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Year![]() ![]() | # Of Jobs![]() ![]() | % Of Population![]() ![]() |
---|---|---|
2021 | 635 | 0.00% |
2020 | 939 | 0.00% |
2019 | 1,111 | 0.00% |
2018 | 1,001 | 0.00% |
2017 | 918 | 0.00% |
Year![]() ![]() | Avg. Salary![]() ![]() | Hourly Rate![]() ![]() | % Change![]() ![]() |
---|---|---|---|
2025 | $65,770 | $31.62 | +4.0% |
2024 | $63,214 | $30.39 | +5.4% |
2023 | $59,987 | $28.84 | +2.2% |
2022 | $58,688 | $28.22 | +2.8% |
2021 | $57,095 | $27.45 | +2.1% |
Rank![]() ![]() | State![]() ![]() | Population![]() ![]() | # of Jobs![]() ![]() | Employment/ 1000ppl ![]() ![]() |
---|---|---|---|---|
1 | Illinois | 12,802,023 | 10 | 0% |
2 | California | 39,536,653 | 5 | 0% |
3 | New Jersey | 9,005,644 | 5 | 0% |
4 | Massachusetts | 6,859,819 | 3 | 0% |
5 | Maryland | 6,052,177 | 3 | 0% |
6 | Ohio | 11,658,609 | 3 | 0% |
7 | Rhode Island | 1,059,639 | 2 | 0% |
8 | Utah | 3,101,833 | 2 | 0% |
9 | Michigan | 9,962,311 | 1 | 0% |
10 | District of Columbia | 693,972 | 1 | 0% |
11 | Alaska | 739,795 | 0 | 0% |
12 | Connecticut | 3,588,184 | 0 | 0% |
13 | New Hampshire | 1,342,795 | 0 | 0% |
14 | Delaware | 961,939 | 0 | 0% |
15 | Vermont | 623,657 | 0 | 0% |
16 | Nevada | 2,998,039 | 0 | 0% |
17 | North Dakota | 755,393 | 0 | 0% |
18 | West Virginia | 1,815,857 | 0 | 0% |
19 | New Mexico | 2,088,070 | 0 | 0% |
20 | Mississippi | 2,984,100 | 0 | 0% |
University of Hawaii at Manoa
Slippery Rock University of Pennsylvania
University of Akron
University of Minnesota
Stonehill College
University of Arizona
University of San Francisco
California State University, Northridge
Indiana University of Pennsylvania
Birmingham-Southern College
Marquette University
SAG-AFTRA
Brigham Young University
Brenau University
Chapman University
San Diego Mesa College
Mark Branner: The real challenge for our American society is to actually value the arts (I could go on a rant here about the scant state/federal funding for USA artists in comparison to many other nations in Europe). If you've achieved a level of education and/or excellence in your craft (an MFA degree, for example), you need to start believing that you are worth being paid for your work. You can't simply volunteer hours of hour time and energy away to star in the next community theatre production. So, first, start thinking/believing that you need to get paid. Advocate for it. Change the culture by bringing it up often. Next, do find a good financial planner. From the very beginning of your career you should be thinking of what your body and voice will be at 50 or 60. Can you actually perform in eight shows a year, when each show will require you to dedicate at least five or six weeks to a rehearsal process? A good financial planner won't care much about your artistry but may care a great deal about making sure you have some money in a retirement fund. Start putting some money away every single month, even if you are only working at Starbucks.
Mark Branner: This is not new advice by any means, but being entrepreneurial as an artist is essential these days. How can you find multiple streams of income with your skills (acting, writing, directing, designing, voice over, etc.)? This is not typically a field where you fall into a good company job. It requires constant 'hustle,' seeking opportunities on your own that may be outside the realm of the 'industry' (regardless of what industry that is you are speaking about - Broadway, Hollywood, etc.). So my advice would be to find a good financial planner and take several 'starting a business' classes.
Mark Branner: Much like the comments above, you will need to be multi-faceted. Don't just study acting and think that is all you need. You'll probably need some film editing classes or sound editing classes. YOU will be responsible for your career Nobody else will look out for you in those particular ways. So you need to be working on finding ways to show all that you can do in order to find parking 'gigs' that may eventually lead to a permanent position (if that is what you are seeking). The field (even theatre) is NOT going to move away from technology. So learn how to use video and audio editing tools and social media tools to promote your next production.
Professor David Kaye: It often takes time to work your way into the professional circles in theatre and film. So advice #1 is to take the time to really identify where you want to live and work. Many students head to NYC or LA, but others go to Chicago, DC, Boston, Seattle, and several other large, medium and small cities. It takes about two years to really establish yourself. Commit to at least that amount of time to really see if you can make your mark there. Find every opportunity to audition. If you are a director, volunteer to serve as an assistant director on a production. In general, get your foot in the door. Also, don't be shy about making something happen on your own. You need to be scrappy, but self-producing is a great way to get yourself on the playing board.
Professor David Kaye: If you want to truly work as a performing artist, you have to continually be expanding the skill set you can apply your training to. You need to have a firm grasp of ALL the fundamentals you need for traditional theatre as well as for camera work. But the growing markets are emerging in the area of immersive and applied theatre. This can be anything from haunted houses to Standardized Patient Training, where professional actors play the role of a patient for work with doctors, nurses and others in the medical field. There are many companies that utilize actors in this way. Strong improvisational skills and the ability to be extremely realistic are the two primary skills needed for this work.
Octavia Biggs-Fleck: The performing arts have been struggling since COVID. It is becoming more clear with artists of the importance of arts education. We need to help our young people find their voice and share their stories. Acting/theatre is such an important role in our society at this point as we need to continue to tell "THE STORIES", much like a piece of artwork that has been saved that tells the stories of our past, present, and future.
Octavia Biggs-Fleck: By far the most difficult aspect of acting/the arts is the lack of consistency with regards to pay, the lack of insurance, and other benefits. It is also hard to stay disciplined to focus on the business aspect of being an artist.
Slippery Rock University of Pennsylvania
Drama/Theatre Arts And Stagecraft
Kari-Anne Innes Ph.D.: Broaden your horizons about what a career in the theatre may look like or where it may start. The multi-hyphenate artist is the new triple threat. In addition to talent in acting, singing, and dancing, consider other skills that will make you more distinctive, competitive, and valuable. Some sectors, including the performing arts, are recovering more slowly than others like web publishing, streaming, and motion pictures. The arts and cultural industries employed 4.9 million workers in 2021 (NEA). There is a place for you in it!
Kari-Anne Innes Ph.D.: Before moving to any market, including the big three of New York City, Los Angeles, and Chicago, research the city for the kinds and numbers of theatres and creative industries, cost of living, and opportunities for networking. You may be surprised at the numbers of opportunities in smaller markets that will allow you gain experience, make connections, and save money before your big move and big break. Remember that you are your own product and brand. Choose a company or city that matches your values and brand.
University of Akron
Dance
Dane Leasure MFA: The industry is always looking for new actors. Between theatre, film and television along with streaming services, the demand for new quality content has never been greater. It is still a difficult profession to pursue, but extremely rewarding for those who do.
Dane Leasure MFA: Entertaining others is a major like by most actors. Storytelling and being someone else is a thrill. The major dislike it the patchwork nature of work. While you might be employed on a show or film set for several weeks, after that you need to have another project lined up. Many actors are continuing to audition while working other gigs to make sure they can bounce from job to job.
Dane Leasure MFA: Entertaining others is a major like by most actors. Storytelling and being someone else is a thrill. The major dislike it the patchwork nature of work. While you might be employed on a show or film set for several weeks, after that you need to have another project lined up. Many actors are continuing to audition while working other gigs to make sure they can bounce from job to job.
University of Minnesota
Theatre Arts and Dance
Aaron Todd Douglas: The skills that stand out most are collaboration, problem-solving, concentration, and communication. Not only do our people develop the ability to collaborate with technical specialists (such as sound and lighting designers and technicians) as well as their own counterparts, but they can construct and deliver compelling narratives that communicate volumes quickly and efficiently. They are task-oriented and dogged in their pursuit of conscientious solutions that serve the collective good. They possess analysis and research skills with the necessary focus and follow-through to implement plans of action. Time management and people management skills are also critical in a theatrical production and the classroom.
With the confines of the pandemic and the rise of virtual communication and production, audio and visual technical skills complement most practitioners' skill sets. While it isn't necessarily a requisite, a working familiarity with technology is crucial. Nearly all Universities work with some Learning Management System such as Canvas or Blackboard. Instructors and students should also be versed in the basics like Office Suite, Pages, Adobe, etc., to create and edit scripts and other documents.
The attributes that distinguish the most successful Theatre Instructor applicants include a range of applicable professional experience, an advanced degree, and previous teaching experience. The standouts are personable, knowledgeable, and can identify with students from various backgrounds. A demonstrated commitment to lifelong learning and continued professional development is always a plus
Aaron Todd Douglas: Earning potential is a tricky thing. TV & film star and Broadway director Ruben Santiago-Hudson said that "show business" is one of the few occupations where skill and talent do not directly correlate with financial success. That is to say, never underestimate the importance of luck. One of my mantras is a saying attributed to the Roman dramatist Seneca: "Luck is what happens when preparation meets opportunity."
Matthew Greene: Anyone exiting college, or any place of training, needs to understand that everything is reset. Regardless of if you were cast in every show, or rarely appeared on stage, what matters now is what you do going forward. While experience is important, no one cares what you have done before if it’s not reflected in your current work, and most importantly, your work ethic and attitude.
Matthew Greene: Staying current with marketing/social media trends as a way of getting your name and content out there. This is where the younger generations have an edge. However, at the end of the day, the work needs to be of the highest caliber. Nothing beats work ethic and a thirst for knowledge.
Matthew Greene: Your focus shouldn’t be on salary at the start of your career—your focus should be finding work in your field and gaining knowledge, experience, and making quality contacts. Do not enter any work environment with the attitude of “What can I get?”, but instead approach every opportunity with “How can I help?”. This is how you will make yourself a valuable, treasured member of the community and build yourself a reputation as someone an employer desires.
Henk Stratton: The future of the industry is digital-this trend was set in motion long before the pandemic. Online streaming services have ushered in the second "golden age" of television, and have forever altered the landscape of how we consume home entertainment. If you look at how Warner Brothers is releasing all theatrical films via HBO MAX, there is an argument to be made that this will only last the length of the current public health crisis. But I don't think the marketplace will reverse. For an actor, it is mission critical to their success to market themselves to this digital world. In person auditions will be limited to final meetings or become a thing of the past altogether-less so, perhaps, with musical theatre because of the latency created by Zoom.
Henk Stratton: Continue to hone your craft, and remain adaptable. Creating your own content will be key in order to remain current. Even before the pandemic, the multi-hyphenated artist emerged.
Henk Stratton: Maintain an attitude that is adaptable, flexible, patient, courageous, and disciplined. Remember that it is hard (and important) work.
Ken Sonkin: Read, read, read! Take in all the material you can, especially things written by writers of color, so that we can begin to dismantle systemic racism in the performing arts. I would also suggest developing an "actor's routine" including audition prep (monologues), re-tooling your resume, creating your website (doesn't have to cost money!), and committing to physical and vocal workouts in order to keep your instrument well-tuned. If you can afford it, invest in computer upgrades, along with a microphone, camera, green screen, etc.
The next generation of actors will need to be proficient at submitting professional online auditions. Next: take a class! There are tons of free and inexpensive resources online for you to broaden your horizons. Also, create your own artist collective - a group of like-minded people who get together weekly/monthly to discuss current trends in the arts, read plays or screenplays aloud, and be a support group for one another. The most challenging part of this year has been the isolation of young artists. We are collaborative beings by nature, so it's vital to maintain your personal/professional relationships.
Lastly, I encourage students who are experiencing a gap year to journal. Write down your thoughts. I believe it's helpful to chronicle what you're going through during these trying times. And who knows? These private thoughts may be fuel for the next great play, film, song, or dance you get to create.
Ken Sonkin: Breathe. It's hard to fully understand the challenging times we're going through right now. It may be years before we're able to fully process the trauma and contraction of our economy, the arts, and our lives. But there has and always will be a human need to tell stories. Live performing arts will return and so we have to be patient.
That's hard to swallow for someone who has just finished their training and is eager to get out into the real world. But I believe this is the time to be planting the seeds for the future of the arts. To ask the hard questions. To celebrate the strength of those around us and especially within ourselves. Artists create in the times they live in; we have always held a mirror up to society so that as a civilization, we may laugh, cry, get pissed off or turned on, and challenge our thinking. Now is the time to reflect and prepare. One of my favorite quotes for this year: "What is there left for us, that have seen the newly discovered stability of things changed from an enthusiasm to a weariness, but to labor with a high heart, though it may be with weak hands, to rediscover an art of the theatre that shall be joyful, fantastic, extravagant, whimsical, beautiful, resonant, and altogether reckless?" - William Butler Yeats.
Artists who are beginning their careers now should remember to love themselves and those around them, dare to dream, and most importantly - breathe. They are our hope for a better tomorrow.
California State University, Northridge
Department of Theatre
Larry Biederman: Graduates will need versatility. The more students can apply their training to multiple disciplines, the better chance they will have of finding their specialty. Film, television, and theatre tend to be students' focus, but there are many related opportunities in gaming, corporate events, amusement park entertainment, voice-over, animation, theatre education, and more. Students whose interests straddle performance, production, design, and management can learn how to apply those skills in the contexts of multiple industries and will have the best success rate.
Larry Biederman: I think there can't help but be an enduring impact of the pandemic on anyone and anything. I'm not sure anyone can really foresee how, but it's inevitable. When it is safe to work again, I think there will be a rush for content in film, TV, theatre, and gaming which should provide a LOT of opportunity. However, with so much of the industry displaced and unemployed, there will also be fierce competition for those opportunities in a field that is already quite competitive.
Like many industries, some of the remote processes implemented to substitute for normal procedures may become the new standard. Self-taped auditions shot at home and submitted online were already becoming more and more common before Covid, and I see no reason why casting agents and producers would go back to renting spaces to hold in-person auditions, at least for the initial auditions.
Brian Jones: Entering the theatre workforce (and more broadly, the performing arts) is transitioning to micro-project and community-specific work. Institutional theatres, both commercial and non-profit, are largely closed and adapting to a new reality that will last beyond the end of the pandemic. The trends are pointed toward value-added content and media production. People will continue to need and yearn for experiences of art and enlightenment in the community. Trending is self-produced YouTube content, site-specific work productions for smaller audience segments, and applied theatre work for simulation scenarios and causes such as social justice. Voice acting is also going to continue to grow with applications to gaming and pod-casting.
Alan Litsey: Online content available on many platforms will increase exponentially, in my view. We will need writers, editors, directors, technicians, cinematographers, to name just a few. Theatre will need online streaming specialists. In particular, we need imaginative, agile problem solvers and innovators. The current challenges prove that our world can and will shift very quickly.
Alan Litsey: In the Theatre, my expectation is that more and more arts organizations will make use of streaming technology to ensure their programs are accessible to diverse audiences. The Southeastern Theatre Conference, the largest theatre organization of its kind, continues to develop exciting year-round services. I suggest you contact them for information on the March 2021 Convention. Currently, you see such cutting edge Theatre organizations as the Women's Theatre Festival creating extraordinary programming for online consumption.
Alan Litsey: We rely on story-tellers to entertain, divert us, raise vital questions, and teach us. Our nation's creative artists and technicians are vital as we navigate uncertainty. As our world grows more complex, the need for art will continue to increase. The need and the opportunities are out there. We need leaders who are capable of leading others in making data-informed decisions and thinking collaboratively and boldly. Critically, we need collaborators who can be present with each other, develop trust and rapport with diverse stakeholders, and have the ability to step into the shoes of others. In other words, we need liberal arts graduates.
Jamie Cheatham: The skillset of theatre artists entering the workforce shortly will not change too much. A solid foundation in the craft of theatre, whether in performance, design, or tech, remains rooted in our art form. While theatre does evolve, good theatre education comes with it. Since this spring, the real difference will be that much of the current work that is continuing in theatre has shifted to online formats. Auditions have often involved video submissions. These will likely become much more of an industry-standard, along with video callbacks and interviews. As classes continue to move online, so too do these online skills. So, the Covid-19 shut-down result has led, quite naturally, to the new set of skills that graduates will need. In particular, performers will have to pay a bit more attention to their home video production values, including adequate lighting, composition, and adjusting the scale of their work to the medium.
Pamela Greenwalt: While entering the acting profession is always challenging, this year has made the process uniquely difficult. Nevertheless, there are still plenty of opportunities for acting work during the pandemic. Most professional voice acting work has been unscathed by the pandemic, and scripted dramatic television and new media work is currently rebounding. As always, acting in commercials represents a viable way for new talent to break into the profession. Remote auditions are opening up opportunities for talent who otherwise might not have had access to certain jobs. For those willing to audition regularly and eventually join SAG-AFTRA, the acting job market of 2020 offers wide opportunities.
Brigham Young University
Theatre: BFA Acting
Tim Threlfall: Right now, I am guessing that television/film work will return faster and stronger than live theatre. Just go to Netflix or Amazon Prime and see the myriad television shows that are being produced. You can hardly even count them! Every network needs content, and the demand for actors is going to be strong, especially as they make up for lost time during the pandemic when not a lot of shows were in production.
For TV/film work, look to New York as much as LA. Look to Atlanta and Chicago and Vancouver BC. The film and television industry is everywhere right now. Many of our alum have agents in three to five different areas of the country.
Tim Threlfall: I am guessing that many stage auditions will be via tape in the near future. Actors' Equity Association, the union for professional actors, has always resisted taped auditions for obvious reasons. But that is changing with the virus. I am reading about the deliberations AEA is going through at this time, and I think some things will be different.
Even in TV and film, the self-tape audition is the norm now. It used to be the self-tape was just for the first round of auditions (what they call a 'pre-screen' audition), and the second round of auditions would be live. But I think we've all booked things recently from a single self-tape audition. I just finished a union (Screen Actors Guild/AFTRA) TV film a month ago, booked from a single, self-tape audition. I don't know if this will continue after the pandemic, but it is faster and less expensive...so it may stick around for some projects.
Gay Hammond: We are all going to be either proficient in "Zoom theatre" . . . or have changed our career paths significantly. Work experience is going to look very odd for a number of years, and hiring agents will have to figure out how a "streaming live show" or a "Zoom production" has affected the experience and usefulness of an actor or technician.
Chapman University
Department of Theatre
John Benitz: I think there will be some lasting impacts as far as technology (see below), but the need for and love of live performance will not change. Live performance has endured wars, pandemics, censorship, and all other obstacles since people began telling stories to each other thousands upon thousands of years ago. That said, a severe pruning has taken place, and it has been devasting. Yet, I'm optimistic that industry and art will rebound more vital than ever.
Even during the pandemic, people have relied on the arts for guidance and comfort. We have to remain adaptive, sensitive to our world, smart, creative, and strong...all qualities artists have an abundance of!
John Benitz: The reality is still that if you want to be on or Off-Broadway, evident as it sounds, New York is it. To be sure, great theater happens all over the country in many cities. But... Chicago, Los Angeles, Seattle, Denver, Boston, San Francisco, San Diego, Atlanta, and Philadelphia still have a record of vital regional work that finds its way to Broadway, Off-Broadway, and touring productions.
If you want to work in movies, the amount of work being generated in Los Angeles still dominates by a long shot. Yet (and this is not a new or post-COVID thing), a great job can happen and be generated anywhere and find an avenue of distribution if it creates interest by the people who make those decisions. It is the perennial question: "New York or Los Angeles?"
Eventually, if you want to be in the game, you have to have a relationship with these cities. That said, some sage advice was once given to me when I left graduate school, which was "stay where you have connections [then it was Boston] and wait for LA or New York to call you." I confess that I didn't follow that advice, but I have friends who did and made terrific careers for themselves in smaller cities.
John Benitz: Casting has been impacted dramatically, with the live audition/casting call coming to an abrupt halt. There will be more video/self-tape auditions moving forward, and it will be a lasting change. Also, since many negotiations have been hammered out regarding the streaming of live theatre, the streaming companies that have secured deals, such as Broadway on Demand, Broadway HD, National Theatre Live, will have a place in bringing "live" theatre to millions of households across the U.S.
More people saw Hamilton on Disney Plus in a few short weeks than saw it live. Think about that! There is the possibility that smaller local theaters can reach a larger audience through streaming, as well. The potential to diversify our theatre audiences (and casts, crews, writers, etc.) is immense and has to be embraced. The theatre audience is, unfortunately, still the realm of wealthier, mostly white, college-educated people. There is a vast audience that is being neglected of the nutrition and the power of live theatre. This may be the most potent and welcome change that comes from the pandemic.
San Diego Mesa College
Department of Dramatic Arts
George Yé: I think the impact has been made. Many in the performing arts have already begun to adapt their craft to online performance practices. However, the theatre will always call for audience and performer to gather though live, immediate participation. The question remains how long will the transition take to get back to "normal." In the meantime, students in this discipline will continue to train and prepare for that.
George Yé: Those seeking work in the film industry most likely will gravitate towards Southern California. Traditionally, those who are serious about a career on the stage will gravitate towards New York. However, there are several cities where young actors, theatre technicians, and designers can develop their careers before competing professionally.
George Yé: Technology has had an ongoing influence on the performing arts for many years already, whether it be on stage, backstage, or in-camera. We can expect even more integration with virtual and digital technologies and how they engage the audience. I can see more integration with audience participation through multi-media and mobile devices. However, nothing will ever really replace the direct connection that is so much a part of a live performance event.