A surge in the number of colleges offering bachelor of fine arts (BFA) degrees in musical theater has sparked a nationwide debate. Academics estimate approximately 150 programs exist, leading some to question the saturation of the market and its impact on aspiring performers.

The TikTok Controversy

Josh Grisetti,an associate professor of musical theater at California state University,Fullerton,ignited the discussion with a recent TikTok video. Grisetti, also a Broadway actor, argued that the proliferation of BFA programs has created an oversupply of young actors competing for a limited number of jobs.

Grisetti believes this situation is not accidental, stating:

I don’t think that the system broke down at random. I think it broke down in response to more colleges creating more B.F.A. programs, not because they were equipped to have those programs, but because they thought they woudl be cash cows-and they were.
Josh Grisetti, Associate Professor, California State University, Fullerton

He further claimed knowledge of an institution that doubled its BFA cohort to increase tuition revenue.

The Rise of the Triple threat

Musical theater BFA programs aim to provide intensive training for aspiring professional performers.The curriculum focuses on developing “triple threat” skills – excelling in singing, acting, and dancing. These programs typically culminate in senior showcases, where graduates perform for agents and casting directors from New York.

Laura London Waringer,an assistant professor of musical theater at Tulane University,explained the ancient context:

Becoming sort of the pathway to the American dream.
Laura London Waringer,Assistant Professor,Tulane University

Waringer,who is writing a book on musical theater training,noted that the boom in BFA programs occurred in the 2000s,fueled by the popularity of shows like glee,which:

Really brought that kind of singing and musical theater performance into our living rooms and into the cultural zeitgeist in a way that it hadn’t been in the past.
Laura London Waringer, Assistant Professor, Tulane University

Quality Concerns and Curriculum Gaps

As the number of programs increases, concerns arise about the quality of training and selectivity of admissions. Victoria Bussert, spearheading a new musical theater program at Oberlin Conservatory (a bachelor of music program), argues that many programs lack the necessary resources and expertise.

Bussert, who has consulted for BFA programs, elaborated:

What many schools did to create music theater programs is they would say, ‘Well, we have a music program, and we have a theater program, so now we’re going to combine them.’ What you end up getting is sort of a patchwork-y kind of program where you have educators who are not specialists in this art form.
Victoria Bussert, oberlin Conservatory

she emphasized the importance of contemporary training, stating:

If you don’t have a faculty whose expertise is this art form, you may be getting an education that is not contemporary, because we are a very fluid art form … you can’t just say, ‘Yes, we teach contemporary singing-we teach les Mis!’ Well, that was many, many years ago. Do you teach Maybe Happy Ending? Do you teach The Outsiders? Do you teach Hell’s Kitchen?
Victoria Bussert, Oberlin Conservatory

Bussert referenced three musicals that opened on Broadway in 2024, highlighting the need for programs to stay current.

Gainful Employment and Financial Realities

This debate coincides with ongoing discussions about gainful-employment regulations,which require academic programs to demonstrate that graduates earn enough to repay student loans. Theater degrees are often stereotyped as leading to debt and unemployment, although this is an oversimplification. Some theater programs have struggled to produce positive employment outcomes.

In 2017, the Education Department identified programs where graduates’ earnings were insufficient to cover their student loans. While most were at for-profit institutions, a graduate theater program at Harvard University was among the few at a nonprofit college to fail this metric.

Showcase Shortcomings and Performance opportunities

The social media response to Grisetti’s video revealed concerns about BFA programs failing to adequately prepare students for performance careers.Some alumni reported graduating without ever performing in a show due to program size, despite accreditation standards requiring participation in at least one major musical production.

Others reported institutions canceling showcases or requiring auditions for inclusion,limiting exposure to industry professionals.

Grisetti emphasized the importance of showcases:

I feel like if you don’t have a showcase model, I don’t think you should be a B.F.A. program,which is geared toward vocational training. If you’re not building that bridge into that industry, to me, you’re sort of saying, ‘Well, this is more generalist training and it’s meant to be worldwide’ … and in that sense, I think you would be better serving students having a B.A. program.
Josh Grisetti, Associate Professor, California State University, Fullerton

Cal State Fullerton’s program includes an all-expenses-paid week in New York for seniors, featuring Broadway shows, workshops, master classes, and a performance at 54 Below. The program also requires students to participate in two shows.

Bussert stated that Oberlin’s program will prioritize industry connections and real-world experience, including relationships with local theater companies and opportunities to perform eight shows a week, along with daily dance training.

Bussert explained the rationale:

Why? Because you need to do that in order to get hired.
Victoria bussert, Oberlin Conservatory

Beyond Broadway: Alternative Career Paths

While Grisetti’s video resonated with many, some argued that industry challenges should not limit access to theater education.others suggested BFA programs should prepare students for alternative careers beyond performing, such as directing or arts management.

Grisetti believes BFA students should understand their transferable skills but opposes altering curricula to include extensive training in other areas:

There’s just not enough hours in the day for musical theater B.F.A. training, specifically-trying to teach three art forms in four years is already an insurmountable task. When you start adding on every possible career outcome, giving them exposure if not more in-depth training in any of those other areas, that’s just not a realistic expectation to put on these programs.
Josh Grisetti, Associate Professor, California State University, Fullerton

He noted that BA programs offer broader, more flexible training.

Some critics argued that Grisetti’s video assumes all BFA students aspire to Broadway, overlooking opportunities in regional theater, national tours, theme parks, and cruises.

Waringer acknowledged that while Broadway may not be everyone’s goal, it is often how programs are marketed:

It’s like, ‘Broadway or bust.’ Broadway is the dream. That’s how they market these programs: how many of their students are on Broadway. That’s the measure of success.If we’re speaking specifically for a career on Broadway, there aren’t that many jobs to support a new graduating class of 1,500 students every year.
Laura London Waringer, Assistant Professor, Tulane University