The Stage 100 2026
The Stage 100 2026 introduction | 1 | 2 | 3 | 4-8 | 9-14 | 15-20 | London theatres | Regional theatres | Scotland, Wales and Northern Ireland | Opera and dance | Producers (commercial) | Producers (not-for-profit) | Actors | Independent creatives | Children’s theatre and young people | Advocacy and campaigning
The Stage 100 2026, supported by Plann, is a special one this year. It is the first to appear in a monthly magazine – our new format dedicated to giving space to more analysis and in-depth coverage. The cover shot of this issue is from a bespoke shoot with this year’s number one. We hope you agree it’s a striking image to usher in a new era for The Stage in a stylish way.
Stylish is also a word befitting our number one. When we came to decide who should take this year’s top spot, this individual was top of all our lists. Over the past 12 months, as you’ll read in our citation, he has worked tirelessly to put Welsh theatre back on the map. And he’s done so with aplomb: forging partnerships, securing funding, signing deals and using his profile to drive real change. Read on to find out more about this remarkable talent, who – following James Graham last year – is the second creative in a row to take the top spot in our annual celebration of the most influential people working in theatre.
In truth, the list is always a challenge for our team. There are names we wrangle over and rigorous debate as we whittle down all the remarkable people in the industry to just 100 entries. Of course, we would love to include everybody. But then it wouldn’t be The Stage 100.
As with last year, we have categories covering London, regional, subsidised and commercial theatre, as well as opera and dance, Wales, Scotland and Northern Ireland, actors and children’s theatre. Outside the top 20, the largest category is our section dedicated to independent creatives, covering choreographers, agents, writers, directors and others who continue to make their mark on the sector. It’s one of my favourite sections, as its diversity and range truly reflect the theatre sector we all know and love.
There are plenty of new names on this year’s list, which of course means others had to move aside. This is never an easy decision, but for the list to grow and remain relevant and reflective of the talent working in theatre, it’s vital.
I hope you will agree that this is a strong list of 100 entries filled with all the individuals who are making theatre the powerful force it is today. As ever, we celebrate you all and your remarkable achievements. Here’s to the next 12 months.
Who made The Stage 100 this year?
The Stage 100, supported by Plann, is drawn up in-house at The Stage, led by deputy editor Matthew Hemley, features editor (maternity cover) Giverny Masso and reporter Katie Chambers. We reached out to key industry figures to ask who they felt should be considered, and this informed our list.
When discussing the list, we sought to celebrate and acknowledge the most influential players in the sector. When ranking them, we consider:
- Has the company/person delivered on their core functions for 2025?
- How has the company/person gone above and beyond compared with previous years?
- Has their work impacted or changed the industry?
- Would the industry be poorer without their input in 2025?
What is The Stage 100?
Now in its 29th year, The Stage 100 is the definitive list of the most influential figures in the UK theatre and performing arts industry. It focuses on achievements in the past 12 months, but also takes into account overall standing in the industry. Anyone working in theatre and the performing arts is eligible.
As with any list, the final 100 is subjective. However, we go to great lengths to ensure our 100 reflects the breadth of the industry and its most influential people. As well as artistic achievement, we look at financial performance, job creation, and an entrant’s impact on the sector.
The list is divided into categories to ensure the breadth of the industry is celebrated, apart from the top 20, which ranks those who have been selected to represent the top figures in UK theatre.
The Stage 100 is considered from the point of view of The Stage as a trade publication, and so focuses on theatre as a business and an art form. Inclusion and ranking is weighted towards impact over the past 12 months. We aim to have a list that, as much as is possible and plausible, reflects the breadth of the industry. However, the list also seeks to reflect how the industry is, not what it aims to be, or what we would like it to be.
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