Performing arts

Performing arts careers span acting, dance, musical theatre, directing, choreography, stage management, technical theatre, producing, arts administration, community arts, teaching, casting, and more. This page provides an overview of performing arts careers, including job roles, required skills, training and entry routes, job search advice, and useful resources.

Performing arts careers can include acting, dance, musical theatre, theatre-making, directing, choreography, stage management, technical theatre, sound, lighting, producing, arts administration, community arts, teaching, casting, talent representation and more.

Some roles are performance-based, while others focus on creative leadership, production, technical skills, education, participation, business, programming, fundraising, marketing or venue management. Many people build a career by combining several strands of work, particularly in the early stages.

The performing arts sit within a wider performing and visual arts sector that includes performing arts, support activities to performing arts, artistic creation, arts facilities and cultural education. Creative PEC’s 2026 Skills Audit for Performing and Visual Arts found that the sector employed more than 273,000 people in 2024, accounting for around 11% of the creative industries workforce. The report also highlights how freelance and project-based work shape the sector, with self-employment accounting for 67% of the performing and visual arts workforce, compared with 28% across the creative industries and 14% across all industries.

This page will help you understand the range of performing arts careers, how to build relevant experience, where to find opportunities, and how to think realistically about training, freelancing, agents, auditions and portfolio careers.

Sector information

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Performing arts careers are often described as either performance or non-performance roles. This can be a helpful starting point, but the reality is usually more flexible. Many people combine performance with teaching, facilitation, writing, producing, technical work, directing, community arts, marketing, administration or other freelance work.

Creative PEC’s 2026 Skills Audit for Performing and Visual Arts describes several broad areas of work across the sector:

artistic content and performance, including actors, dancers, choreographers, opera singers, circus artists, directors, playwrights and composers
production and promotion, including lighting designers, technicians, sound engineers, stage managers, set designers, costume designers, wardrobe technicians, prop makers, stagehands, riggers and automation specialists
background and management roles, including producers, production managers, arts administrators, venue managers, marketing and audience development staff, and fundraising managers
education and community outreach, including drama instructors, dance teachers, community arts facilitators, education officers and creative workshop leaders

The sector can be exciting, creative and collaborative, but it is also competitive and often project-based. Freelance and project-based work can create low job security, non-linear career paths and a high incidence of portfolio careers, including work outside the sector. This is why students interested in performing arts should think not only about performance, but also about technical, production, business, education, community, digital and freelance skills

Types of roles

There is no single route into the performing arts sector. Roles can be freelance, self-employed, fixed-term, project-based, part-time, portfolio-based or permanent.

The Creative PEC Skills Audit is useful because it shows that the sector is not only looking for performers. Employers also need people in production, technical, management, fundraising, education, marketing, digital and community roles. In future-facing terms, the report identifies expected demand across areas such as theatre technicians, actors, entertainers and presenters, theatre managers, arts officers, producers and directors, business development roles, public relations officers and youth and community workers.

Performance and creative roles

These roles involve performing, creating, interpreting or leading artistic work. They may include:

actor
dancer
musical theatre performer
singer
physical theatre performer
circus performer
puppeteer
voice actor
comedian
writer-performer
choreographer
director
movement director
theatre-maker
deviser
dramaturg
fight director
intimacy coordinator

Performance careers usually require sustained training, practice, feedback and resilience. Evidence of your work is important. Depending on your route, this could include productions, showreels, headshots, voice reels, choreography portfolios, writing samples, reviews, short films, festival work, scratch performances, auditions, workshops or self-generated projects.

For performers, training may be useful or necessary, but it is not the only route. Some people train at drama school, dance school, conservatoire or university. Others build experience through student theatre, community productions, fringe work, amateur companies, short courses, youth theatre, online content, independent productions or professional work in related roles.

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Production, technical and backstage roles

These roles support the creation and delivery of performances. They may include:

stage manager
assistant stage manager
deputy stage manager
production manager
lighting designer or technician
sound designer or technician
set designer
costume designer
wardrobe assistant
prop maker
scenic artist
automation technician
video designer
AV technician
technician in a theatre, venue or touring production
company manager
rehearsal room assistant

Technical and backstage roles often suit people who enjoy problem-solving, organisation, attention to detail, teamwork and working under pressure. Some roles are highly specialist, but there are also entry routes through apprenticeships, short courses, student theatre, local theatres, festival work, venue technician roles and work experience.

Creative PEC’s Skills Audit highlights technical skills shortages linked to operating lighting, sound and audio-visual systems, with growing demand for more advanced digital skills in technical domains.

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Producing, venues and arts management

There are many performing arts careers that do not involve performing. These roles may include:

producer
assistant producer
theatre manager
venue manager
programming assistant
casting assistant
talent agent or agent’s assistant
fundraising or development assistant
learning and participation officer
marketing or communications assistant
press or PR assistant
box office assistant
front of house manager
operations assistant
touring coordinator
access officer
finance, HR or administration roles in arts organisations

These roles can suit students and graduates with strong organisation, communication, research, writing, project management, analysis, problem-solving and people skills. For many of these roles, you do not need to have trained as a performer, but you do need to understand the art form, the organisation and the audiences it serves.

Large arts organisations, theatres, production companies and touring companies often advertise these roles on their own websites, as well as on sector job boards such as Arts Jobs, UK Theatre Jobs and The Stage Jobs.

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Education, community arts and therapy

Performing arts can also lead into education, outreach, health, community and social impact work. Roles may include:

drama teacher
dance teacher
workshop facilitator
community arts worker
youth theatre practitioner
participation officer
learning and engagement producer
dramatherapist
dance movement psychotherapist
arts and health practitioner
theatre-in-education practitioner

Some roles require further qualifications. For example, teaching in schools usually requires a recognised teaching qualification. Dramatherapy requires an approved Masters in Dramatherapy and registration with the Health and Care Professions Council. Dance movement psychotherapy also requires specialist postgraduate training.

Community arts and participation roles often value experience working with different groups, including young people, schools, community organisations, disabled people, older people or people with lived experience of exclusion or disadvantage. Safeguarding, inclusive practice, facilitation skills and reflective practice are particularly important.

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Freelancing, pay and portfolio careers

Freelancing and portfolio working are common in performing arts. You might combine performing, teaching, facilitating workshops, directing, writing, stage management, front of house work, arts administration, voiceover, producing, choreography or another job outside the sector.

Freelancing is not a side issue in performing arts. It is central to how the sector works. Creative PEC found that self-employment accounts for 67% of the performing and visual arts workforce, compared with 28% across the creative industries and 14% across all industries. It also links the project-based and freelance-heavy model with low job security, non-linear careers and a high incidence of portfolio careers.

A portfolio career can be creative and flexible, but it also requires planning. You may need to think about:

income streams
tax and self-employment
contracts and cancellation terms
insurance
pensions and savings
unpaid preparation time
travel and accommodation costs
equipment, headshots, classes or memberships
late payment
wellbeing and rest
how to explain your portfolio career clearly

Pay varies widely across the sector. High-profile salaries exist, but they are not typical. It is more useful to research minimum rates, union guidance and actual advertised salaries. Equity’s rates and agreements provide collective agreements, agreed minimum pay rates and recommended minimum rates across areas including theatre, TV, film, opera, ballet, gaming, audio and commercials. ITC’s rates of pay are also useful for independent theatre.

Before accepting work, check:

whether it is paid
how much and when you will be paid
whether expenses are covered
whether the contract is clear
who owns any recorded or creative material
what happens if rehearsals, filming or performances are cancelled
whether you need insurance
whether you are being asked to work for exposure rather than payment

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It is important to gain as much relevant experience as you can. This does not all need to be professional at first. Student productions, amateur theatre, community performance, local festivals, youth arts projects, open mic nights, short films, fringe theatre, dance platforms, technical support, front of house work and volunteering can all help you build skills and test what kind of work you enjoy.

The performing arts sector values a mixture of specialist, technical, digital, business and transferable skills. Creative PEC’s Skills Audit found that most roles in performing and visual arts require both specialist and general skills. For example, performers need acting, singing or dance techniques; directors and choreographers need creative vision and storytelling skills; and technicians increasingly need skills in computer-controlled lighting, sound and automation. The report also highlights teamwork, communication, planning, organisation, problem-solving, resilience, flexibility and continuous learning.

Useful skills may include:

performance, movement, voice or technical craft
creativity, interpretation and storytelling
rehearsal discipline and openness to feedback
collaboration and ensemble working
communication and listening
planning and organisation
adaptability and resilience
technical theatre skills, including lighting, sound, AV and stagecraft
digital skills, including specialist software, multimedia production and data analysis
production planning and project management
budgeting, fundraising and income generation
marketing, audience development and social media
copyright, contracts and intellectual property awareness
inclusive practice, access and safeguarding
sustainability awareness and greener production practice

The Skills Audit found that when employers had hard-to-fill vacancies, the most commonly cited reasons were a lack of required skills and lack of work experience. It also found that recruitment difficulties were particularly acute for early-career candidates with two to five years’ experience.

For students and early-career alumni, this means that evidence matters. A CV alone may not be enough. Depending on your target role, consider developing a portfolio, showreel, production CV, technical credits, writing samples, directing credits, choreography examples, reviews, workshop plans, marketing examples, funding applications or a short professional website.

Oxford has a strong student performing arts community. You could build experience by:

performing in, directing or producing student theatre
joining a dance, comedy, music, theatre or technical society
supporting lighting, sound, stage management, costume or set design
writing or devising your own work
volunteering with local theatres, festivals or arts organisations
attending workshops, masterclasses and short courses
creating a showreel, voice reel, portfolio or production CV
reviewing shows, producing social content or supporting marketing
using vacations to gain experience with theatres, agencies, festivals or production companies

Oxford is a great place to gain experience as there is a thriving performing arts community, both within the university and outside. Whilst not an exhaustive list, below are a handful of societies which would allow you to gain experience whilst at Oxford.

Acting, Directing, Stage and Sound Design – Oxford Imps, Oxford Theatre Guild, Oxford University Dramatic Society, Oxford University Technical Theatre Society, 00Productions

Dance and Choreography – Oxford Bhangra, Oxford University Contemporary Dance, Oxford University Dance Society, Oxford University Salsa Society

Musician and sound engineering - The Arcadian Singers of Oxford, Oxford Belles, the Oxford Singers , Oxford University Music Society; Oxford Recording Society

Participating in local societies and reaching out to theatres and agencies for work experience presents an excellent opportunity to enhance your skills and gain industry experience during your vacation period. Registering with an agency and securing small roles or working as an extra can also serve as a valuable means to accumulate practical experience.

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Future skills in performing arts

The performing arts sector is changing. Technology, new working practices, audience development, sustainability, funding pressures and cross-disciplinary work are all shaping the skills employers need.

Creative PEC’s 2026 Skills Audit found that 43% of performing and visual arts employers expected to grow staff numbers over the next three to five years. Among those expecting growth, most anticipated a need to upgrade workforce skills, often because of new technologies, new products and services, new working practices and regulatory requirements.

The report points to growing demand for a fusion of creative, digital and technical skills. Examples include technicians using scripting or software to manage theatre technology, immersive and virtual technologists designing digital scenography, and artists using coding or interactive technologies in creative work. It also highlights the importance of business development, including new revenue streams, audience insight, ticketing systems, social media intelligence and streaming metrics.

Students interested in performing arts may therefore benefit from developing skills in:

lighting, sound, AV and stage technology
specialist software and hardware systems
digital production and multimedia
data analysis and audience insight
social media and digital marketing
fundraising and income generation
project management
budgeting and financial management
intellectual property and copyright
sustainability and greener production practice
collaboration across art forms and technologies

This does not mean every performer needs to become a technologist or fundraiser. It does mean that the strongest early-career candidates are often those who can combine creative talent with practical, digital, organisational and commercial awareness.

Related resources

There is no single route into performing arts. Some people enter the sector directly after university, while others undertake professional training, postgraduate study, apprenticeships, short courses or specialist technical training. Many people combine training with performance, freelance work, teaching or another job while they build experience.

Training can be especially useful for acting, dance, musical theatre, directing, stage management, technical theatre and other specialist areas. It can help you develop technique, discipline, confidence, professional networks and industry awareness. Some courses also provide showcases, agent exposure, production experience, audition preparation or career support.

Training is not only about performance technique. It can also help students develop the technical, digital, production and business skills that employers say they need. Creative PEC’s Skills Audit found that skills gaps in the existing workforce affected 39% of performing and visual arts employers, with common causes including people being new to the role, lack of appropriate training, new technology and new working practices.

When choosing a course, research carefully. Consider:

course content and practical training hours
who teaches on the course
industry links and visiting professionals
performance, showcase or placement opportunities
alumni outcomes
facilities and equipment
class sizes
contact hours
audition process
location and cost
funding, scholarships and bursaries
whether the course is accredited or recognised by relevant bodies
whether the course supports your specific career aim

The Federation of Drama Schools brings together established conservatoire training providers, and CDMT accredits professional training in dance, drama and musical theatre. These are useful starting points when researching professional training, although you should still look closely at each course and institution.

It is common for applicants to need more than one attempt to secure a place on a highly competitive course. If you are not successful, ask for feedback where possible and use the time to strengthen your skills, experience and understanding of the sector.

Some people graduate and dive right in, whilst others chose to undertake professional training eg: Foundation Diplomas, Undergraduate or postgraduate qualifications in performance; sound engineering or stage management.

Training and gaining experience (whether at a drama school or not) is essential to learn the necessary skills to stand out in a very competitive market. Most courses cover subjects such as acting, voice, movement, singing, stage combat, audition techniques etc. – carefully check each course to see what they cover and if they offer training in the techniques, you're interested in. Another added benefit of training is that institutions often offer exposure to and networking opportunities with professionals in the business, such as successful actors, producers, directors, casting agents and practical career guidance on how to best navigate the industry once you’ve completed your course.

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How to choose your course

When choosing a course (regardless of length) detailed research is very important. You need to be sure about what the course does (and does not) offer AND that the training will assist you in gaining the right skills needed for the sector. Also check what their alumni have done since graduation – are they working and/or doing the type of work that you are interested in?

The drama school and further study application process is rigorous and highly competitive, requiring a lot of work and detailed preparation. Many people are accepted into a drama school on their second or third attempt – so keep persevering if you’re not successful first time around. If your application isn’t successful, try to get detailed feedback on what you need to improve and focus on that before you apply again – there are several short courses which could help you develop specific skills (see list in 'External resources' section below).

There are many drama schools in the UK, offering a range of course options, including new schools offering part time courses such as Identity School of Acting and longer established schools such as RADA and the Bristol Old Vic Theatre School

There will be several considerations you need to take into account when deciding on a course, such as location, price, type of course and course content. The Federation of Drama Schools has a list of courses accredited by them and career advice and tips for working in the performance industry.

An additional benefit of attending drama school is that most offer careers guidance on how to navigate the job market and skills around key techniques within the industry.

Funding

Most people fund their own studies, either with savings or personal/bank loans, as government Student Loans are not available for all courses (however check with each institution). Most schools also have scholarship programmes, so it’s worth checking if you are eligible.

Getting a job in the performing arts sector is extremely competitive, with several factors contributing to this (including limited job openings, the availability of global talent and at times a volatile Industry). Therefore, before deciding on this career path, it’s important to think about whether you’re suited to the freelance working lifestyle and if you are prepared for the lack of job security. For example, you may need a second job/alternative employment when you’re waiting for your next role within performing arts, especially early in your career. You will need to be pro-active and resourceful when looking for work.

Apprenticeships, internships and early-career schemes

Formal graduate schemes are less common in performing arts than in sectors such as finance, law or consulting. However, there are a few apprenticeships, internships, traineeships, placements and entry-level roles, particularly in backstage, technical, venue, production, administration, marketing, learning and participation, and operations roles.

For example, National Theatre Careers lists jobs, careers and experience opportunities, and the National Theatre also provides skills and careers resources. The Royal Shakespeare Company’s apprenticeships page explains that its apprenticeships are aimed at people who want a work-based route into backstage theatre, with apprentices spending most of their time at the RSC and part of their time with a training provider.

ATG Entertainment’s early careers and schemes page is useful for students interested in theatre venues, technical apprenticeships and early-career routes. Association of British Theatre Technicians’ apprenticeship resources are particularly relevant for those interested in backstage, technical and production routes.

Students should search beyond the phrase “graduate scheme”. Useful search terms include:

theatre internship
performing arts internship
technical theatre apprenticeship
stage management assistant
production assistant
venue assistant
theatre marketing assistant
learning and participation assistant
casting assistant
agent’s assistant
assistant producer
trainee technician
front of house supervisor
arts administration assistant
dance trainee
paid theatre placement

Creative PEC’s Skills Audit also found that employers are responding to skills challenges by increasing training, taking on and training less-well-qualified recruits, bringing in contractors, and expanding trainee or apprenticeship programmes.

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Finding work

Finding work in performing arts requires persistence, flexibility and a proactive approach. Some opportunities are advertised, but many are found through networks, auditions, recommendations, workshops, showcases, festivals, agents, casting platforms and direct contact with organisations.

Creative PEC found that performing and visual arts employers use a mix of recruitment methods, including online job platforms and websites, professional networks, word of mouth and advertising on company websites. This supports the advice that students should not rely on one route.

You may need to combine several approaches:

check job boards and casting platforms regularly
follow theatres, companies, agents, casting directors and venues
attend workshops, showcases, talks and networking events
build relationships through student and local productions
contact organisations speculatively with a clear, tailored message
keep your CV, portfolio, showreel or Spotlight profile up to date
create your own work, including scratch nights, fringe shows or digital content
apply for assistant, trainee, front of house, technical or administrative roles
use alumni networks and professional bodies

Because recruitment in performing arts can happen through both formal and informal routes, students should check job boards and employer websites regularly, but also build networks through productions, workshops, festivals, societies, alumni contacts and professional bodies. The strongest applications usually show not only enthusiasm for the arts, but also evidence of practical skills, reliability, collaboration, sector knowledge and relevant experience.

For speculative approaches, keep emails short and specific. Explain who you are, why you are interested in that organisation or person, what experience you have, and what you are asking for. This might be a short conversation, work shadowing, consideration for future opportunities, feedback on your work or an invitation to see you perform.

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