’All The World’s A Stage…’ National Youth Theatre Win Praemium Imperiale Grant For Young Artists

The National Youth Theatre (NYT), the world’s first youth theatre, has been awarded the 2025 Grant for Young Artists by the prestigious Japan Art Association.

This honour, which sits within the broader Praemium Imperiale framework, and recognises exceptional achievement in the arts in categories not covered by the Nobel Prizes.

This week, I was invited to the press conference at Japan House, London graced by Dame Helen Mirren, who celebrated NYT’s contribution to nurturing young talent and championing the performing arts for nearly seven decades.

The special event featured an excerpt from Handel and Hendrix performed by NYT members, with music by Naomi Hammerton — a spirited performance that captured the dynamism and creative ambition that have defined the organisation since 1956.

Theatre encompasses a wide range of productions, from lavish musicals to rural tours, from large-scale community shows to cutting-edge performance art. These diverse forms of theatre nurture talent and fuel Britain’s thriving television and film industries, too.

NYT chief executive and Artistic Director Paul Roseby reflected on the significance of this international recognition. “I believe it reminded us of the importance of a national organisation’s role on the world stage. We’ve been somewhat neglectful of this aspect recently, and I think our cultural influence in the UK has been somewhat diminished.”

He added: “Winning an award like this absolutely endorses the importance of the work — and the young people themselves. They can overcome barriers by sharing stories and giving us all hope. That’s why live performance and creative learning at the heart of education is not a luxury, but a human right.”

The special award is a timely reminder of the transformative power of youth arts and the enduring relevance of theatre in shaping confident, creative citizens for the future.

Chair of trustees Dawn Airey echoed Roseby’s sentiments, adding that the financial support is particularly valuable given the precarious state of arts funding in the UK. “It’s a great honour to be recognised and awarded — especially with a cheque.

“We’re very, very grateful,” Airey said. “The arts are continually underfunded, and organisations like ours step in to bridge that gap. National institutions and governments should do more to support the arts. Despite often being defunded and paid second fiddle, art’s importance as soft power is undeniable.”

Airey emphasised NYT’s wider impact beyond producing professional actors. “Our organisation teaches vital life skills — interaction, respect, tolerance, expression — even if our members don’t pursue arts careers. These are the skills that help build a more open and empathetic society.”

Each year, over 10,000 young people aged 11 to 30 audition to participate in masterclasses and free intensive courses.

The roll-call of former members includes Daniel Craig, Matt Smith, Daniel Day-Lewis, Paapa Essiedu, Rosamund Pike, and Vanessa Kirby.

Speaking to me at the ceremony, Dame Helen Mirren, a Patron and alumna of the NYT, underlined the importance of making drama, music, and theatre accessible to all young people. “Theatre is such an intrinsic part of British culture,” she said. “It’s vital for young people — who might not otherwise be exposed to the arts — to have these opportunities. For almost 70 years, The National Youth Theatre has grown in strength alongside our culture and the modern world. To have this recognition now is really wonderful.”

Host Lord Patten also praised NYT’s legacy: “I am delighted that the Japan Art Association will celebrate our very own National Youth Theatre — which will mark its 70th anniversary next year. NYT has produced outstanding work and provided vital support for generations of young actors as they transition into an often precarious profession.”

Alas, the Labour government’s first year in power demonstrates the urgent need for a radical, long-term approach to save the arts from being decimated by swingeing cuts to youth services and the marginalisation of the arts in schools.

Depressingly, 41% of state schools no longer offer GCSE Drama. I ask where we stand as a sector on this topic, 12 months into a new government. 

“In our sector we are all too familiar, and yes, fatigued with the relentless financial squeezing and geopolitical gesturing in order to gain some governmental support,” Roseby says. “We like what we see on the page, but it will take more than our usual smoke and mirrors to bring hope and optimism to our broadest of stages.” 

“I know this country is broke: we see it and we feel it; but it’s not yet broken. We look forward to helping this government achieve that fundamental and critically urgent shift,” he adds. 

Now more than ever, we must all bang the drum to ensure that drama, music, and the arts are funded, supported, and celebrated, and create an appetite for everyone to ensure the existence of future audiences.

In any case, the National Youth Theatre serves a unique function and is a shining example of how best we can elevate the next generation’s voice. I love them.

I have championed and covered NYT for almost a decade, and it was an honour to be a small part of this occasion. Indeed, we can all take civic pride in the National Youth Theatre of Great Britain shining on an international stage. 

The five winners of the Praemium Imperiale 2025 Awards are: Scottish painter Peter Doig, Serbian performance artist Marina Abramović, Portuguese architect Eduardo Souto de Moura, Hungarian pianist András Schiff, and Belgian dancer Anne Teresa de Keersmaeker.