London’s West End sells more tickets than the Premier League – Why do we still not take theatre seriously?

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Whether it was Rachel Zegler performing the balcony scene from Evita, or the charming sight of animatronic Paddington at the BAFTAs, it’s clear: we’re currently experiencing a fantastic time for theatre.

Even though the West End is still recovering from the impact of COVID-19, it’s remarkable how quickly the theater industry has rebounded to this extent.

A recent report from the Society of London Theatre (SOLT) and UK Theatre revealed that UK theatres welcomed over 37 million visitors last year, with 17.64 million attending shows in London’s West End. Remarkably, that’s almost three million more people than see Broadway shows annually, and two million more than attend all Premier League football matches combined.

A recent study revealed that going to a play, musical, or dance performance is among the ten most enjoyable activities people can do. The study, called “The Joy Test,” was conducted by Immediate and the University of Sussex, and involved nearly 10,000 people. It looked at what motivates us and how different leisure activities make us feel. Theatre ranked seventh nationally, and even higher – third – for those who regularly attend performances.

As Kate Varah, a leader at the National Theatre, simply put it: “These numbers are incredible, and they prove what we often don’t emphasize enough – theatre isn’t just for a small group of people, it’s a key part of how many choose to spend their free time.”

And yet…

It might seem odd to compare football boots and tap shoes, but it’s clear that theatre doesn’t get nearly the same attention as sports. Football is constantly in the national spotlight, while theatre is often overlooked and relegated to the sidelines of cultural discussion.

Football naturally inspires strong loyalty and feels incredibly important, with exciting changes happening every week. I’m not saying theatre and football should be compared directly, but currently, public interest in theatre feels very small compared to the massive popularity of football – like a single blade of grass in a huge stadium.

A crucial first step is securing financial support. Recent research from Equity shows that arts funding from local governments in Britain has dropped significantly – by 55% since 2010, from £1.19 billion to just £539 million in 2024-25. A report by SOLT also indicates that 36% of theatre groups anticipate being in debt by 2025-26. Without this funding, particularly at the local level, it’s difficult for theatres to connect with their communities and inspire a love of the arts in people of all ages.

Varah emphasizes the importance of continued investment in making theatre accessible and enjoyable for everyone. They believe that early experiences – like school trips, family outings, or arts education – are crucial. These first encounters with live performances can be incredibly impactful, not only inspiring future actors but also fostering a lifelong appreciation for stories, creativity, and shared cultural moments.

Things are complicated by the fact that theaters are now often taking on responsibilities usually handled by local governments. Patrick Gracey, a leading figure in the theater industry, explained that theaters are increasingly providing services traditionally offered by civic infrastructure, especially as funding for those public services decreases – it’s a surprising situation.

Theatres are increasingly vital community hubs. For example, the Lyric Hammersmith recently launched a program to engage over 10,000 young people in their borough through schools. Hull Truck Theatre is even offering training to doctors using drama. Beyond performances, theatres provide warm spaces, run youth groups, and generally contribute to the vibrancy of town centers, especially as foot traffic on high streets declines.

“And I don’t think the role that theatres play in their local community is recognised at all.”

Gracey also pointed to how people view theatre and its audience, explaining that there’s a widespread idea about who theatre is ‘for’.

Many people think West End theatre is either too crowded with tourists, too pricey, or feels too exclusive. However, theatre tickets haven’t actually gone up in price recently – the average cost is £41, while a Premier League football match costs £74. To keep ticket prices affordable – with over 40% selling for £35 or less – theatres have been accepting lower profits instead of raising prices to cover inflation.

The SOLT report also noted that participation came from all types of jobs and wasn’t limited to large cities.

If ticket prices are actually affordable, many discount options exist, and theatre audiences are more diverse than often assumed, why is theatre still often portrayed as an exclusive or highbrow activity?

Gracey believes the theatre world needs to better showcase all its accomplishments – not just performances, but also the work happening behind the scenes and within communities. She also hopes to see governments at both the national and local levels offer more support and recognition.

Once that occurs, more community members begin to see all that theatre has to offer – not only job opportunities, but also a space for connection, storytelling, and building relationships with neighbors.

In today’s difficult and polarized world, theatre has a unique chance to bring people together, encourage discussion, and help them discover shared values.

As a lifelong cinema fan, I’ve always felt that stories – whether on screen or stage – have this incredible power to help us understand who we are and what’s going on in the world. What really strikes me about theatre, though, is how it brings people together in a way that feels so real and immediate. In a time when everything feels personalized by algorithms, it’s one of the few places where we actually gather with others and wrestle with complex ideas together. And honestly, I think that shared experience isn’t just nice to have, it’s absolutely vital for a functioning society.

She highlighted how the National Theatre’s streaming service and cinema broadcasts (NT Live) help make theatre accessible to more people. Many of us likely remember watching productions like Benedict Cumberbatch’s Frankenstein and James Corden’s One Man Two Governors during the COVID lockdowns, and being very thankful for that entertainment – anything besides baking banana bread felt like a welcome relief at the time.

Finally, a key challenge is getting the word out. Gracey’s research consistently demonstrates that the most effective way to promote theatre is through personal recommendations – whether that’s people talking directly to each other, or sharing experiences organically on social media and through reviews.

As a film and TV fan, I think it’s getting harder for anything to really stand out. Everything’s so spread out across different platforms now, it’s a really fragmented media landscape. As a result, it’s tough for even the best shows to grab everyone’s attention. Of course, every producer dreams of creating something that really breaks through and becomes a cultural moment – that’s what we all hope for, isn’t it?

I was chatting with someone about how musicals are really breaking through into the mainstream lately. They brought up shows like Jamie Lloyd’s Evita and Paddington, which have become huge hits in the last year. I couldn’t help but mention that my own production of The Importance of Being Earnest – with Ncuti Gatwa, no less! – had its share of viral moments too.

He chuckled, saying Stephen Fry had just finished filming ‘The Traitors,’ but it was a part Fry had been hoping to land for more than a decade, so it was worth it.

You really don’t know how a performance will land until you share it with an audience, and that’s both exciting and nerve-wracking about theatre. We’re always considering the audience’s experience – not by simply giving them what they expect, but by thinking about how to connect with them and create a play or musical they’ll enjoy.

Paranormal Activity is drawing in viewers who aren’t typical moviegoers, much like the play Dear England brought in young people and fathers who don’t usually go to the theatre. It’s the content – whether it’s a famous actor, compelling story, or unique topic – that’s really attracting them.

Entertainment is especially valuable right now. Sharing a laugh or cheering with others offers a much-needed emotional release.

Despite ongoing difficulties with funding, public awareness, and how theaters are seen, both Gracey and Varah agreed that progress is being made. They believe that the more welcoming and open theaters are, the brighter the future will be.

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Let’s reach a wider audience. We can do this by sharing glimpses behind the scenes, conversations with the people creating the shows, and highlighting how our productions benefit society – all through social media. This will help us attract younger viewers and show that theatre isn’t just culturally important, but also valuable to the UK’s economy and communities.

Things are looking up for local arts and theaters. Recent changes to a bill would give local councils more control over supporting arts, heritage, and creative businesses. And there’s growing momentum with initiatives like the #LoveYourLocalTheatre campaign and popular touring shows – like Legally Blonde – which are significantly boosting ticket sales for smaller venues.

To help theatre thrive, we should take a lesson from football: focus on local engagement, build strong communities, and introduce young people to the art form. A little extra funding could make a big difference. And honestly, more captivating moments like Rachel Zegler’s iconic balcony scene would be a welcome addition!

Authors

Olivia Garrett

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2026-03-26 10:41