the bravery to create’ – Mercy Ojelade, Royal Conservatoire of Scotland
“In an ever-changing industry that doesn’t always afford time to grow, actors in training can comfortably make mistakes in a learning environment and are led by tutors able to share their professional experience, knowledge and expertise. Being surrounded by others sharing the same passion encourages the bravery to explore and create. In today’s climate, actors need that bravery and agency, in addition to talent, more than ever.”
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At the Liverpool Institute for Performing Arts, programme leader for acting (contemporary performance) Yusuf Khamisa notes the stamina and immersion that drama school provides.
“Training at a drama school is robust and rigorous. Unlike a lot of university degrees where you might have just 12 hours of lectures a week, at a drama school you will be training and rehearsing five days a week. You are immersed in the world of the actor for three years.
“That training can be vital; not only providing a bedrock of practitioner techniques and skills to call on throughout your career, but also enabling you to build the artistic stamina required to perform at your best. We also cover the whole professional process from getting an agent, working with casting directors through to the less exciting stuff: financial advice, taxes and how you can be self-sustaining.
“We discuss the practicalities of having a second job, particularly at the start of a career, one that enables [graduates] to attend auditions. And we cover self-care, how they can look after themselves and stay healthy when touring, for example, or how to stay mentally sharp and ready for an audition that comes in at short notice.”
Drama training and finances
While course leaders are understandably enthusiastic about the benefits of drama school, Paul Roseby, chief executive and artistic director of the National Youth Theatre, points out that finances remain one of the biggest factors shaping an aspiring student’s final decision.
The experience of members of the NYT’s REP Company has made him aware that the cost of formal training often determines whether aspiring actors pursue drama school or look for alternative routes into the industry – especially those from lower-income backgrounds.
“As one REP member recently put it to me: ‘Despite student loans and bursaries, I remember thinking I’d rather do an academic degree that leads to a much higher chance of consistent employment than follow my passions. Also, seeing a lot of drama school grads still struggle in the industry is a huge disincentive. It feels like investing all that time and money might not lead to anything in the end, which is a huge risk.’ ”
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Roseby says that the craft of acting has been devalued in terms of the curriculum in recent years and that this has impacted young people and parents’ attitudes. “Our recent research with Netflix [in which the NYT asked 500 young people working in the creative industries across the UK, aged 18-30, for their views on how their careers are perceived] found that three in four young creatives say their parents view creative careers as a waste of their education.”
The length of training itself can also be a factor, with some performers eager to get in front of an audience and start working sooner opting for alternative routes. “After 11 cohorts of the NYT REP, our current group see the success of previous REP graduates and want to follow in their footsteps.”
For Roseby, credibility comes not only from training but also from making your own work. “I encourage all the young people we support to make their own short films, perform at scratch nights, or submit plays to competitions. There’s a real currency in authentic storytellers right now. You don’t need to wait for permission.”
Paths into performance
As for actors who don’t take, or can’t afford, the drama school route and fear this will work against them in terms of industry credibility and securing representation, agent and coach Mildred Yuan offers these words of encouragement: “I am one of those perverse agents who loves a non-traditional path.” What attracts her in those clients is resilience. “They seem to exhibit a sort of bloody-mindedness, toughness and determination to succeed in the industry. They’ve succeeded in something else before, they know they have a lot to learn, and they’re hungry to prove themselves. That combination can be powerful.”
While all of the course leaders interviewed were committed and enthusiastic about the benefits of drama training, there was a collective acknowledgement perhaps best summed up by LIPA’s Khamisa: “There are many different ways of pursuing a career in acting and it’s important you select the one that’s right for you. Personally, I needed drama school. I came from a college where we did performing arts and I knew it was something I wanted to do, but I didn’t have a clue about the industry, about specific techniques and practitioners.
“Drama schools have a proven track record of success. If there’s an actor you particularly admire, spend some time researching them, find out how they got started – and more often than not, you will find that they went to drama school.”
Alternative routes into theatre
Short courses, workshops and masterclasses
Conservatoires, regional theatres and training organisations run intensive workshops and summer schools, providing targeted skills without the long-term commitment of a degree.
More info: getintotheatre.org
Apprenticeships in technical and production roles
Apprenticeships exist across the UK in lighting, sound, carpentry, costume and stage operations. They combine paid work with structured training and are listed on the National Apprenticeship Service.
More info: gov.uk/apply-apprenticeship
Youth theatre
Joining a youth company can offer training, mentorship and performance opportunities at an early stage. The National Youth Theatre is a flagship organisation for aspiring actors and theatremakers. Local and regional theatres may also have their own youth programmes.
More info: nyt.org.uk
Further education colleges and technical diplomas
Further education colleges deliver BTECs and diplomas in performing arts and technical theatre.
More info: ucas.com/explore/subjects/performing-arts
Internships and traineeships
Some theatres and producing companies offer structured internships or traineeships in stage management, producing, casting and administration, giving valuable workplace experience.
More info: masterclass.org.uk/our-programme/paid-internships
Mentorship, shadowing and network schemes
Schemes supported by Arts Council England and regional organisations connect new talent with experienced professionals for mentoring and shadowing.
More info: artscouncil.org.uk/developing-creativity-and-culture
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