In recent years the theatre industry, both in Britain with regard to the West End and internationally such as Broadway, has experienced a surge in interest and popularity. Previously considered disproportionately expensive, class-divided and even met with disinterest from younger generations, theatre has re-established itself and expanded its audiences. 

Alongside this surge has come a shift in how theatre culture is consumed and engaged with, reframing theatre as fashionable, attractive and culturally relevant, particularly for women and young girls.

This evolution poses the question, is being a ‘theatre girl’ cool again?

The rise of social media and online forums that discuss and share theatre related content has been a fundamental driving force behind this cultural resurgence.

Theatre-focused short form content, typically posted on TikTok or Instagram reels is becoming increasingly prominent. Creators such as @flower.theatre on TikTok post videos discussing productions, theatre trends and answering viewers’ questions. 

Accounts of this nature are driving the accessibility and enjoyment of theatre within the younger generation; it is no longer a culture that requires travel to a theatre venue but can instead be experienced from home.

Performer-led content also plays a key role. Rina Punwani, for example, shares her experience as an ensemble member in ‘Wicked’ on the West End, posting videos displaying her daily life and explaining the audition process. Punwani is not alone in this, with performers amassing millions of views on videos of a similar nature. This blend of theatre content with the incredibly popular influencer style branding presents theatre and the possibility of becoming a performer as attainable and on-trend. Behind-the-scenes insight frame theatre as relatable, rather than purely exclusive or elite. As many of these creators target young female audiences, they are reshaping the cultural landscape around theatre,  portraying it as appealing and positioning theatre-goers themselves as stylish and socially current.

For university students, theatre is also becoming more accessible as it moves further into mainstream youth culture. Cardiff University’s Student Union, for example, offers multiple Societies catering to acting, theatre, and performance, including the Act One Drama Society and Broadway Dance Society. Participation within theatre-based activities is made convenient and welcoming for students who may have had their interest piqued by social media but have no previous experience. Within these peer-led environments, theatre becomes associated with youth culture and incorporates contemporary trends in both performance styles and production choices.

Screenings of productions further expand theatre’s reach. The Taliesin Arts Centre, based on one of Swansea University’s campuses, regularly screens ‘National Theatre Live’, broadening audience access and helping to popularise theatre within the younger generation. Initiatives such as these contribute to challenging outdated stereotypes and destigmatising beliefs of theatre as nerdy and atypical. 

Websites such as Encora, which functions as the main database in facilitating the trading of illegally recorded theatre videos, known within the industry as ‘boots’, have existed since the beginning of the internet but have grown in popularity alongside theatre’s resurgence.

While personal recordings of productions have historically been frowned upon within the theatre industry, productions are moving to a contemporary view of such conduct, utilising their social media teams and interacting with videos as well as posting their own. This can be seen as a calculated public relations move, enabling productions to remain relevant by evolving with popular social media trends and digital culture.

The Broadway production of ‘Death Becomes Her’, a revitalisation of the 1992 film exemplifies this approach through its carefully managed social media presence which embraces online theatre communities and cultivates younger audiences by capitalising on current internet trends.

‘Stranger Things: The First Shadow’, which serves as a stage prequel to the popular Netflix series premiered in the West End in 2023 and has since expanded to Broadway. Catering productions to the younger generation harnesses a younger audience, merging the industry with esteemed media; progressing beliefs of the theatre industry and its young consumers into facets considered cool and on trend. Similarly, the announcement that this summer Ariana Grande is set to perform as the lead in ‘Sunday in the Park with George’ on the West End will undoubtedly bring in young enthusiasm for the show and, in turn, theatre. With a recent increase in celebrity theatre participation, the younger generations’ view of theatre as alternative and fringe may be transitioning into an enthusiasm exacerbated by celebrity role models, particularly for young girls who are often expected to conform to social norms. 

The concept of being a ‘theatre girl’ has moved away from being unfashionable and on the edges of youth culture, instead being reimagined as trendy and culturally relevant. Through the industry’s capitalisation on social media and celebrity popularity, the ‘theatre girl’ is redefining what it means to be fashionable, with an ever increasing blend between popular culture and theatre. The enjoyment of theatre can, and does, coexist with popular ideas of what it means to be cool.

Words by: Emily Moore

Image courtesy of Vlah Dumitru via Unsplash. No changes have been made to this image. Image license found here.