Beyond the urgent social issues highlighted by “Adolescence”—such as online misogyny and radicalization—the show’s remarkable success has also brought attention to a growing cultural concern: the vital role of grassroots drama schools and clubs, and the need for better working-class representation on television.
Last Sunday, 15-year-old Owen Cooper became the youngest male actor to win an Emmy for his role as teenage murder suspect Jamie Miller. During the celebrations, the founders of Drama MOB in Manchester—where Cooper trained weekly for two years—rightly emphasized how crucial this preparation was in helping him land the part, a point the young actor himself acknowledged in his acceptance speech.
In challenging the “overnight success” narrative, they paid tribute to teachers across the country who work tirelessly in community halls to make such stories possible. After all, even Billy Elliot only learned to pirouette thanks to his chain-smoking ballet teacher, Mrs. Wilkinson, played by Julie Walters in the film. Walters began her career at Liverpool’s Everyman Theatre, whose youth program also counts “Adolescence” co-writer and star Stephen Graham among its alumni. As Walters has noted, opportunities for young working-class actors are far scarcer today.
Drama schools throughout the UK are facing a crisis. For the first time since 1946, Bristol Old Vic Theatre School will not admit undergraduate students this term. Rose Bruford College in Sidcup, marking its 75th anniversary this year, has reported financial struggles. The college gave a start to Gary Oldman, who went from working in a slaughterhouse to winning an Oscar for his portrayal of Winston Churchill. Other leading drama schools have shut down entirely. According to Campaign for the Arts, the number of students taking drama at GCSE and A-level has sharply declined since 2010.
Recent research shows that private education’s hold on influential professions is stronger than ever. This comes as no surprise in film and television: nearly half of British stars nominated for major awards in the last decade were privately educated. Yet working-class stories have still found success, with acclaimed shows like “Mr Bates vs the Post Office” and Michaela Coel’s “I May Destroy You.” Coel, who grew up in Tower Hamlets and attended Guildhall School of Music & Drama on a bursary, is a prime example.
The success of “Adolescence,” following closely after last Saturday’s “unite the kingdom” rally, underscores art’s responsibility to reflect all of society and tell everyone’s stories with authenticity. While “raw talent” is often celebrated, few stars emerge without support. If we lose our world-class drama schools, we risk losing our presence on global stages and screens. The government has pledged to address the decline in arts education under the Conservatives. Initiatives like the National Theatre’s schools program and community projects such as Drama MOB deserve recognition, but more must be done to support young actors from all backgrounds, especially outside London. As Idris Elba aptly said, “Talent is everywhere, opportunity isn’t.” We owe it to the next generation of artists to ensure their talent is both discovered and nurtured.
Frequently Asked Questions
Of course Here is a list of FAQs about The Guardians view on the Emmys and grassroots drama training designed to be clear and conversational
General Beginner Questions
Q What is grassroots drama training
A Its basic accessible and often local acting training Think school drama clubs community theatre workshops and affordable acting classes rather than elite expensive drama schools
Q What was The Guardians main point about the Emmys and this kind of training
A Their view was that many Emmywinning actors started in grassroots settings They argued that this foundation is crucial for developing raw talent and should be protected and funded
Q Why does it matter for young aspiring actors
A It provides a lowpressure affordable way to discover a passion for acting build confidence and learn fundamental skills without a huge financial commitment
Q Isnt a top drama school better
A Top schools are great but they are highly competitive and expensive Grassroots training acts as an essential first step and feeder system allowing talent from all backgrounds to try acting and see if they like it
Benefits Importance
Q What are the key benefits of grassroots training for a young person
A
Builds confidence through performance and teamwork
Teaches core skills like voice projection memorization and collaboration
Makes acting accessible to everyone not just those who can afford it
Provides a safe space to make mistakes and learn without highstakes pressure
Q How does this connect to winning awards like the Emmys
A It creates a diverse and deep pool of talented actors When more people have access to training the industry discovers more unique and authentic voices which often leads to awardwinning performances
Q Does this type of training actually lead to professional success
A Absolutely Many famous actors credit their start to community theatre youth groups or school productions Its where they caught the acting bug and honed their craft before going pro
Challenges Problems
Q Whats the biggest threat to grassroots drama training
