Depending upon your optimism quotient, describing UK Theatre as a global success story is great news, but reporting that it is under threat must be deeply worrying.

These are the messages being propagated by The Society of London Theatre (SOLT) and UK Theatre in what they justifiably describe as “a landmark report”. This they claim reveals “a sector delivering enormous value to the UK’s economy, communities, and global reputation—but now facing critical risks due to rising costs and long-term underinvestment.“

Many might wish to read a report largely focused on commercial theatres in concert with the recent plea from Arts Council England to sustain public funding in the subsidised sector as a means of securing sponsorship and commercial income. A common theme is the threat posed by an ongoing reduction in government arts funding.

The good news really does sound good. Last year, SOLT and UK Theatre members claim to have welcomed over 37 million “audience members” although, given that this is something like 60% of the country’s population, this might have been better captured in terms of the number of tickets sold.

Of these, 17.1 million visitors to the West End generating an unprecedented £1 billion plus of revenue thanks to 11% growth in attendance above pre-pandemic levels. This contrasts with cinemas and visitor attractions facing falling attendances, while even Premier League football is broadly at a standstill.

The majority of West End tickets sold for no more than £56 with most elsewhere under £40. Although around 4% exceeded £150, the average West End ticket price has apparently fallen by 5.3% in real terms since 2019. This will come as a surprise to many theatregoers, who are paying far more now than they ever had to in the past to see popular shows.

Outside London, only 46% of tickets cost more than £35 with a tiny proportion exceeding £100.

Perhaps most tellingly for a government that currently shows no sign of wishing to support the industry beyond the bare minimum, “for every £1 spent on a ticket, an additional £1.40 is spent in the local economy—generating £1.94 billion annually in added value for surrounding businesses.”

The industry also supports a highly skilled workforce of 244,000 people, ignoring so many others in hospitality etc, who need theatres for their own continued employment.

This is put into context by the statements that:

  • Since 2010, funding from the Department for Culture, Media and Sport has fallen by 32% per person in real terms.
  • Local authority support has declined by as much as 48%.
  • Many theatres are now facing rising costs with flat or falling public investment—a situation that cannot be sustained.

As a result, 28% of member organisations ran a deficit in 2023–24 and 32% project a shortfall this year, hardly helped by increased staffing costs and energy and utilities bills.

The risks are brought home when you discover that West End plays often require an initial £1 million investment with weekly running costs between £120,000 and £200,000, while musicals need £3 million to £10 million upfront, supplemented by his weekly costs of £300,000 to £400,000. It is therefore understandable that 20% of venues need at least £5 million to remain in operation over the next 10 years and nearly 40% could face closure without capital investment. The cost of UK touring are also becoming prohibitive, which could limit exposure to theatre for those outside the big conurbations.

SOLT and UK Theatre unusually currently has job-sharing CEOs. Claire Walker and Hannah Essex proudly assert in the report that “excellence in British theatre should be a source of immense national pride.” and deliver a powerful message to accompany the report, which is worth repeating in full.

We are privileged to witness the extraordinary work that theatres across the UK create on stage, while delivering profound impact off stage—from engaging communities and boosting local economies to training the talent that powers our creative industries.

British theatre is one of our greatest national assets. It entertains, educates, and connects—and it does so with resilience, ingenuity, and care. From the West End to regional stages, our members are working harder than ever to keep theatre accessible and inclusive, even as costs rise and funding declines.

But the reality is stark: theatres are doing more with less—and the strain is showing. Rising costs, shrinking support, and ageing infrastructure are putting the sector under unsustainable pressure. We are seeing world-class organisations forced to cut programmes, delay maintenance, and scale back outreach.

If we want to maintain the UK’s position as a global leader in theatre—and continue to inspire the next generation of actors, writers, and technicians—then Government must act. That means restoring public investment, investing in infrastructure, and ensuring that every child can experience the life-changing power of live performance.

Theatre delivers for the economy, for our communities, and for our national identity. With the right support, it can do even more.

In case readers are concerned that a report of this kind might be too dry, it contains several case studies, the first of which is the ultimate recent success story, Mischief Theatre, the group behind The Play that Goes Wrong and its many hilarious relations, leading eventually to Six the Musical and Matilda the Musical, each of which has been a major success both at home and abroad.