While London often takes centre stage in conversations about the UK’s cultural landscape, in theatres, living rooms, and pubs across the country, women and non-binary artists are quietly and vibrantly shaping the future of the regional arts scene. Away from the spotlight of the West End, a new generation of artists is driving innovation: carving out careers that are as rich and diverse as the communities they serve. From playwrights and stage managers to actors and directors, these artists are not only making waves in their regional scenes but also creating work that speaks to the heart of local and often under-represented stories. In doing so, they are proving that regional arts careers are not only viable, but are deeply rewarding outside of the capital’s cultural monopoly.
However, forging a career in the arts outside of London remains challenging, especially due to the unequal distribution of funding. As of February 2022, Arts Council England (ACE) spent £21 per person on culture in London, compared to an average of just £6 for the rest of England. This disparity limits access to resources, venues and opportunities for regional artists. While ACE encourages organisations in historically underfunded areas to apply for grants, the gap persists, and many regional artists still struggle to secure the support needed to develop their work.
The Struggle for Opportunity and Mentorship
For many women and non-binary people in regional theatre, the lack of investment translates into fewer opportunities and support structures. Sophie Corner, a multi-disciplinary artist who recently relocated to London after building her career in the East Midlands, encountered this first-hand. Corner explains that her holistic, integrative approach was born “out of need and necessity”, as it allowed her to sustain her practice. The lack of mentorship opportunities in physical theatre and movement-based practice was a key factor in her move. “I was struggling to find mentors and role models. The workshops and people I wanted to shadow were mostly based in London,” she reflects. Despite her move, Corner remains committed to her regional roots. “I have an internal deal with myself that whatever I do will always be fuelled back into the East Midlands,” she says. “Just because you move from an area doesn’t mean you have to lose your connection to it.”
Creating Opportunities in Smaller Communities
Samantha MilesIn areas like the East Midlands, the absence of formal infrastructure forces artists to create their own opportunities. While the absence of resources creates challenges, smaller networks can also foster innovation.
“The artists are here,” says playwright, PhD student, and creative Samantha Miles. “We just don’t know each other exists.” She’s based in Lincoln, which is often overlooked in national arts conversations. This isolation motivates artists to build local networks, with Miles wanting to curate a local artist group in Lincoln to help creatives share ideas, collaborate, and connect with like-minded individuals. Similarly, Corner recently launched It’s Nott Working – a Nottingham-based networking event designed to showcase local talent, foster an organic sense of community in the region, and raise money for short film Hindsight.
Despite limited resources, both women are proving that regional arts scenes can thrive through commitment and resourcefulness. By building connections and creating opportunities, they are filling the gaps left by the lack of infrastructure. Their efforts create spaces where artists can be seen and supported, helping to strengthen the arts community in the East Midlands.
Breaking Into London’s Creative Circles
The challenges of staying connected to regional communities while seeking opportunities in London’s established networks are faced by many regional artists. Miles, for example, was shortlisted for the Verity Bargate Award at Soho Theatre – an experience that illuminated the divide between regional artists and those working within London’s creative hubs. “It was a wonderful experience. The team was very supportive in trying to open other opportunities and doors to me,” Miles recalls. “But I’d be lying if I said that following those opportunities wasn’t harder because I’m a regional-based artist.”
As the only writer from outside London in the room, Miles felt the contrast acutely. “I was always conscious that I had to get my train back to Lincoln at the end of the day and be separated from this bubble of artistic development,” she adds. This physical and professional isolation underscores the challenges many regional artists face when trying to break into London’s competitive and well-connected circles. The differences in networks and opportunities often make success feel less accessible to those based outside the capital.
The Gender Inequality Challenge
The difficulties faced by regional artists are compounded by gender inequality within the arts, including under-representation and limited access to leadership and development schemes for women and non-binary people. These barriers are exacerbated by additional responsibilities often faced by women such as childcare, which can further hinder career progress.
A 2023 study by Sphinx Theatre highlights the ongoing gender imbalance: of the 155 respondents, 94% reported that opportunities for women in theatre have either decreased or remained the same post pandemic and 84% expressed a need for more funding to support women in the arts. Furthermore, 75% of women believe that childcare support would help to prevent career setbacks caused by extended leave or a lack of childcare provision.
Sophie Corner
(Credit: Shashank Dhongadi)Miles acknowledges the challenges of navigating these dynamics. She says: “There’s a much bigger conversation about imposter syndrome as a woman in the arts. It’s very interesting to take a step back and see how successful some of my male peers are because they’re very talented and wonderful, but also because they’re unafraid to put themselves out there like I am as a woman.” This insight highlights a key issue — while women and non-binary artists often possess the talent and vision to succeed, they frequently face internalised doubts, making it harder to self-promote, which can hinder their professional advancement compared to their male counterparts.
Miles notes that while regional theatres are working to showcase more female-led work, more targeted efforts are needed. “I don’t think we should be afraid of creating spaces for women and non-binary artists,” she says. “We already have the Women’s Prize for Playwriting but it’s a huge award with many voices going unheard. It would be great to see some smaller writers groups where you can forge a support network.”
Corner shares this sentiment. “I’d like more opportunities for women and non-binary people, like one-day courses [...] or industry conversations,” she adds. “I’d like to see more investment financially in supporting female and non-binary people within theatre. The arts industry is still male-dominated and we need springboards to get us where we want to be.”
The gender imbalance remains a significant obstacle for many, limiting women and non-binary people's access to the same career opportunities as their male counterparts. While initiatives like ACE’s funding schemes aim to address some of these issues, the under-representation of women and non-binary people, the presence of imposter syndrome, and the lack of resources persist as major barriers, particularly in regional theatre.
Carving Their Own Paths
Despite the many challenges they face — whether it’s lack of resources, fewer opportunities or the barriers posed by gender inequality — women and non-binary people in regional theatre continue to drive change. Through self-reliance, innovation and a deep commitment to their communities, they are reshaping the cultural landscape. For them, the struggle is not just about surviving in a male-dominated, London-centric industry; it’s about making space for others to thrive. Their resilience and determination prove that the regional arts scene is not only a viable alternative to London but an essential part of the UK’s cultural identity.
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