Editorial: It doesn't grow on trees

By now, you are probably sick of thinking and talking about money – or more accurately, the lack of it – in arts education. The reduction of school arts resources to pennies and the everincreasing price of drama schools are just two elements of a deeply–routed and elitist culture we face in Britain currently. But every now and then, we see glimmers of hope that people are taking notice of these issues and are fighting tooth and nail to change things.

As I write this, news has just come in that the Royal Central School of Speech and Drama is to remove audition fees in a drive to combat elitism in the arts. This follows other schools, such as the Liverpool Institute for Performing Arts, who did the same last October. It is brilliant to see practical evidence that suggests higher education bodies are doing what they can to help.

When it comes to the arts in primary and secondary schools, financial constraints are also a well-spoken-about concern. In this issue of D&T I spoke to one group who are tackling this problem: Theatre Works. This charity is dedicated to providing disadvantaged children and young people with access to theatre – something we can all appreciate is crucial to inspiring a new generation of diverse theatre-makers.

Elsewhere in this issue we have a practical piece from Jo Lee on what drama educators can do instead of holding out for a National Plan for Drama Education that may never arise. We also look at how AI can be used in the drama classroom, and the education branch of Esther Richardson's Pilot Theatre. Steve Ball gives us a recap of the Drama and Theatre Education Alliance's Seize the Day campaign, and Paper Puppets give a sneak peek on the power that puppets can bring to your practice. As always, we breakdown a practitioner for you to pick apart with your students, this time focusing on the immovable Steven Berkoff and his intriguing works.

I must also add that the nominations are now open for the Music & Drama Education Awards 2025. I urge you to put forward any scheme, drama department, educator or resource that you feel is deserving of praise. In the same vein, the Music & Drama Education Expo has opened its Call for Papers and Advisory Board applications for 2025; you can find out more about applying for either opportunity at musicanddramaeducationexpo.co.uk.

Despite the constraints that we face in arts education, and the risks that students face when embarking on a career in the performing arts industry, for many, the rewards are greater. And for young people determined to pursue this path, nothing else will do. In turn, as mentors and teachers, it is crucial that we are informative and transparent about what they are entering into so that they can approach their work with understanding, proficiency and self-respect. It is my hope that in time, this respect will then filter through to those who manage the schools, audition processes and employment contracts, contributing to a more positive culture moving forward.