National Theatre Gets 728 Applications for One Apprenticeship as Young Workers Turn to Craft

At London’s National Theatre, 728 people applied for a single apprenticeship role in the latest recruitment round. Cox London received more than 160 applications for two places. The competition points to strong demand for hands-on creative training as some young workers seek work they see as less exposed to current AI disruption.

The appeal is not simply nostalgia. Apprentices interviewed by The Guardian described physical craft work as less exposed to AI disruption affecting some creative roles. They did not describe an absolute divide: one apprentice saw AI as a useful aid in parts of the work, but not a substitute for manual expertise.

Demand meets a thin training pipeline

The National Theatre’s technical apprenticeships include IT, wig-making, costume design, prop-making and metalwork. Qualification head Kath Geraghty said the program is meant to address shortages in craft roles and develop talent for film, television and broadcast as well as theatre.

The influx brings its own bottleneck. Geraghty said the National Theatre is receiving many AI-generated applications and cannot ask staff to read roughly 700 submissions with care and attention. The challenge is evaluating them: Geraghty said such a review is not viable for staff.

Rebuilding skills that training stopped producing

For employers, the applicant surge follows a long gap in training. Paul Kidson, chief executive of Ludlow Bookbinders, said formal bookbinding apprenticeships collapsed in the early 1980s, leaving the industry to train its own workers. He estimates that fewer than 50 handcraft-operating bookbinders remain in Britain.

What employers are trying to preserve

• Ludlow’s bookbinding is almost entirely manual, using Victorian-built presses, foil-blocking machines and glue brushes.
• The National Theatre is using apprenticeships to address shortages in theatre crafts and build talent for the wider creative sector.
• The Folio Society says it does not use generative AI in its art and creative processes.

A hedge, not a guarantee

Hands-on work depends on material handling, practiced technique and judgment. That helps explain its appeal to apprentices worried about AI’s effect on creative work. But the evidence here is a view from applicants and employers, not a forecast that technology will leave craft jobs unchanged. The immediate test is whether limited programs can convert renewed interest into lasting skills.