When people think of the UK, many associate it with the arts, especially performing arts such as theatre, musicals, ballet, and opera. For many tourists visiting London, going to see a West End musical is a must, and it certainly feels like a very common part of the sightseeing experience.
So for this time, I would like to introduce and compare the state of the performing arts in the UK and Japan.
Compared to the UK, going to a stage performance in Japan often feels like a very special occasion. Many productions have short runs, ticket prices are high, and tickets frequently sell out, making it difficult to attend even if you want to.
In contrast, particularly in London, many productions run for long periods, and there is always some kind of musical or play performing every day. Ticket prices vary depending on seating, but it is possible to see a show for about £25, and there is also a wide availability of same-day tickets. It is common to casually say, ’Are you free today? Shall we go see that musical?’ and decide plans on the spot. Compared to Japan, theatre in the UK feels much more accessible and embedded in everyday life.
As someone who did ballet, I have also noticed significant differences between Japan and the UK when it comes to the internal realities of ballet companies. In Japan, many ballet companies rely on subsidies and donations, and dancers are often paid per performance rather than receiving a fixed salary. In some cases, dancers are even required to pay company fees, similar to monthly membership dues. As a result, many dancers need part-time jobs to support themselves, and ballet companies often operate under financially difficult conditions.
Pointe shoes, which are essential for ballerinas, cost around £70 per pair, yet in many Japanese companies they are not provided and must be paid for out of pocket. Since a pair of pointe shoes may last only a month, or sometimes wear out in just a few days, this can mean spending around £700 per month solely on pointe shoes. Japan’s only national ballet company, the National Ballet of Japan at the New National Theatre, reportedly provides proper salaries and supplies pointe shoes. However, the number of performances is relatively limited (for example, 18 performances of The Nutcracker in the 2025/2026 season). As a result, unless a dancer reaches a principal level, the reality is that making a stable living within a Japanese ballet company remains very difficult.
In contrast, most ballet companies in the UK operate on a salaried system, and there are five national ballet companies. The number of performances is also significantly higher (for example, 32 performances of The Nutcracker by The Royal Ballet in the 2025/2026 season). Pointe shoes are, of course, provided, and each dancer is given their own dedicated pointe shoe storage. If necessary, shoes can even be custom-made. In addition, expenses related to training, medical treatment, maintenance, and rehabilitation are also covered. Compared to Japan, it is very clear that ballet dancers in the UK are able to maintain a far more stable standard of living.
(https://www.worldofinteriors.com/story/pointe-shoe-craft-room-royal-ballet-opera-london )
When comparing the two, it becomes clear that in the UK, the performing arts are explicitly positioned as part of cultural policy, with systems in place to fully support audiences, venues, and artists. Viewing the performing arts as ‘cultural assets that should be protected’ directly leads to long-running productions and stable employment for dancers. This perspective can be seen as a key reason why the performing arts are so highly valued in the UK.