The Royal National Theatre Annual Report & South Bank, London SE1 9PX Financial Statements + 44 (0)20 7452 3333 For the 53 weeks ended 3 April 2005 www.nationaltheatre.org.uk 2 Aims and Objectives 3 Nicholas Hytner, Artistic Director

Company registration number 749504 4 Sir Hayden Phillips, Chairman Registered charity number 224223 5 Overview of 2004-05 & Future Plans Registered office Upper Ground, 8 The Year in Photographs I London SE1 9PX 12 Studio Board 13 Education & Training Chairman Sir Hayden Phillips GCB 14 Productions Opening in 2004-05 Anjali Arya Susan Chinn 16 Touring, Transfers & Awards Nicola Horlick 17 Acting company Rachel Lomax 18 Musicians & Watch This Space Caragh Merrick Grahame Morris 19 Platforms, Exhibitions & Publications Caro Newling 20 Archive, Website & Access Ben Okri OBE 21 Development & Fundraising André Ptaszynski Rt Hon Lord Smith of Finsbury 22 Development Supporters Edward Walker-Arnott 25 Personnel Nicholas Wright 28 The Year in Photographs II Company Secretary Menna McGregor 32 Structure, Governance & Management Executive 36 Financial Review Artistic Director Nicholas Hytner Executive Director Nick Starr 40 Report of the Board General Manager Maggie Whitlum 41 Independent Auditors' Report Finance Director Lisa Burger 42 Financial Statements and Notes

Associate Directors 58 Associates & Committees Howard Davies Tom Morris

Bankers Coutts & Co 440 Strand, London WC2R 0QS

Auditors PricewaterhouseCoopers LLP This Annual Report & Financial 1 Embankment Place, London WC2N 6RH Statements is available to download at www.nationaltheatre.org.uk If you would like to receive it in large print, or you are a visually-impaired person and would like a member of staff to talk through the publication with you, please contact the Company Secretary at the National Theatre. AIMS NICHOLAS HYTNER & OBJECTIVES

The National Theatre is central to the creative life of the country. In its three The National’s engagement with the contemporary world never seemed more theatres on the South Bank in London it presents an eclectic mix of new plays urgent than it did in 2004. and classics from the world repertoire, with seven or eight productions in In Stuff Happens, David Hare provided an immediate and searching response to repertory at any one time. And through an extensive programme of amplifying our involvement in Iraq. Kwame Kwei-Armah continued his exploration of Black activities – Platform performances, backstage tours, foyer music, publications, British identity in Fix Up. And with The History Boys, Alan Bennett explored the exhibitions and outdoor events – it recognises that theatre doesn't begin and purpose of education. end with the rise and fall of the curtain. Meanwhile, Shakespeare and Euripides seemed to be writing in direct reaction to current events. In Simon McBurney’s hands, Measure for Measure was a Aims case study of misused power; and in Katie Mitchell’s production of Iphigenia at Aulis, the human consequences of the Trojan War provided a wrenching parallel The National endeavours to maintain and re-energise the great traditions of to recent events. the British stage and to expand the horizons of audiences and artists alike. It We aim on our stages to examine the present in the context of the past, and aspires to reflect in its repertoire the diversity of our culture. It takes a particular often the contrast between them is as illuminating as the confluence. Our responsibility for the creation of new work – offering at the NT Studio a space audiences are hungry for both, and were as enthusiastic about plays by for research and development for the NT's stages and the theatre as a whole. Marivaux and Erdman as they were for the rest of our repertoire. But I have Through NT Education, it engages tomorrow's audiences. As the national theatre, never sensed a greater hunger for the particular vitality that emerges from an it aims to foster the health of the wider British theatre through policies of energetic confrontation of the world we’re part of, and of the ideas that fuel it. collaboration and touring. We can no longer talk of our ‘audience’, in the singular. We have many different, overlapping audiences. There is no limit to the communities of people we can The NT’s objectives in 2004-05 serve if we address their concerns with imagination, wit and integrity. Our objective is to revitalise the great traditions of the British stage even as we The National’s continuing objective is to present a balanced artistic programme. seek entirely new stories to tell, and new ways of telling them. The NT Studio The repertory system is a key to this, not as a good in itself, but as the means has always been the National’s engine room, finding new theatre makers and of taking artistic risks and responding to audience demand. The NT endeavours giving them the space to develop their ideas. All the big new shows of 2004 to produce to the highest standards by attracting the best artists to work in an were shaped there. Our plans for it are outlined elsewhere in this report, but it’s environment that enables and stimulates them to realise the fullest extent of worth saying here that nothing is more important for our future, or for the rest of their talents. the British theatre’s future, than the new generations of artists that we nurture there. The new Studio will include space for NT Education and for the National’s These are the NT’s constant objectives. Alongside are two long-term and archive, so new artists and new audiences will co-exist with the preservation of interlinked strategies. The NT seeks to broaden the work on its stages, by our past for their use and benefit. nurturing new plays and new forms at the Studio, by commissioning, and by active project development of all kinds, in which Associate Directors, We have enjoyed a phenomenal year at the box office. Our second Travelex associates and other consultants are involved. £10 Season has been as successful as the first, with 94% attendance. Overall, we played to 94% capacity: nearly 800,000 people. More important than the It seeks to broaden its audiences, through the programming choices it makes, figures is the sense that the National has redefined itself. We have always been by keeping ticket prices down, and by making manifest its ambition to be bold, the most public of theatres: our two large auditoriums between them seat 2,000 contemporary and accessible. people and demand a challenging level of energy and commitment from writers, Other objectives for 2004-05 were: actors and directors. It has sometimes felt as if we have been on the point of giving up on public theatre, our muscles slackening, leaving us only with the skills < to develop plans for the redevelopment of the NT Studio building to inhabit tiny studio spaces, playing to an ever-dwindling band of devotees. < to re-establish a reformed touring policy and practice Our success over the last couple of years has served to remind us that the

< to begin enhancements to the NT’s exterior theatre can put itself at the centre of public discourse. We intend to stay there.

< to make continuing improvements to the functioning of the organisation Nicholas Hytner < to create a future capital plan in order to maintain the building for future generations

2 3 CHAIRMAN’S OVERVIEW STATEMENT 2004-05

Theatre is about what happens on the stage. Artistic programme In the last year what happened at the National Theatre was extraordinary, excellent and exceptional. The Board of the Theatre, and I am sure the public whom it The shape of the year’s programme reflected the over-arching aim of re-establishing serves, thank all those who made such success possible. We aspire to repeat the National’s mission as popular, affordable, inclusive and forward-looking. such a year but this cannot be guaranteed as the risks as well as the opportunities This can only be achieved across these sometimes conflicting strands by trying of bold and imaginative programming are great. But we shall continue to support to provide a balanced programme across the three theatres. The defining feature Nicholas Hytner and his team in taking those risks because that is why the of this positioning was, once again, the Travelex £10 Season. The seven-month National Theatre is there. season was followed in the Olivier by a revival of His Dark Materials for a second, sold-out, run. The Cottesloe, which last year presented only new plays, added An Annual Report is a formal document of accountability and therefore little read the other side of its policy, to present rarely-performed classics. The Lyttelton’s but we have tried this year, in our Overview, to tell a more coherent story of what brief is an eclectic programme of classics and new work, and occasional transfers we wanted to achieve, whether we think we achieved it, and, indeed, whether we from the Cottesloe, and, this year, benefited from the extraordinary long-running can in common-sense terms measure our success or failure. Of course we set out success of The History Boys. the conventional measures – box office, our financial position, the awards that we have won – but we are conscious, along with many other arts organisations, that our research into the make-up of our audiences, their reactions and the impact Diversity of our plays is still too fragile. We want year-on-year to strengthen that analysis. What accountability is or should be in the performing arts can be difficult to grasp Balance in the programme also means diversity. The voices of Roy Williams and to explain. Forty percent of the National Theatre's income comes from the and Kwame Kwei-Armah were once again heard at the National, drawing large taxpayer. This is bolstered by our benefactors – individuals, companies, trusts audiences for serious and important plays. The NT has developed its ability and and foundations. I warmly thank all those who provide this platform of essential credibility to draw audiences of colour; they are a growing though still under- support. I hope the story we tell in this document alongside what we put on the represented part of the increasingly heterogeneous audiences that come to the stage explains why we believe we use this subsidy in the public interest. National. Measurement does not imply targets; in the coming year we will monitor the composition of our audiences. We are committed to eroding the sense of We must also remind ourselves from time to time who is accountable for what the theatre and particularly the National as the preserve of any particular group, in the performing arts. In my first year as Chairman of the National Theatre, and whether defined by race, class or income. as the first Chairman to have been, once upon a time, the Permanent Secretary of the Department of Culture, Media and Sport, I want to restate my long-held passionate conviction about the importance of the separation of roles. There is Accessibility a clear difference between the role of those who fund – whether Government, Arts Council or whoever – and those who commission the creation of theatre. The Travelex £10 Season is the most evident demonstration of the NT’s conviction A clear differentiation of roles combining independence with cooperation and that it should be accessible. This, its second year, offered 170,000 tickets at £10, well-informed challenge helps support a vibrant artistic culture; a blurring of and was 94% full. Of the 247,000 attendances for the Season, 58,000 were by bureaucracy, in which roles are not clear and start to overlap one with another, first-time bookers at the NT. undermines both creativity and accountability. The lower ticket prices haven’t required additional public subsidy: a combination In conclusion I want to pay a special tribute to my predecessor, Sir Christopher of the Travelex sponsorship, lower production budgets, and high attendances Hogg. He presided over the Board from 1995 to 2004 with focussed commitment, made up the difference. Our subsidy has been used to under-write the risk legendary efficiency and a deep love of theatre in general and of the National involved, and since more people (150,000 more than in 2002-03) are able to Theatre in particular. I know Nick Hytner and his predecessors would join me come, the subsidy has worked harder. in this tribute. I and the current Board thank him for such a rich inheritance. Across the whole year, the NT’s top ticket price was between £25 and £35. This compares with a West End top price for drama between £35 and £42 over that Sir Hayden Phillips period. (And booking fees, applied in the commercial theatre, widen that gap by between £1 and £3.50.)

Subsidy and new work

Two of the NT’s main aims – those to do with accessibility and new work – are reflected in the use of our subsidy. There is no reason why subsidy for the artist and subsidy for the audience should be mutually exclusive. The NT believes that by lowering ticket prices we attract a more adventurous audience that in its turn demands a more challenging repertoire. So one consequence of subsidising the audience might be said to be a greater creative opportunity and freedom for the artist. 4 5 In 2004-05, the NT invested £1 million in the development of new work, spent Education largely on the Studio and the commissioning budget. The Studio contributions to the artistic programme have been evident in Stuff Happens and His Dark Materials NT Education continued to develop its many strands of work that reach out, both (both developed through a process of workshops, the latter originally in 2003-04); to the NT’s ‘hinterland’ in South London and across the UK. Their work aims and the work of Rebecca Lenkiewicz (The Night Season), Roy Williams (Sing Yer to open up and explore the practice and profession of theatre. It encourages Heart Out for the Lads) and Kwame Kwei-Armah (Fix Up). The Studio’s workshop young people from a wide range of backgrounds and disciplines to cross the activity in 2004-05 was divided between plays already scheduled for the NT, threshold, becoming active, critical audiences and makers for live theatre and workshops on potential projects for the NT, exploration, and music-theatre. the performing arts. 170,000 young people, teachers and artists participated in NT Education projects during the year. The Studio is where inexpensive experimentation can take place. The cost of one of its workshops to test out an idea is many orders of magnitude less than the financial commitment involved in putting an idea into production. In that pragmatic sense, the Studio can be said to be the NT’s ‘risk-mitigator’. Broadening the experience and the NT’s reach Nor is the notion of ‘new work’ as something laudable but risky quite the full We also engage in a great deal of activity designed to deepen the engagement picture. Over the NT’s history, new plays have been among the greatest box between audiences and the theatre. These are ways of ‘amplifying’ the artistic office draws. New plays in 2004-05 accounted for eight of the 19 productions programme – Platform discussions and performances, publications, exhibitions, given on the NT's stages, and attendance for them was 96%. Two of them – backstage tours, archive and websites. At one end of the spectrum is the NT Stuff Happens and The History Boys – had an impact well beyond the arts pages Archive, which has become one of the country’s main centres for theatre (as His Dark Materials and The Permanent Way had had in the previous year). research. At the other are the websites, and in particular the NT Stagework site, commissioned by Culture Online, which won two BAFTA Interactive Awards. The NT also makes a very large commitment to free entertainment as a way of Financial result introducing audiences to the theatre and enriching their experience. The foyer music programme gave 350 concerts. Watch This Space, the National’s annual Success at the box office resulted in an operating surplus for the year of free outdoor summer festival, presented over 100 performances in Theatre Square. £674,000, after transfers to reserves. As this is the product of popularity, it is a During the year, we made some enhancements to the look of the building and its highly pleasing out-turn. But on the expenditure side, having His Dark Materials impact on the London skyline. The two flytowers have been lit strikingly with a available for revival, and The History Boys available to be extended, meant a scheme designed in-house, which, with some new planting on the Baylis Terrace, lower than usual investment in new productions. It was evident therefore that points the way to further initiatives to make the best use of our terraces and the artistic programme requires, on an on-going basis, an additional £1 million, outside spaces. This is alongside plans to refresh some of our foyers, and at and this was a fundamental objective in the budgeting of 2005-06. the same time, renew our catering. The NT’s most significant capital project of this régime is the redevelopment of the NT Studio, a project that will considerably enhance and expand the Studio’s Touring, collaborations and transfers facilities, house the Archive, and create a new Education space. Under one roof, we will be developing the artists of the future and the audiences of the future, The NT’s new touring policy was put into effect with Martin McDonagh’s The and preserving a record of the past. Pillowman which, both artistically and organisationally, was a fresh start. NT work played in the regions for 21 weeks in all. Matthew Bourne’s Play Without Words toured after a Lyttelton run. The co-production with Birmingham Rep of Elmina’s Kitchen took Kwame Kwei-Armah’s Cottesloe hit of 2003 to a wider audience Future Plans around the country, and subsequently into the West End. The National also The National’s plans for 2005-06 are the continuing objectives and strategies collaborated with the small theatre collective Shunt. We first helped them secure described on page 2, and, in addition, the following: new performance space – the vast vaults underneath London Bridge Station; and later with fundraising, box office and marketing support to help them present < to continue the process of broadening the audience base, by bringing their show Tropicana. It was a new mode of working for the NT, an unusual and first-timers back to the NT, and also by widening the core audience unforced way of being ‘national’. < to invest in the artistic programme £1 million more than in 2004-05. During the year, three NT shows played in the West End. In New York, under < to set underway the redevelopment of the NT Studio the umbrella of NT/NY, an arrangement between the National and producers Bill Haber and Bob Boyett, Jumpers transferred with its NT cast, followed by < to extend NT Touring

Democracy with an American cast. Both were critically acclaimed and received < to create diversity initiatives for the staff body Tony nominations. < to grow fundraising, and to renew the sponsorship for the £10 Season

< to work towards performances on Sundays

< to refresh the foyers, renew catering, and develop use of the terraces

6 7 PLAYS OPENING 2004-05

1. The Permanent Way, Lloyd Hutchinson and Bella Merlin Photo: John Haynes 2. Cyrano de Bergerac, Stephen Rea and Clare Price Photo: Ivan Kyncl 3. Sing Yer Heart Out for the Lads, Ashley Walters and Stephen Wight Photo: Nobby Clark 4. Lifegame, Improbable Photo: Keith Pattison 5. The History Boys, Jamie Parker, Richard Griffiths, Andrew Knott, Dominic Cooper, and James Corden Photo: Ivan Kyncl 6. Measure for Measure, Naomi Frederick, Toby Jones and Paul Rhys Photo: Neil Libbert 7. The False Servant, Anthony Calf and Charlotte Rampling Photo: Ivan Kyncl 8. Iphigenia at Aulis, The Company Photo: Ivan Kyncl 9. A Funny Thing Happened on the Way to the Forum, Desmond Barrit and Lorraine Stewart Photo: Catherine Ashmore 10. The Night Season, Annette Crosbie and John Light Photo: Ivan Kyncl

11. Stuff Happens, Nicholas Farrell, Don Gallagher, Angus Wright and Nick Sampson Photo: Ivan Kyncl 3

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8 11 NT STUDIO EDUCATION & TRAINING

The Studio is the National’s engine room. An irreplaceable resource for the The Education and Training department bridges the gap between some of the whole of British theatre, it provides an environment free from the pressure of finest theatre talent in the world and young people and their families, teachers public performance where writers, actors and artists of all kinds can explore, and researchers in the local, national and international communities. It supports experiment and devise new work. and reflects the work on the National’s main stages and produces curricular and socially relevant theatre with which young people can actively engage and learn Founded in 1984 by Peter Gill, the Studio occupies the Old Vic Annexe, a fifties new skills. The following programmes and projects took place during the year: building on The Cut in Waterloo that formerly housed production workshops and offices. The building is in urgent need of being refurbished, but as this Art of Regeneration works with young people and artists in Greenwich and work is done, the opportunity arises to house under the same roof a valuable Lewisham in-school and out. Its Summer Arts College and Summer Arts Zone new Education space (currently accommodated in a rented hut), and proper moved from strength to strength with the support of new partners. Recent facilities for the NT Archive and a new collection of recorded performances. projects included a NESTA-funded programme to explore the interface between new media and live performance, and Next Generation – an opportunity for The refurbishment, which is costed at £6 million, provides new facilities for dance young people to participate in creating new forms of music theatre. and music theatre – dressing rooms and showers, sprung floors, sound-proofing – new facilities for writers, and a second workshop space that will effectively Backstage Pass for North and West London secondary schools, funded by the double the Studio’s development capabilities. John Lyon’s Charity, aims to increase access to the National and maximise educational potential. Over 4,328 students saw 18 productions during the year, These benefits are at the heart of the fundraising case, which has thus far 522 went on backstage tours and over 156 workshops took place in 30 schools. raised £2.55m towards the costs of the project, which is planned to begin Backstage South This sister project to Backstage Pass worked with 13 South in the middle of 2006. East London secondary schools. 2130 students saw 13 National productions The Studio, now led by Lucy Davies, has had a full programme of project with 76 in-school workshops. development, research and training this year. Forty-three projects were DfES London Challenge Roy Williams’ Slow Time toured to 50 schools, workshopped; there were 35 play-readings; 13 writers were on attachment; accompanied by in-school workshops, and playing to over 13,500 students. and there were five Studio commissions. Masterclasses and courses for writers and directors were held; there were three Resident Director bursaries, two In-Service Training for Teachers (INSET) 36 courses were run, with intensive exchanges for US writers and a week for composers and writers. Companies programming during half-term weeks, plus regional work with Duke’s Theatre using the Studio included Suspect Culture, Theatre O, Gecko, Filter, Frantic Lancaster and Theatre Royal Plymouth. Assembly, the Clod Ensemble and Handspring Puppets. Directors included: Interact, funded by Deutsche Bank, supports the teaching of the Citizenship Sean Holmes, Mike Figgis, Dominic Cooke, Anna Mackmin, Katie Mitchell, curriculum through drama. A production of Slow Time toured to 22 schools Richard Wilson, John Tiffany, Roxana Silbert, Rufus Norris and Phyllida Lloyd. accompanied by workshops and in-service training. Students and teachers A new breed of ‘tipped directors’ included: David Newman, Toby Frow, Jonathan attended a range of productions at the National. Munby, Orla O'Loughlin, Roisin McBrinn and Matthew Dunster. Writers included: Gregory Burke, Antony Sher, David Greig, David Eldridge, Simon Stephens, NT Education Resources continued to be produced throughout the year, Robert Holman, Nick Dear, Bryony Lavery, Ursula Rani Sama, Kwame Kwei-Armah, including three issues of Stagewrite magazine, and a wide range of background Katie Douglas, Rebecca Lenkiewicz, Dana Fainaru, Jane Bodie, Peter Oswald, packs and worksheets on the website. Enda Walsh, Mark Ravenhill, Alecky Blythe, Zinnie Harris and Nitin Sawhney. Shell Connections Ten newly-commissioned plays by leading playwrights were premiered by 193 schools and youth theatre companies, produced in 13 flagship theatres across the UK, culminating in a week-long celebration of youth theatre in the Olivier and Cottesloe Theatres. Transmission focused on increasing opportunities for performing arts practitioners in training and employment across the UK and Europe, and has developed model training for artists transferring arts practice to a variety of sectors. The NT/Goldsmiths College postgraduate programme in Cross-Sectoral and Community Arts has 19 students. Theatreworks is a management training programme through which public and corporate sector organisations can gain access to drama techniques and theatre for their employees, who develop skills through active, experiential workshops. Word Alive! Storytelling offers an innovative approach to learning about theatre, creativity, creative writing and literacy for primary schools through an in-school learning programme supporting a visit to the National to see Daedalus and Medea in the Olivier in a double-bill of stories, attended by 4113 children and accompanied by 156 in-school workshops delivered by practising artists. stagework.org.uk Commissioned by DCMS Culture Online, created and managed by the National, this website offers rich media content and curriculum resources, going behind the scenes of the complex process of making theatre. 12 13 PRODUCTIONS 2004-05

A co-production with Out of Joint THE FALSE SERVANT BURIED CHILD A Complicite Production THE PERMANENT WAY Pierre Carlet de Chamblain de Marivaux Sam Shepard A MINUTE TOO LATE A new play by David Hare In a new translation by Martin Crimp Director Matthew Warchus Devised by the Company Director Max Stafford-Clark Director Jonathan Kent Designer Rob Howell Re-directed by Simon McBurney Set, Costume & Video Designer William Dudley Designer Paul Brown Lighting Designer Natasha Katz Designer Tom Pye with James Humphrey Lighting Designer Johanna Town Lighting Designer Mark Henderson Music Gary Yershon Sound Design Christopher Shutt with Sound Designer Paul Arditti Music Jeremy Sams Sound Designer Paul Groothuis Mike Winship 3 April 2004 Lyttelton (transfer from Sound Designer Rich Walsh Dialect Coach Deborah Hecht Lighting Designer Paul Anderson Cottesloe, as part of the Travelex £10 Season) Movement Jack Murphy Company Voice Work Patsy Rodenburg Production Sven Ortel with Ian Galloway Company Voice Work Patsy Rodenburg 29 September 2004 Lyttelton CYRANO DE BERGERAC for Mesmer 1 June 2004 Cottesloe Costume Designer Christina Cunningham Edmond Rostand PRIMO Additional Direction Annabel Arden In a new version by Derek Mahon IPHIGENIA AT AULIS Based on If This is a Man by Primo Levi Artistic Collaborators Annie Castledine, Director Howard Davies Euripides Adapted by Antony Sher Hamish McColl Set Designer William Dudley Translated by Don Taylor Director Richard Wilson 27 January 2005 Lyttelton Costume Designer John Bright (the production included additional scenes Designer Hildegard Bechtler Music Dominic Muldowney and words improvised by the Company) Lighting Designer Paul Pyant A DREAM PLAY Movement and Dance Christopher Bruce Director Katie Mitchell Music Jonathan Goldstein August Strindberg Fight Director William Hobbs Designer Hildegard Bechtler Sound Designer Rich Walsh In a new version by Caryl Churchill Lighting Designer Paul Anderson Lighting Designer Chris Davey Voice Work Patsy Rodenburg With additional material by Katie Mitchell Sound Designer Paul Groothuis Movement Director Struan Leslie 30 September 2004 Cottesloe andthe Company Company Voice Work Patsy Rodenburg Music Paul Clark Director Katie Mitchell 19 April 2004 Olivier Sound Designer Gareth Fry THE MANDATE Designer Vicki Mortimer (as part of the Travelex £10 Season) Company Voice Work Kate Godfrey Nikolai Erdman Lighting Designer Chris Davey 22 June 2004 Lyttelton English version by Declan Donnellan Choreographer Kate Flatt SING YER HEART OUT FOR THE LADS Director Declan Donnellan Music Director and Arranger Simon Allen A new play by Roy Williams A FUNNY THING HAPPENED ON Designer Nick Ormerod Sound Designer Christopher Shutt Director Paul Miller THE WAY TO THE FORUM Director of Movement Jane Gibson Company Voice Work Kate Godfrey Designer Hayden Griffin Book by Burt Shevelove and Larry Gelbart Lighting Designer Judith Greenwood 15 February 2005 Cottesloe Lighting Designer Andy Phillips Music and Lyrics by Stephen Sondheim Music Catherine Jayes Sound Designer Rich Walsh Director Edward Hall Sound Designer Rich Walsh THE HOUSE OF BERNARDA ALBA Company Voice Work Patsy Rodenburg Choreographer Rob Ashford Company Voice Work Patsy Rodenburg Federico García Lorca 30 April 2004 Cottesloe Set Designer Julian Crouch 26 October 2004 Cottesloe In a new English version by David Hare Director Howard Davies Costume Designer Kevin Pollard Improbable Theatre HIS DARK MATERIALS (REVIVAL) Designer Vicki Mortimer Orchestrations Michael Starobin Keith Johnstone’s Based on the novels by Philip Pullman Lighting Designer Paule Constable Music Supervisor/MD/Dance Arranger LIFEGAME Adapted by Nicholas Wright Music Dominic Muldowney Martin Lowe Directors Phelim McDermott and Lee Simpson Directors Nicholas Hytner and Matt Wilde Sound Designer Paul Groothuis Designer Julian Crouch Lighting Designer Paul Anderson Associate Director/Choreographer Aletta Collins Company Voice Work Patsy Rodenburg Lighting Designer Colin Grenfell Sound Designer Paul Groothuis Set Designer Giles Cadle 15 March 2005 Lyttelton Title Music Nick Powell Assistant Music Director Mark Etherington Costume Designer Jon Morrell From 5 to 13 May 2004 Cottesloe Company Voice Work Patsy Rodenburg Puppet Designer Michael Curry 9 July 2004 Olivier Lighting Designer Paule Constable Dates given are those of the Press Nights THE HISTORY BOYS (part of the Travelex £10 Season) Associate Lighting Designer Vic Smerdon A new play by Alan Bennett Video Graphics Designers Thomas Gray and Director Nicholas Hytner THE NIGHT SEASON Yuri Tanaka for The Gray Circle Designer Bob Crowley A new play by Rebecca Lenkiewicz Music Jonathan Dove Lighting Designer Mark Henderson Director Lucy Bailey Music Associate Matthew Scott Music Richard Sisson Designer Dick Bird Music Director Mark Bousie Video Director Ben Taylor Lighting Designer Neil Austin Fight Director Terry King Sound Designer Colin Pink Music Roderick Skeaping Sound Designer Paul Groothuis Company Voice Work Patsy Rodenburg Sound Designer Neil Alexander Associate Sound Designer Matthew 18 May 2004 Lyttelton Dialect Coach Majella Hurley Smethurst-Evans Movement Caroline Pope Dialect Coach Neil Swain A collaboration with Complicite Company Voice Work Patsy Rodenburg Company Voice Work Patsy Rodenburg MEASURE FOR MEASURE Illusion Consultant Paul Kieve 8 December 2004 (both parts) Olivier William Shakespeare 3 August 2004 Cottesloe Director Simon McBurney FIX UP Set Designer Tom Pye STUFF HAPPENS A new play by Kwame Kwei-Armah Costume Designer Christina Cunningham A new play by David Hare Director Angus Jackson Lighting Designer Paul Anderson Director Nicholas Hytner Designer Bunny Christie Sound Designer Christopher Shutt Designer Christopher Oram Lighting Designer Neil Austin Video Design Simon McBurney, Sven Ortel Lighting Designer Paul Anderson Music Arranger/Supervisor Neil McArthur (for Mesmer), Tom Pye Sound Designer Paul Groothuis Sound Designer Gareth Fry Music Gerard McBurney Music Shostakovich (String Quartet No. 8) Company Voice Work Patsy Rodenburg Music Director Simon Deacon Arranged by Gerard McBurney Literary Associate Nick Drake Projection Design Sven Ortel (for Mesmer) Associate Director Matt Wilde 16 December 2004 Cottesloe Company Voice Work Patsy Rodenburg Company Voice Work Patsy Rodenburg Artistic Collaborator Annie Castledine 10 September 2004 Olivier Staff Director Douglas Rintoul (part of the Travelex £10 Season) Textual Adviser Steve Canny 27 May 2004 Olivier 14 (part of the Travelex £10 Season) 15 TOURS, TRANSFERS ACTING COMPANY & AWARDS 2004-05

TOURING AWARDS 2004-05 Annamaria ADAMS Beth FITZGERALD Helena LYMBERY Ian REDFORD The Pillowman 2004 Manchester Evening News Awards Bruce ALEXANDER Johannes FLASCHBERGER Susan LYNCH Ryan REGIS by Martin McDonagh Best Dance Production Play Without Words Lauren AMBROSE Joanne FONG Simon McBURNEY Paul RHYS Original director John Crowley; 2004 Evening Standard Awards Samuel ANDERSON Ryan FORD Hamish McCOLL Owain RHYS DAVIES director for the tour Toby Frow Adjoa ANDOH Jane FOWLER Sandy McDADE Charlotte ROACH 27 January-19 March 2005 Best Play: The History Boys Toured to Oxford Playhouse, Bath Theatre Best Actor: Richard Griffiths for Mark ARENDS Gregory FOX-MURPHY Graham MacDUFF Vinette ROBINSON Royal, Brighton Theatre Royal, Newcastle The History Boys Thomas ARNOLD Tanya FRANKS Penelope McGHIE John ROGAN The Charles Wintour Bursary for New Theatre Royal, Warwick Arts Centre, The Joseph ATTENBOROUGH Elizabeth FRANZ Jo McINNES Samuel ROUKIN Lowry – Salford Quays, and Cork Opera House Playwriting: Owen McCafferty for Scenes from the Big Picture Tom ATTWOOD Naomi FREDERICK Mairead McKINLEY Michael ROUSE A co-production with the Special Award: The National Theatre Samuel BARNETT Don GALLAGHER Tim McMULLAN Dominic ROWAN Birmingham Rep Theatre (to mark the Evening Standard Awards’ 50th Anabel BARNSTON Ian GELDER Meredith MacNEILL William RYCROFT Elmina’s Kitchen anniversary for ‘the remarkable contribution Desmond BARRIT Raeda GHAZALEH Carol MACREADY Justin SALINGER by Kwame Kwei-Armah made to theatre during the past half-century’) Neal BARRY Emily GLOYENS Nick SAMPSON Director Angus Jackson Marcello MAGNI 2004 Critics’ Circle National Dance Awards 25 February 2005-9 April 2005 Claire BENEDICT Maria GOLLEDGE Kevork MALIKYAN Rachel SANDERS Best Choreography (Musical Theatre): Opened at the Birmingham Rep Theatre, Paul BENTALL Mike GRADY Sarah MALIN Adrian SCARBOROUGH Matthew Bourne and the Company for then toured to Liverpool Everyman, Stephen BERKELEY-WHITE Sam GRAHAM Katherine MANNERS David SCHNEIDER Bristol Old Vic, The Lowry – Salford Quays, Play Without Words Isla BLAIR Gawn GRAINGER Emma MANTON Jennifer SCOTT-MALDEN and West Yorkshire Playhouse. South Bank Show Award for Theatre 2005 Mark BONNAR Tiffany GRAVE Mo SESAY The History Boys by Alan Bennett Lesley MANVILLE Produced on tour by the Touring Partnership David BRADLEY Tamzin GRIFFIN Kika MARKHAM David SHAW-PARKER Play Without Words 2004 Critics’ Circle Awards Jamie R BRADLEY Richard GRIFFITHS Caroline SHEEN Devised by Matthew Bourne and the Company Sinead MATTHEWS Best New Play: The History Boys Kay BRIDGEMAN Antonia GROVE Steve John SHEPHERD Toured to BAM, New York, in March 2005, Best Actor: Richard Griffiths for Clive MENDUS Marc BUCHNER Colin HAIGH Antony SHER then to the Ahmanson Theatre, Los Angeles. The History Boys Bella MERLIN Anthony CALF Bryony HANNAH Mike SHERMAN Produced on tour by PW Productions Best Shakespearean Performance: Paul Rhys Simon MERRELLS Stephen CAMPBELL MOORE Jamie HARDING Roger SLOMAN An Inspector Calls for Measure for Measure Pamela MERRICK Most Promising Playwright: Rebecca Michael CANTWELL David HAREWOOD Kyle SMITH-THOMPSON by JB Priestley Clive MERRISON Lenkiewicz for The Night Season John CARLISLE Daniel HART Spencer SOLOMAN Original director Stephen Daldry Jordan METCALFE On UK tour from February 2005 Darren CARNALL Sally HAWKINS Nina SOSANYA 2004 Whatsonstage.com Theatregoers’ Ben MEYJES Choice Awards Nancy CARROLL Richard HEAP Rachael SPENCE TRANSFERS Iain MITCHELL Best Supporting Actor (in a Play): Peter CAULFIELD Jennifer HILL Ewan STEWART Anything Goes Samuel Barnett for The History Boys Justine MITCHELL Flaminia CINQUE Anastasia HILLE Lorraine STEWART music and lyrics by Cole Porter Ms London London Newcomer of the Year: Hattie MORAHAN David COLLINGS Martin HODGSON Malcolm STORRY original book by PG Wodehouse & Guy Samuel Barnett for The History Boys Paul MORIARTY Bolton and Howard Lindsay & Russell Crouse, Best New Comedy: The History Boys Nigel COOKE Edward HOGG Geoffrey STREATFEILD Cherry MORRIS new book by Timothy Crouse & John Weidman Dominic COOPER Ewan HOOPER Karl SULLIVAN 2005 Laurence Olivier Awards Joe MORTON Director Trevor Nunn James CORDEN Jos HOUBEN Elaine SYMONS Continued at Theatre Royal, Best Lighting Design: Paule Constable for Victoria MOSELEY His Dark Materials Brendan COYLE Eleanor HOWELL Trevor THOMAS Drury Lane until 28 August 2004 Sean MURRAY Best Set Design: Giles Cadle for Stephen CRITCHLOW Kristin HUTCHINSON Steve TOUSSAINT Helen MURTON Jerry Springer – The Opera His Dark Materials Annette CROSBIE Lloyd HUTCHINSON Russell TOVEY music by Richard Thomas, Best Actor: Richard Griffiths for Peter NEEDHAM Steven CROSSLEY Martin HUTSON Harry TOWB book and lyrics by Stewart Lee & The History Boys Hayley NEWTON Richard Thomas Best Director: Nicholas Hytner for Dermot CROWLEY Lee INGLEBY Katherine TOY Jake NIGHTINGALE Director Stewart Lee The History Boys Mary CUNNINGHAM Sean JACKSON Susie TRAYLING Continued at the Cambridge Theatre Best New Play: The History Boys Ben DANIELS Alex JENNINGS Jim NORTON Sophie TROTT until 19 February 2005 by Alan Bennett Cait DAVIS Rhydian JONES Anthony O’DONNELL David TROUGHTON The Society’s Special Award: Alan Bennett Democracy Simone DE LA RUE Toby JONES Sarah O’GLEBY Sam TROUGHTON in recognition of his outstanding contribution by Michael Frayn Katy ODEY to theatre Frances DE LA TOUR Richard KATZ Daniel TUITE Director Michael Blakemore Morgan DEARE Leo KAY Chiké OKONKWO Zubin VARLA Wyndham’s Theatre, 16 April-9 October 2004 John Whiting Award Rudi DHARMALINGAM Sam KELLY Jamie PARKER Joan WALKER Owen McCafferty for Scenes from the Big Jumpers Harry PEACOCK Picture Sacha DHAWAN Dermot KERRIGAN Larrington WALKER by Tom Stoppard Gildas DIQUERO David KILLICK Victoria PEMBROKE M. Emmet WALSH Director David Leveaux Meyer-Whitworth Award Callum DIXON Jeffery KISSOON Laurence PENRY-JONES Ashley WALTERS Brooks Atkinson Theatre, New York Owen McCafferty for Scenes from the Big Alan PERRIN 6 April-11 July 2004 Picture Michelle DOCKERY Andrew KNOTT Tam WARD Tim DONOGHUE Samantha LAWSON Alistair PETRIE Anne WHITE Democracy Kostas PHILIPPOGLOU by Michael Frayn Sarah-Jane DRUMMEY Michael LEGGE Lucy WHYBROW Director Michael Blakemore Kate DUCHENE Vince LEIGH Dodger PHILLIPS Stephen WIGHT Brooks Atkinson Theatre, New York Matthew DUNSTER Alan LEITH Sara POWELL Victoria WILLING 3 November 2004-17 April 2005 Vanessa EARL Patricia LEVENTON Claire PRICE Daniella WILSON Robert EAST Elliot LEVEY Philip QUAST Penelope WILTON Souad FARESS John LIGHT Joseph RAISHBROOK Matthew WOLFENDEN Nicholas FARRELL Miranda LIND Charlotte RAMPLING Kirsty WOOD Ray FEARON David LUCAS Raad RAWI Angus WRIGHT Deborah FINDLAY Michelle LUKES Stephen REA Rob WYNN 16 17

MUSICIANS & PLATFORMS, WATCH THIS SPACE EXHIBITIONS & PUBLICATIONS

MUSICIANS PLAYING Christopher Harding Colin Rae IN PERFORMANCES Paul Harvard Don Richardson Platforms Simon Allen Joy Hawley Gareth Roberts Platforms are an eclectic programme of events taking place across the Duncan Ashby Gillian Hicks Andy Robinson National’s three auditoriums before the main shows. The series of discussions, Neyire Ashworth Paul Higgs Rachel Robson Steve Bentley-Klein Nick Holland Jason Rowe talks, interviews, and readings this year included appearances by Joan David Berry Tracy Holloway Nancy Ruffer Bakewell, Alan Bennett, Eleanor Bron, Craig Brown, Howard Davies, Michael Mark Bousie Philip Hopkins Corrina Silvester Gambon, Germaine Greer, Peter Hall, Ian Hislop, Malcolm McDowell, Philip Penny Bradshaw Siam Hurlock Roderick Skeaping Pullman, John Sessions and Stephen Sondheim. Platform readings included Jon Clairmonte Nicola Hutchins Edward Tarrant a presentation of the late John Gielgud’s letters; four Hungarian plays from Claire Coates Toby Kelly Graeme Taylor the Studio’s Channels project; two Plautus comedies read by members of Calina De La Mare Noel Langley Robin Thompson-Clarke the Funny Thing company and two of Strindberg’s Chamber Plays. National Steve Edis Martin Lowe Philip Todd Headlines, a series of new reportage plays about current issues in domestic Mark Etherington Laura Melhuish Joe Townsend Walter Fabeck Rod Melvin Katherine Toy politics by Moira Buffini, Gergory Burke, Tanika Gupta, Paul Jepson, and Emma Fowler Katja Mervola Ian Watson Mark Ravenhill, were accompanied by thematic discussions. Guests for the Andrew Gathercole Jessie Murphy Hugh Webb ‘In Conversation’ summer series were Desmond Barrit, Frances De La Tour, Sidney Gauld Buffy North Jeremy Wiles Richard Griffiths, Philip Quast, Charlotte Rampling, and Adrian Scarborough. Michael Gregory Bruce O'Neil Nigel Wong A special series celebrated the 75th Anniversary of the publishers Faber and Ben Grove Stephen Pierce Faber with appearances by Christopher Hampton, David Hare, Tony Harrison, Frank McGuinness, and Tom Stoppard, introducing scenes from their earlier successes. In the annual Theatre Quiz, a team of History Boys won a tight Foyer and Watch This Space Music victory over a team from His Dark Materials.

The programme covers the whole year, with over 350 concerts on the Djanogly Concert Pitch and 38 outside during Watch This Space. The range of musical styles is ever-expanding, with most jazz flavours, as well as music from all over Exhibitions the world. Together with home-grown new and established talent such as The Over the year, exhibitions mounted in the NT foyers were: Jocelyn Herbert Dylan Howe Quintet and The Anita Wardell Trio, we have welcomed musicians at the National; Thurston Hopkins – The Golden Age of Reportage (Getty); from Senegal, Ghana, Israel, Syria, Argentina, Brazil, USA, Ireland, Italy, and The Atlantic Wall – photographs by Ianthe Ruthven; Mysteries – paintings Holland. A great renewed success was a special dance and music performance by Ewa Gargulinska; Rolling Stones – An Unseen Diary (Getty); 100 Years – on New Year’s Eve 2004 with Coco Xpress and salsa dancers. Highlights outdoors 100 Puppets; Ralph Koltai: Designer for the Stage; Hell’s Angels Motorcycle included Salsa Celtica, a Latino-Scottish 12-piece band from Edinburgh, and Club – photographs by Andrew Shaylor; Five Thousand Days: The British contributions from a vast range of British, European and world-wide bands such Press Photographers' Association, 1989-2004; Dazzle 2004; Evening as Jeaune Toujours from Belgium and Wai from New Zealand. There was also an Standard Theatre Awards; Raw Materials; Show Me! Tell Me! – Connecting opportunity to work with Cultural Co-Operation, a London-based organisation and Communicating. promoting diversity in the arts. Through them we were able to include exceptional groups from India, Trinidad and Tobago, and Yemen. Publications

Watch This Space Publications support and add background to the NT and the productions in its repertoire. Programmes for the 19 new productions this year included specially The National’s annual outdoor summer season of theatre, music, film and written articles by Gilbert Adair, Alan Bennett, John Berger, Christopher Bigsby, spectacle took place in and around Theatre Square, and featured a multitude Larry Gelbart, Camille Paglia, Simon Schama, Peter Stothard and Oliver Taplin. of national and international theatre companies and musicians, with free New books co-published by the NT during the year were Darkness Illuminated, performances six days a week. Highlights included Deabru Beltzak – transcripts of Platforms on His Dark Materials, and a follow-up to Robert Butler’s passionate pyrotechnics from the Basque country; Hanging Around – the The Art of Darkness, published the previous year – both with Oberon Books. National Youth Theatre’s specially created piece about the South Bank; an uplifting concert by Salsa Celtica; Les Puces Savantes – the smallest circus in the world; and Carmen Funebre – an astounding and disturbing Polish theatre production on stilts. The introduction of a film programme proved hugely popular, with flytower screenings of The Lodger, Koyaanisquati, Metropolis and The Cabinet of Doctor Caligari. ‘Bloomberg Satellites’, an offshoot of Watch This Space, took three Theatre Square performances of Sâlt, Circo Para Todos and Zic Zazou over to our sponsor’s workplace in Finsbury Square. 18 19 ARCHIVE, WEBSITE DEVELOPMENT & ACCESS & FUNDRAISING

Archive The NT continues to place great reliance on its fundraising, which accounts for £5.1 million per year and allows us to maintain the range and scope of our activities. The Archive exists to preserve and provide access to the materials documenting NT Development had a successful year. Notable on the corporate side are the the history of the National Theatre. It provides facilities and support for staff to relationships with Travelex, who have entered their third year as sponsors of the exploit the riches of the collection, for academics to pursue research and for £10 Season in the Olivier Theatre, and with Shell and Deutsche Bank, long-time the public to discover and enjoy the history of the NT. Archive staff conduct sponsors of two of NT Education’s most extensive projects, Shell Connections cataloguing and preservation work; direct the records management policy and Interact. KPMG, sponsors of The History Boys in the Lyttelton and its UK for the National Theatre; provide a public enquiry service; offer a photograph tour, have supported the NT for over five years. These are truly valuable library loan service; and run the Archive research room. The website partnerships, in which the flow of benefits is two-way. (www.nationaltheatre.org.uk/archive) provides features on the history of the National and the collection; you can find there a public catalogue for the collection; The NT takes the same attitude towards its involvement with individual supporters, a searchable performance database containing details of all NT productions; a charitable trusts and foundations. Many of these relationships are very long- Document of the Week; and numerous other resources. Group learning programmes standing indeed, bearing fruit when the needs and mission of the NT are and an induction programme for drama school undergraduate groups are being compellingly articulated and profoundly understood. These donors make a developed. In 2004-05 there was a 25% increase in personal visitors, and the significant contribution to the revenue needed for core work and for special number of enquiries via phone, e-mail, web-form, and letter (for which the aim projects. During 2004-05, we received a £1m gift towards the redevelopment is a 24-hour response time) continues to grow. The Archive is most grateful for of the NT Studio from the Garfield Weston Foundation and a pledge from an the increasing contribution of volunteers. anonymous donor for a further £1m. For the last 12 years the Archive has been housed in a converted warehouse in Last February the NT, working with a very able volunteer committee, held Brixton, where preservation conditions are far from ideal and storage capacity FastForward, a spectacular party which included street theatre, performances has been reached. The incorporation of the Archive into the scheme for the and auctions. Individual and corporate supporters combined with playwrights, refurbishment of the NT Studio building shows the National’s commitment to actors and creative teams to make this an extremely successful fundraising event. preserving its history and affords an opportunity to provide the Archive with Whereas fundraising was once thought of as simply a fact of life for arts more space, better and broader facilities incorporating new technologies, much organisations, the NT enthusiastically welcomes the relationships it forms. Our improved access for researchers and the capacity to develop and grow in size and gratitude to many of the people and organisations who support us is recorded on scope. Among other projects, the Archive is actively contributing to the development the following pages. Their support is invaluable and we are immensely grateful of NT filming facilities, electronic storage, and website developments. for their continuing commitment and the way in which they enrich our work.

Website

nationaltheatre.org.uk has expanded enormously since it was launched, and audiences can now explore every area of the National’s work and history through it, including linking to stagework.org.uk, an award-winning website created and managed by NT Education, which goes behind the scenes of the process of making theatre. Approximately 25% of the NT’s bookings are now routinely made on-line.

Access

Access plays a crucial role in ensuring that the National can welcome people with diverse backgrounds and abilities as both customers and members of staff. Embracing diversity is a key aim of the National, as is ensuring that all audiences coming here are made to feel welcome and comfortable. Over the year, there were 26 audio-described performances of plays in all three auditoriums for blind and visually impaired people, as well as seven captioned performances for deaf and partially hearing people, and ten sign language interpreted performances.

20 21 DEVELOPMENT SUPPORTERS

SUPPORTING CAST Mr and Mrs Jack Keenan Benefactors Mrs Jane Carter Don and Sue Guiney Brenda Meldrum Mr Anthony Salz Mrs Jackie Young Life Benefactors Mathilda and Terence The Rausing Abraham Arts Lady Cazalet Mrs Christina Gyllenhammar David and Wendy Meller Martin Byman and Jonathan Yudkin Anonymous Kennedy Charitable Trust Fund Mrs Denise Cohen Mrs Susan Harbour Mr Bruce Golden and Margaret Samson Stephen and Laura Irwin and Mary Ackerman The Kreitman Foundation Julie and Jim Alexandre Louise and Bruce Cohen Richard Hardman and Ms Michelle Mercer Enid and Basil Sandelson Zimmerman Jonathan and The Mark Krueger William G Bardel Mrs Sylvia Cohen Elizabeth Atkinson Doug Milburn and Una Riley Ruth and Brian Sandelson James D Zirin Marie-Claire Agnew Charitable Fund Alison and David Blood Mr Toby Cole Dean Hargrove Mark and Carolyn Mishon Victor and Bernice Sandelson Donald Zucker Basil Alkazzi Jon and Mary Leadbetter Lady Brown Morven Heller Derek Mitchell Mr Robert Sansom and Geoffrey Collens The National is also grateful Lady Lever Ms Edith Eligator Jeffrey Archer Carl and Nancy Cooper Mr and Mrs G L Collins Mr Rodger Hess G Modiano for the support of our Dr Joseph Sassoon Jody Locker Berger Ruth and Stuart Lipton Douglas S. Cramer Mr and Mrs Paul Collins Barbara and Gerald Hines Barbara and Karsten Moller Supporting Cast and Priority Michael Sayers, QC Tony and Gisela Bloom Justin and Jill Manson Deborah David and Carole and Neville Conrad Phil Hobbs - LTRC Francis J Morison Members. Mrs Sylvia Scheuer Keith and Helen Bolderson Judy Marshall Norman Kurland Kay Ellen Consolver A.Michael Hoffman Mrs Marcelle Morris Lizbeth Schiff and Paul Dupee New Drama Circle Benjamin Bonas Edward McKinley and Mr David Malcolm Eagar Ricki and Robert Conway Horsham Chiropractic Centre Sarah Morris Kathleen Lavidge Mr and Mrs Richard J Schwartz Dr Neil Brener Ivor Braka Ltd Daniel and Joanna Friel Mrs Cheryl Lynn Hall Cramer Audrey and Brian Howard Mr Miles Morland Mirisch and Lebenheim Ms Jenny Schwartz Mr and Mrs James Brice Dr Neil Brener Ralph I Goldenberg Sheila Cross Robin and Inge Hyman Mr and Mrs M D Moross Charitable Foundation Mr John Schwartz Ian and Caroline Cormack James and Debby Brice Mrs Sue Hammerson OBE Linda and Ronald F Daitz Maxine Isaacs and Colin and Mary Morrison Carol Mitchell Mrs Carol Sellars Mr David Dutton Russ and Linda Carr Richard H Harding Mr and Mrs Jonathan Davie James A Johnson Mr Steve Morrison Debbie Morris Louisa Service Mr and Mrs Jack Keenan Terri and Timothy Childs Mr and Mrs Adrian Knight Richard and Liz Davies Derek and Anne Jenkins Pat Morton Mr David Salem and Mr Edward McKinley and Sir Trevor and Lady Chinn Mr and Mrs George Newell Stephanie and Harold and Valerie Joels Michael and Mimi Naughton The de Laszlo Foundation Ms Eleanor Shannon Ms Kathleen Lavidge Dr David Cohen CBE Mr and Mrs Jim Nicol Carter McClelland Don and Kay Jones Stanley Newman Conrad Dehn, QC Ellen and Dan Shapiro Mr Oliver Prenn Sir Ronald and Lady Cohen Robert and Jane Norbury Mr and Mrs Bernard Nelson Thomas Joyce and Andrew and Sue Nichols Cynthia Diacre Caroline and Gordon Sim Mr Leopold de Rothschild Georgia Oetker Mr Gerald M Ronson and Dr Annette Atkins Veronica Cohen Prof C John Dickinson Elizabeth Nixon Ms Dasha Shenkman Dame Gail Ronson DBE Mr Stanley Slade Ian and Caroline Cormack Gregory and Susan Palm Paul Kafka Philip Noel Zoë Dominic Tessa Smith Clive and Sally Sherling Simon and Carolyn Mr Alex Segal David Kaskel and Sidney and Elizabeth Corob Cory and Bob Donnalley C.FDN Ian Norrie Jan and Michael Topham Parker Bowles Patricia and David Smalley Christopher Teano Mr and Mrs David T. Smith Mr Peter Cundill Mr and Mrs Arnold Edward Mrs L Orge Edgar and Judith Wallner Barrie and Catherine Pearson Helen and Anthony Spiro John and Jenny Kelly F G B Smith David Day Mr and Mrs Peter Einstein Mark Otway Jeffrey and Susan Weingarten Elizabeth and Daniel Peltz Jay and Deanie Stein Mrs Hilary Kiff Mr and Mrs Richard St Johns Jose and David Dent Don Ellwood and Midge and Simon Palley The David and Elaine Potter Leila Maw Straus David Killick Nigel and Johanna Stapleton Sir Harry and Lady Djanogly Sandra Johnigan Michael and Mary Parkinson CORPORATE MEMBERS Charitable Foundation Philip Kingsley Mr and Mrs Don Starr Sir Howard Stringer Jane M and Howard D Epstein Edward Dolan-Abrahams Carolyn and David Pascall CBE Judy and David Stewart Premium Nyda and Oliver Prenn Eric and Katharina Walters Mrs Frances Kirsch James and Elizabeth Downing Hilary and Rupert Evenett Nick Perry BP Quercus Trust Mr and Mrs Mark Kogan Oliver & Sally Stocken Dame Vivien Duffield DBE Patrons Mr and Mrs Thomas J. Sara and Paul Phillips Frances and Martin Stokes GlaxoSmithKline Mr H K Rausing Eyerman Bruce Kovner Robyn Durie Anonymous Pauline Pinder Olive and Michael Stone Platinum Mr and Mrs Simon Robertson Mr R Feit Herbert Kretzmer David Dutton Brian Abbs Anne and Barry Pinson Sue and Stuart Stradling British American Tobacco Bianca and Stuart Roden Mr Joseph A Field Elliott F. Kulick Glenn and Phyllida Earle Meg Addison Peggy and John Pirovano Mr John M Sunderland Daily Mail & General Trust plc The Audrey Sacher Ralph Fields Mr Rick Lake Mrs T S Eliot James Andrew International Mr Graham Pitcher Mrs David Susman Deutsche Bank AG London Charitable Trust Steven Larcombe and Ambassador and Mrs Hilary Finer William Plapinger and Dr Mortimer and Edward and Elissa Annunziato Sonya Leydecker The Swan Trust Goldman Sachs International Mrs Edward E. 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Leventis Jenny Thompson Clara and Michael Freeman Claire and William Frankel Gail, Robert and Ian Reichert Reuters Group PLC Sir Patrick Sergeant Stephen Bartlett Colette and Peter Levy Deryck L Thornley Jacqueline & Michael Gee Adam and Victoria Ruth Robinson The Royal Bank of Scotland Miss Dasha Shenkman Mrs Arlene Beare Mr and Mrs Roger Lewis Ms Britt Tidelius Charitable Trust Freudenheim Caroline Roboh plc Mr and Mrs William Shenkman Mr Ernest G Beaumont Laura and Barry Townsley Jill and Jack Gerber Robert and Pirjo Gardiner Maxine and John Libson Royal Mail Group Mr and Mrs Roeder Christopher and Mrs Juliet Gibbs Clive and Sally Sherling James and Caroline Beery Jacqueline and Sir Gavin and Mr and Mrs Kenneth Rokison Julia Tugendhat Mrs Ronny Schwartz Lois Sieff OBE Royce and Rotha Bell Jonathan Gestetner Dr Naomi Lightman Beth and Gary Glynn Jeffrey A and Marjorie G Rosen Mrs Margaret KB Turner SG Asset Management Rita and Paul Skinner Ron Beller and Jennifer Moses Hon William and Lori Gibson Sam and Pam Lipfriend Michael Godbee Michael Rose and Gareth and Elisabeth Turner Smiths Group plc Hugh and Catherine J. and A. Bénard Hon Piers and Melanie Gibson Miss Sophie Lobel Lydia and Manfred Gorvy Roz Rosenblatt Sir Michael Turner Unilever plc Stevenson Phil and Lisa Bennett Hon Clive and Mrs Gibson Mr Darren Lock Michael Grade CBE Mr P M Roth Ed Victor UNISYS Limited Mr John J Studzinski Mr Samuel Berwick Mrs M C Godwin Graham and Eileen Lockwood Mrs Catherine Graham Mo and Lyn Rothman Christopher Wade Whitbread Plc Jan and Michael Topham Mrs Dianne Bienes Mr Richard Goldbach Victor and Marilyn Lownes David R Graham Mr and Mrs P G Rous George and Patricia White Gold Mr and Mrs Max Ulfane Dr and Mrs R David Bloomberg Jack and Grete Goldhill John and Celine Lowrey Gabrielle, Lady Greenbury Kenneth and Angela Rubens David and Monica Whitmore Abbey plc Edgar and Judith Wallner Mr and Mrs J C Botts Mr David Golton Mrs Felicity Lyons Evelyn and David Green Anthony Rudd Marilyn and Geoffrey Wilson Addleshaw Goddard Ian and Victoria Watson Ms Katie Bradford Mrs Vera Gordon Alistair Mackinnon-Musson The Philip and Pauline Harris Jill and Paul Ruddock Henry and Louise Windeler Asda Property Holdings Plc Charitable Trust Jeffrey and Susan Weingarten Mrs Elly Brook Mr Nick Gould Sally and Donald Main Mr William Russell Cohen Bramdean Asset Mrs Mary Weston Mr and Mrs L.L. Browning, Jr Susan and Richard Hayden Richard and Marcia Grand Ms Claudine B Malone William and Julie Ryan Wendy Wolstencroft Management Peter Wiegand Mr and Mrs David Brush Dr and Mrs Alan J Horan Margaret & Arthur Grandy Dr Anna Mann John and Jeremy Sacher David and Vivienne Woolf The British Land Company Plc Clare and Bernard Horn Sir Robert and Lady Wilson John and Susan Burns Mr & Mrs Edward Greene Paul and Paula Marber Charitable Trust Della Worms and Chubb Insurance Company Lord and Lady Jacobs Peter Wolff Mrs Neville Burston Richard and Odile Grogan Marina and William Marcoux Mr NPM Sacks, MS, FRCS, Fred S. Worms, OBE of Europe S.A. Joseph and Jill Karaviotis Dr and Mrs Gerald Woolfson Mr Philip Buscombe Byron Grote and Susan Miller David Marks FRACS Tim Yetman Deloitte 22 23 PERSONNEL

Sir Harry and Lady Djanogly TRUST AND Rosetrees Trust HEADS OF CASTING Nou Nou Guerrassi Sharon Salihu Edward Jones Ltd FOUNDATIONS J B Rubens Charitable DEPARTMENT Alastair Coomer Amanda Ham Steve Sanders Foundation Fidelity Investment Services Ltd Major Trust and Associate Producer Pádraig Gabrielle Dawes Chris Harris Melvin Schnable Fishburn Hedges Foundation Support The Schneer Foundation Cusack Carl Harrison Agnieska Sidor CATERING Nicola Horlick Anonymous Archie Sherman Family Trusts Casting Toby Whale Christine Holland Ilona Sokolanska Waheed Abass ITV plc John S. 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Shell International Ltd The Joseph Strong Frazer Panola Lerena Giuseppe Fortis Jamey Van Os Travelex plc Trust DIRECTORS’ OFFICE Richard Levick Maria Freire Norma Palaganas Unisys Ltd Boris Karloff Charitable Niamh Dilworth Jerome Morrow Sofia Fragoso Christine Paul Donation s Foundation Sally Gibson Aidan O’Rourke Sergio Galaviz David Pinder The Rose Foundation The Marina Kleinwort Trust Paul Jozefowski Jodie Paxton Jo Gannon Maria Gorrias Pons Voodoo Brand Research & Lloyd's Community Tim Levy Programme and St. Paul Lindsay Ruigrok Victoria Garcia Jane Porcher-Meen Consultancy Bella Rodrigues Travelers Foundation Alex Skinner Paula Goes Pamela Rayfield Rentokil Initial plc Maggie Pawlak The Lynn Foundation Nicholas Southwell Tatiana Goncales Raymond Roa T K Edwards Mrs J Millan Michael Twaits Ricardo Goncalves Cal Robertson EDUCATION The Modiano Charitable Trust Laurie Veale Anita Gonzalez Jorge Rodriguez Anthony Banks The Mulberry Trust Cole Wardle Maria Gonzalez Charlotte Ryden Rachel Dickinson The Laura Pels Foundation Stephen Watmuff Susan Grawler Marcin Ryniec Charlie Gill The Rose Foundation Andrew Wightman Nancy Grey Martin Safo Suzy Graham-Adriani 24 25 Ali Hahlo Lascelles Thompson Stephen Bradley Marsha Solon PRINT & Fiona Oram Cathy Joyce Robert Sim Paula Hamilton Elsie Warboys Esther Bunting John Staveley PUBLICATIONS Kate Lavender Huw Llewellyn Stuart Smith Ruth Ingledow Owen Bywater Zoe Stokes Michael Mayhew Julian McCready Bob Southan FRONT OF HOUSE Costume Natasha Jackson Frances Campbell Faye Stringer Stephen Cummiskey Carol Lingwood Paul McLeish Neil Stockford Anna Wells Emma Carroll Lisa Johnson Philip Mills Paul Swann Des James Matthew Tilsley Costume Production House Management Zack Kinney Ruth Carter Ingrid Uhlen Meagan Lucas Clare Carter Alex Murphy Richard Tarr Ros Hayes Sherry Neyhus Katriona Chapman Sean White Emma Thirlwell Dolores Clasby Jo-Anne Parkinson James Taylor Jay Hannaford Helen Prosser Will Chapman Mark Wilkinson Charlotte Wilkinson Sue Crawshaw Matt Pittman Duncan Weir Stephen Hayes Rachel Shaw Richard Charlton Arabella Dean Chris Pye Matthew Wheeler Nicholas Huggins HEALTH AND SAFETY PRODUCTION Chrissie Tiller Shungu Chirunda Debbie Hinds Helen Ridley Kevin Wood Tony Harley Jason Barnes Pamela Wilson Jacky Masson Jo Clark Chris Savvides Tim Blazdell Ashley Holtom Video Alison Rae Gail Clayton Anna Glover Mark Seaman ENGINEERING Timandra Dyer Liz Honeybone Ian Galloway Bookshop Stephanie Compton INFORMATION Breda Jack Catriona Silver Sven Ortel John Baginsky Katrina Gilroy Toby Radford Amy Coulston TECHNOLOGY Madeleine Kitchin Nick Simmonds Dick Straker John Batchelor James Manley Hugh Barnett Robin Cruz Philip Carter Louise Ramsden Sound Keith Batchelor Sacha Milroy Wigs Ana Caistor-Arendar Phillip Cumbus Vikash Desai Jean-Claude Savriacouty Clive Bryan Karl Burke Nick Murray Joyce Beagarie Thomas Claydon Emma Davies Liz Fraser Karen Frances Smith Robert Donnelly-Jackson Dennis Cox Jo Peake Katrina Betts Beatrice Curnew Jenny Dawes Maurice Futerman Gilli Thompson Matthew Smethurst-Evans Mark Elder Tom Richardson Gillian Blair Toni Dipple Julio De Souza Lisa Guy Sara Wan Ed Ferguson Mike Finch Andy Ward Adele Brandman Sean Elliott Katia Demetriou Emma Webb Zoe James Malileh Hamdollah Diane Willmott Renata Hill Amanda Harrison Louise Faulkner Nicholas Doherty Stuart King Costume & Props Hire Nicky Pretious Judith Latka Bruce Hart Chris Hirst Laura Dos Santos STAGE MANAGEMENT Gerald Williams Linda Cox Adam Rudd Nicky Mayhew Jamie Holder Damian Lunn Sian Edward Fiona Bardsley Guy Goodbody Ben Vernon Sarah Nash Robert Hopkins Cassandra Lyons Simon Essex LITERARY Alison Biggs Anthony Kelly Rich Walsh Suzanne Scotcher Guy Kendall Christopher Campbell Paul Murphy Elgiva Field Angela Bissett Abigail Lynden Mike Winship Workshops Michael Lane Ben Pheazey Annette Franklin Sarah Clarke Ian Connop Elizabeth Murray Stages Fraser Burchill David Langford Andrea Galloway Ben Jancovich Ben Donoghue Bill Price Emma Sunley Mark Adams Arthur Jeffery Kieron Lillis Lesley Pride Laura Glover Nick Drake Cynthia Duberry Wardrobe Roy Bernard Jane Slattery Denis McCormick Columbine Goacher Gareth Evans Karlyn Stephen MARKETING Allisun Blandford James Bruce Hilary Vernon-Smith Stuart McManus Susan Gregory Valerie Fox Information/Tours Charlotte Barber Amanda Brown Harry Burden Terri Anderson Dave Meredith Paul Harland Peter Gregory Matthew Cunningham Anna Chiang Jason Cook Tony Collins Billy Andrews John Noakes Louise Harley Nik Haffenden Joanne Curnow Sarah Hunt Jessica Dixon Simon Cranidge Henryk Borowski Phil O’Connell John Heffernan Ernest Hall Janine Downes Christopher Jones Alicia Hood Robert Cross Stephen Brown Nigel Trott Jenny Hulse Janice Heyes Nina Peitsalo Kate Larkin Louise Jenkins Michael Day Stephen Cartwright Mark Ward William James Anna Hill Liana Richards Christine St Fort Jo Kühn Adam Fretwell Pascal Contos Dennis Wiles Muzz Khan Emma B Lloyd Anna Smeeton Ruth Waters Jo Lusted Richard Gosling Ian Cooper David Willmott Jean Kirwan Eric Lumsden Office Services Becky Wootton Julie Burns McKenzie Alan Gribben Bruce Dunning John Woolford Paula Knight Kerry McDevitt Terry German Ruth McKinlay Anthony Gustar Allan Edwards Keith Lawson MEDICAL/WELFARE David Milling EVENTS Joan McAteer Lucy Martin Danny Halsey Daina Ennis William Lee Yve Corkett-Mayana Trish Montemuro Ralph Mills Lee Harrington Angus MacKechnie Security Paul Evans John McGouran Mary Hill Jo Nield Justine Moss Jim Henry Caterina Loriggio Niall O’Reilly Gavin Gibson Malachy Mallon Celia Wijetunga Alison Rankin Emma Patrick Dave Hutchinson Sarah Mowat Trevor Fenn Wendy Hall Rebecca Maltby Brewyeen Rowland Michelle Rodda Martin Jenkins Bob McManus MUSIC Victor Hamilton FINANCE Jacinta Marasco Clare Simmonds Michael Roff Kate Jerry Gordon Nicholson David Gallagher Mark Jeffery Chris Walker Maureen Marsh Andrew Speed Rebecca Spillet Leon King Jon Smith Alan McCabe Grace Chan Norman Murray John Kenton Jane Suffling Philip Symmonds Lloyd Maclean Michelle McLucas Stage Door Marta Naranjo Alessandra Satta Julia Wickham Janice Vale Elize Van Velden David Malaley Patrick MacMullan Linda Tolhurst Cassandra Needham James Anderson PERSONNEL STUDIO Steve Walker Martin Mardon John Pickersgill Nicole Beedell Vincent Hawkins Caith Olnick Genny Waller Michael Carling Natasha Bucknor Lee Miseldine Edith Porterie Victoria Buerk Carol Slavid Pixie O’Shaughnessy Elaine Chapman Janlyn Bales Lighting Simon Nott David Price Nicola Chisholm Ushers Julia Parr Zoë Hoskin Eddie Keogh Michael Atkinson Danny O’Neill Ken Rose Michael Clark Jane Allen Clare Parry Heike Römer Rachel Lonergan Luc Batory Pradip Pankhania Nikki Rushmer Jasmine Clarke Juliet Armitage Lauren Patman Agatha Walcott Catherine Miller Steve Binks Barry Peavot Tracey Russell Lorne Cuthbert Jim Arnold James Pearson Clive Paget Laurence Clayton Roger Peavot Kirsten Shiell Evalyn Arrais Christina Petrie PRESS Lucy Francis Matthew Poxon Simon Fraulo Ken Pedersen Eleanor Smith Albert Pizzaia Keziah Halliday Soka Kapundu Terry Barton Elaine Grimes Bill Penston Lindsay Tuffnell Andrew King Laura Benson Alexa Reid Mary Parker TECHNICAL Helen Holbrooke Des Powell Charles Mapo Teresio Blanchetti Claire Ronan Pia de Souza Rob Barnard Chris Howells Rashid Rashman TRAINING Sarah Ponteen Stephanie Bradbury Rosalyn Slater Libby Waddington Gary Sparkes Archie Jenkins Jill Reid Gabby Haynes 26 27 PLAYS OPENING 2004-05

12. Buried Child, Elizabeth Franz, M Emmet Walsh, John Rogan and Sean Murray Photo: Manuel Harlan 13. Primo, Antony Sher Photo: Ivan Kyncl 14. The Mandate, Sinead Matthews and Adrian Scarborough Photo: John Haynes 15. His Dark Materials, Elaine Symons and Alistair Petrie Photo: Catherine Ashmore 16. Fix Up, Jeffery Kissoon and Nina Sosanya Photo: Catherine Ashmore 17. A Minute Too Late, Clockwise: Simon McBurney, Marcello Magni and Jozef Houben Photo: Sarah Ainslie 18. A Dream Play, Angus Wright Photo: Stephen Cummiskey 19. The House of Bernarda Alba, Cherry Morris, Deborah Findlay and Penelope Wilton Photo: Catherine Ashmore

12

13 14 17

15 18

16 19 STRUCTURE, GOVERNANCE & MANAGEMENT

The National Theatre is a company limited by guarantee and a registered charity. Appointment & Terms of Office of Board Members It was established in 1963 for the advancement of education and, in particular, Before March 2001, the members of the Board were appointed by the Secretary to procure and increase the appreciation and understanding of the dramatic art of State for Culture, Media and Sport. Since that date, the Board has appointed in all its forms as a memorial to William Shakespeare. These objects are set out its own members. in its governing instrument which is its Memorandum and Articles of Association. The Nominations Committee is empowered by the Board to review the structure, The governing body is the Board whose members are non-executive and unpaid. size and composition of the Board and, in the light of that review, to make The Board meets regularly, retains full and effective control over the company recommendations to the Board with regard to appointments. It also ensures, and monitors the Executive (see below). The Board is involved in major strategic with the Company Secretary, that appropriate induction and training are given decisions and has ultimate responsibility for the conduct and financial stability of to Board members. The Committee members are listed on page 58. the National. It seeks to support the Executive in a culture of mutual confidence and trust. Sir Hayden Phillips GCB was appointed a member of the Board from 1 September 2004 for an initial period of three years, and on 1 November 2004 he succeeded The Board delegates to the Artistic Director the management and artistic control Sir Christopher Hogg as Chairman. His appointment was the result of a thorough of the National. ‘Director’ is the traditional title used at the National for this post process conducted by the Nominations Committee which included the though he is not a director under the Companies Act, nor are the other members engagement of professional search consultants, advertising in the national of the Executive which includes the Executive Director, Finance Director and press and wide-ranging consultation. General Manager, nor other members of the National’s senior management whose titles include the word ‘director’. The Director was appointed for an Under the terms of the Articles of Association, Board members may be initial term of five years from 1 April 2003. It is the duty of the Director to further appointed for an initial term of up to four years, such period generally being the artistic reputation of the National and to ensure that the management of the three years. This first term may be followed by a re-appointment for a further National is efficient, effective and run in accordance with good business practice. period of up to four years. Any re-appointments thereafter are made only in The Board delegates to the Director full control over the selection and staging exceptional circumstances. of all theatrical productions and events performed at, and under the auspices Board members at the date of this Report are listed on the opening page. of, the National. The Director and the other members of the Executive generally All Board members who served during the year under review were: Sir Hayden attend meetings of the Board. Phillips (appointed 1 September 2004), Susan Chinn (appointed 1 August 2004), The Board appoints members of the Executive and determines their contracts James Hill (retired 7 June 2005), Sir Christopher Hogg (retired 30 October 2004), of employment. The Remuneration Committee of the Board reviews the Nicola Horlick, Rachel Lomax, Caragh Merrick, Grahame Morris, Caro Newling, remuneration of the Executive annually. The members of the Remuneration Ben Okri OBE, André Ptaszynski, Rt Hon Lord Smith of Finsbury, Edward Committee are listed on page 58. The Board monitors the performance of the Walker-Arnott, and Nicholas Wright. Executive and reviews the quality, effectiveness and timeliness of information provided to the Board by the Executive. Internal Control & Risk Management The Board has access to independent professional advice if necessary, at the The Board reviews the effectiveness of all material internal controls, including National’s expense. All Board members have access to the advice and services operational, financial and compliance controls and risk management systems. of the Company Secretary who is responsible to the Board for ensuring that The internal control systems are designed to meet the National’s particular needs Board procedures are followed. and the risks to which it is exposed, to manage those risks and to provide reasonable assurance against misstatement or loss. Established regular The Board has formally adopted a schedule of matters which are required to procedures, including budgetary controls, operate to monitor the receipt of be brought to its attention for decision so that effective control is maintained income and both revenue and capital expenditure. over appropriate strategic, financial, organisational and compliance issues. The schedule is regularly reviewed by the Board. The Board has reviewed and assessed the risks to which the organisation may be exposed. A risk register identifies those risks and assigns specific actions The affairs of the National are subject to continuous scrutiny by Arts Council and responsibilities for mitigating them. The risk management process is ongoing, England. and is regularly reviewed by the Board. Actions required to mitigate risks are incorporated into the organisation’s Business Plan. The Finance and Audit Committee meets routinely five times a year and at other times as required. It reports to the full Board regularly. The members of the Committee are listed on page 58. The Committee has two distinct areas of responsibility – Finance & Control, and Audit.

32 33 Finance & Control Employee Involvement The National seeks to engage all employees and others who work at the Theatre in its activities and achievements. There are a number The Committee monitors and reviews all aspects of the financial performance, of routine communication methods, such as management meetings, company financial management, internal financial and management reporting arrangements, meetings, departmental staff meetings, regular e-mailed information sheets and including, in particular, the preparation and monitoring of budgets. It also deals the intranet. All staff are invited to a weekly meeting, led by the Director, at which with such other matters as may be specifically delegated to it by the Board. staff are kept up-to-date with the activities of the organisation, such as repertoire Audit and casting decisions and box office results, and with new developments. The recognised trade unions are engaged in formal consultation as required. Not less than three times a year, and at other times as is appropriate, the members of the Committee meet as the ‘Audit Committee’ of the Board, reporting to the Health and Safety The Health and Safety department maintains a high level of Board in that specific capacity. The Audit Committee is responsible for reviewing performance and awareness of health and safety in the organisation, and during and monitoring all aspects of and issues relating to the preparation and production the year achieved further significant improvements in practice and training. The of the annual financial statements of the National and its subsidiaries. Specifically, Board has designated one of its members to take a particular interest in health in terms of annual statutory accounts, this includes consideration of accounting and safety matters and it is committed to ensuring that high health and safety policies, levels of disclosure, risk management policies, compliance with standards are maintained in all areas of the National’s activities – in public applicable corporate governance requirements, and reviewing any relevant spaces, the stages and backstage areas. matters relating to annual financial statements raised by the external auditors, During the year, work focussed on developing closer and earlier integration of or the internal auditor, as a result of audit work. health and safety into the production process. We are moving forward on ensuring The Finance and Audit Committee makes recommendations to the Board that all contractors in all technical areas are managed effectively. Guidance notes regarding the appointment of the external auditors and approves their have been produced on specific health and safety topics which have been made remuneration and terms of engagement. The Committee approves the available to all staff. A regular system of audits has been undertaken by the senior appointment and termination of the appointment of the internal auditor, managers in the Technical and Production areas to ensure that the highest regularly meets the internal auditor and reviews the performance and results standards of health and safety are maintained. An updated Health, Safety, Security of her work. The internal auditor has the right to meet the Committee in the and Environmental policy is in draft and will be issued for review in the autumn. absence of executive management. We are reviewing the use of potentially hazardous substances at work and the risks from noise and vibration. In addition, training has been conducted on: Connected Charities Working at height, Height rescue, Electricity at work, Manual handling, COSHH (Control Of Substances Hazardous to Health), General Safety and Risk Assessment. The Royal National Theatre Foundation has objects related to those of the We ran an organisation-wide business recovery exercise late last year to test our National and, in particular, makes grants to the National from time to time. It is crisis management plans, the lessons of which have now been implemented administered by and has its address at the National Theatre. Its trustee body is and the procedures updated. independent of the National and comprises ten trustees, of whom two currently have a direct connection with the National. One grant was made by the Royal Environmental Policy The National’s Environmental Policy was reviewed during National Theatre Foundation to the National in the financial year, being £48,000 the year. As a result, over the coming year, there will be improvements in waste towards the stagework website. In addition, it made benevolent grants to management and recycling techniques to the benefit of the environment and members and former members of staff and company. the National itself. Relevant staff have been given training in environmental management. During the year ahead an updated Environmental Policy and The American Associates of the Royal National Theatre (AARNT) is a 501c3 Environmental Management System will be produced and promulgated within not-for-profit charity registered in New York. Its control is independent of the the National. National. The total amount of grants made in the financial year by AARNT to the National was $356,680. Directors’ Transactions Staff and Internal Policies From time to time, members of the Board or persons connected with them enter into transactions with the National in the normal course of business of both Equality and Diversity The National Theatre takes its name seriously, and parties. Such transactions are conducted on an arm’s length basis, on normal believes that to be truly national means that it should represent and draw talent commercial terms, and are in accordance with the specific provisions of clause from all parts of society. It aspires to reflect in its workforce and in its repertoire 5 of the Memorandum of Association. It is the Board’s policy that they should the diversity of the culture. be revealed to and approved by the Board. The National endeavours to operate across all its activities without discrimination, directly or indirectly, in relation to sex, sexual orientation, disability, race, ethnic or national origin, religious or philosophical belief, or age. During the course of the year, the management and Board undertook further development of the National’s aims and strategies for equality and diversity.

34 35 FINANCIAL REVIEW

The National’s key financial objective is to ensure financial stability and continued Paid attendances (thousands) 2000/01 2001/02 2002/03 2003/04 2004/05 solvency year on year so that it can pursue its artistic aims and objectives. For 000s 000s 000s 000s 000s the financial year ending 3 April 2005 the National achieved a surplus of £674,000 Olivier 230 271 276 356 375 on unrestricted operations after transfers, and the new financial year begins Lyttelton (Main House) 263 238 149 268 304 Lyttelton (Transformation Season) - - 50 - - with a balance of £879,000 on unrestricted reserves. Loft - - 18 - - Cottesloe 92 89 92 107 96 The National has adopted SORP 2005 in preparing these financial statements ______and the statement of financial affairs (SOFA), balance sheet and notes are set Total 585 598 585 731 775 out from page 42 onwards. The simplified income and expenditure account below focuses on unrestricted funds (excluding designated funds). Attendance as % of capacity 77% 79% 80% 91% 94% Activity on unrestricted funds Number of performances: 2000/01 2001/02 2002/03 2003/04 2004/05 Olivier 339 321 325 340 360 Lyttelton (Main House) 338 357 209 349 373 2005 2005 2004 2004 Lyttelton (Transformation Season) - - 114 - - Unrestricted Unrestricted Loft - - 209 - - funds Funds Cottesloe 349 363 331 369 361 ______£'000 £'000 1,026 1,041 1,188 1,058 1,094 ______Income ______Box office receipts & touring income 13,528 33% 12,056 32% Trading operations 6,719 16% 6,503 17% Fundraising Sponsorship, donations and grants 3,426 8% 2,476 7% The Development department raises funds for both general and specific Other income 1,235 3% 1,824 5% (restricted) purposes. The total fundraising target of £4.1m was reached and, Arts Council grants 16,360 40% 14,836 39% ______in addition, £1m was secured and a further £1m pledged as founder gifts for ______41,268 100% ______37,695 100% the Studio refurbishment campaign. In addition to this, £0.9m was secured in Expenditure non-statutory grants and other income towards education projects. Further Direct cost of performances 21,413 57% 21,891 58% details of how this income divides as between activity-specific and general Operating costs 10,231 27% 9,861 26% purposes are given in notes 2 and 3 to the accounts. Trading expenditure ______5,900 16% ______5,695 15% ______37,544 100% ______37,447 100% Trading Trading operations including catering, bookshop, programmes, car-park and Net incoming resources before transfers 3,724 248 costume hire are conducted by the National’s wholly owned subsidiary Royal Transfers National Theatre Enterprises Limited. The subsidiary donates its profits to the Capital & maintenance fund (2,550) (200) National, which recovers Gift Aid on the donation. Total income generated of Front of House improvements (500) 0 ______£7.1m reflected the high audience numbers. There is a year on year fall in the level of profit earned by the subsidiary because the corporate sponsorship Net movement in funds______674 ______48 business was transferred to the National in April 2004. There is no loss of income to the National from this change. Principal Funding Sources Revenue Expenditure The National generates income from its own sources - box office, fundraising, trading income and other sundry sources including the revenue from the transfer Performances at the National of shows - and from Arts Council England. Expenditure on the artistic programme fell below historic trend level as a percentage of total expenditure and was £1m less than the previous year. Arts Council Funding This was because there were fewer new productions than there had been in The National is a regularly funded client of the Arts Council England. The revenue previous years, the result of reviving His Dark Materials and extending the run grant increased by £1.5m from April 2003 to £15,878,000 this being the first of The History Boys. This released funds to provide for capital and maintenance. year of an increase over two years of £2.45m. ACE has also confirmed the National will receive an inflationary uplift of 2.75% for the years commencing Number of productions: 2000/01 2001/02 2002/03 2003/04 2004/05 April 2006 and April 2007. (new in brackets) Olivier 10 (5) 8 (4) 8 (7) 7 (6) 6 (4) Box Office Income Lyttelton 11 (7) 8 (6) 6 (4) 7 (5) 7 (4) Box office receipts at the National’s three theatres were £13.1m and both revenue Cottesloe 13 (9) 12 (6) 11 (8) 7 (6) 10 (7) and attendances were at historically high levels. As well as growth in occupancy Lyttelton (Transformation Season) - - 14 (14) - - there were also more performances. The 2003-04 financial year had, in contrast, ______34 (21) 28 (16) 39 (33) 21 (17) 23 (15) begun with a closed period in the Olivier for adjustments to the stage. ______36 37 Touring Long Term Funds Total expenditure of £0.8m on touring was up £0.4m on 2003-04 and reflected the return to a full touring programme under NT management. The net cost of Modernisation fund £0.5m was fully funded by the Arts Council touring grant. This represents expenditure on the remodernisation of the building funded with an award of £31.6m from the Arts Council lottery made in June 1996 and £10.8m Education partnership funding raised by the National. Work continues on a number of rear Education activity is funded from unrestricted and restricted funding sources. of house technical projects and during the year £1m has been drawn down Total expenditure was £2.3m of which £0.8m came from the National’s core funds. taking the total grant drawn to £29.7m. Expenditure on the building and equipment is charged to fixed assets whilst depreciation on the assets in use is Other Charitable Expenditure charged against the fund. The balance on the reserve represents the amount required to meet the full depreciation cost of the assets purchased and will A breakdown of expenditure on research and development (£1.2m) and reduce to nil over time. amplification (£1m) is set out in notes 9 to 10 to the accounts. Studio Fund This new restricted fund has been set up for the refurbishment costs, funding Reserves and Financial Policies and subsequent depreciation of the Studio. The reserves policy for the unrestricted operations fund is, taking account of the level of grant receivable from the Arts Council, to seek each year to match Musical Fund income and expenditure, and to avoid accumulating a deficit, such that the The fund supports the development and production of musical theatre at the National is able to continue successfully its present quantum and quality of National Theatre. It has its origins in a generous gift made by the Mackintosh operations. A sum of £1m has been identified as a target level of unrestricted Foundation. It is classified as a long-term fund because activity will last more reserves to achieve this goal and, within that sum, £0.5m specifically held in than 18 months. It is replenished with the income from works previously case of a shortfall in box office revenue as between the budgeted level for supported by the fund and there are regular draw-downs. 2005-06 and the historic trend. The National also has designated and restricted fund balances. These all have Investment Policy positive fund balances and further information on their use is discussed below. In formulating an investment policy, the National has recognised that whilst it may have surplus funds to invest, these are likely to be called upon in the short Designated Funds term. The policy is to maintain high levels of capital security by minimising credit risk, minimising interest rate risk, maximising returns and liquidity and Buildings and Equipment Fund maintaining low transaction costs. The policy is to ensure that sufficient money is set aside in the reserve so that over a three-year period the National is able to maintain and renew the building Creditor Payment Policy in accordance with its rolling capital plan and hold a cash reserve of £0.5m for It is the National’s policy to pay creditors in accordance with terms of payment unforeseen expenditure. agreed at the start of business with each supplier. The financial success of 2004-05 allowed a transfer to the fund of £2.55m. The budgeted transfer for 2005-06 has been set at £1m in the expectation that the National will be able to make a transfer of £1.7m in 2006-07. These transfers Property Interests are in accordance with the National’s three-year financial plan. The National has a lease of its building on the South Bank site from Arts Council Front of House Improvements Fund England for a term expiring in March 2138. The Building is Grade 2* listed. The freehold of the Old Vic Annex (the Studio), The Cut, London SE1 is owned by £0.5m was earmarked during the year to continue the enhancement of the the National. The property was revalued in 2000. National’s public spaces. A number of projects are under development and are likely to be completed in the next eighteen months including further work on the illumination of the building and investment in the catering spaces.

Restricted Funds These are funds which have been earmarked by the donor for specific purposes within the overall aims of the organisation. The funds are analysed between long-term and short-term. Long-term funds are mostly for capital purposes. Short-term funds are all for project activity and details are set out in note 18 to the accounts. All short-term funds will be spent in full in the next 18 months and none is permitted to go into deficit.

38 39 REPORT OF INDEPENDENT AUDITORS’ REPORT THE BOARD TO THE MEMBERS OF THE ROYAL NATIONAL THEATRE

The information set out in this document is the Report of the Board of The We have audited the financial statements which comprise the statement of financial Royal National Theatre for the 53 weeks ended 3 April 2005. activities, the balance sheets, the cash flow statement and the related notes.

Directors’ Responsibilities for the Financial Statements Respective responsibilities of directors and auditors United Kingdom company law requires the directors to prepare financial The trustees are also directors of The Royal National Theatre for the purpose of statements for each financial year which give a true and fair view of the state of Company Law. Their responsibilities for preparing the annual report and the affairs of the company and of the profit or loss of the company for that period. financial statements in accordance with applicable United Kingdom law and In preparing those financial statements, the directors are required to: accounting standards are set out in the statement of directors' responsibilities. Our responsibility is to audit the financial statements in accordance with relevant < Select suitable accounting policies and then apply them consistently legal and regulatory requirements and United Kingdom Auditing Standards issued < Make judgements and estimates that are reasonable and prudent by the Auditing Practices Board. This report, including the opinion, has been prepared for and only for the company's members as a body in accordance < State whether applicable accounting standards have been followed, subject to any material departures disclosed and explained in the financial statements with Section 235 of the Companies Act 1985 and for no other purpose. We do not, in giving this opinion, accept or assume any responsibility for any other < Prepare the financial statements on the going concern basis unless it is purpose or to any other person to whom this report is shown or into whose inappropriate to presume that the company will continue in business. hands it may come save where expressly agreed by our prior consent in writing. The directors are responsible for keeping proper accounting records, for We report to you our opinion as to whether the financial statements give a true safeguarding the assets of the company and for taking reasonable steps for and fair view and are properly prepared in accordance with the Companies Act the prevention and detection of fraud and other irregularities. 1985. We also report to you if, in our opinion, the directors’ report is not consistent with the financial statements, if the charitable company has not kept proper The financial statements have been prepared in accordance with the accounting records, if we have not received all the information and explanations accounting policies set out on pages 45 to 47 and comply with the Statement we require for our audit, or if information specified by law regarding directors' of Recommended Practice ‘Accounting and Reporting by Charities 2005’, remuneration and transactions is not disclosed. current statutory requirements and the governing document. We read the other information contained in the Annual Report and consider the Auditors implications for our report if we become aware of any apparent misstatements or material inconsistencies with the financial statements. PricewaterhouseCoopers LLP will continue in office as auditors of the Company for the next financial year. Basis of audit opinion We conducted our audit in accordance with Auditing Standards issued by the By order of the Board Auditing Practices Board. An audit includes examination, on a test basis, of evidence relevant to the amounts and disclosures in the financial statements. Sir Hayden Phillips It also includes an assessment of the significant estimates and judgements Chairman made by the directors in the preparation of the financial statements, and of 5 September 2005 whether the accounting policies are appropriate to the charitable company's circumstances, consistently applied and adequately disclosed. We planned and performed our audit so as to obtain all the information and explanations which we considered necessary in order to provide us with sufficient evidence to give reasonable assurance that the financial statements are free from material misstatement, whether caused by fraud or other irregularity or error. In forming our opinion we also evaluated the overall adequacy of the presentation of information in the financial statements.

Opinion In our opinion the financial statements give a true and fair view of the state of affairs of the charitable company and the group at 3rd April 2005 and of the net incoming resources, including the income and expenditure, and cash flows of the group for the 53 week period then ended and have been properly prepared in accordance with the Companies Act 1985.

PricewaterhouseCoopers LLP Chartered Accountants and Registered Auditors, London 5 September 2005

40 41 FINANCIAL STATEMENTS

Statement of Financial Activities Balance Sheets for the 53 weeks ended 3 April 2005 at 3 April 2005

Group Company Group Company Unrestricted funds Restricted funds 53 wks to 52 wks to 53 weeks to 53 weeks to 52 weeks to 52 weeks to 3 April 28 March 3 April 3 April 28 March 28 March 2005 2004 2005 2005 2004 2004 Restated Note £’000 £’000 £’000 £’000 Operations Designated Project Long term Total Total Note £’000 £’000 £’000 £’000 £’000 £’000 Fixed assets Incoming resources Tangible fixed assets 14 15,820 15,820 18,528 18,528 Incoming resources from generated funds: ______Voluntary income 2,3 19,786 0 1,577 2,061 23,424 21,650 Current assets Activities for generating funds 25 6,719 0 0 0 6,719 6,503 Stocks 15 379 54 459 97 Investment income 172 78 0 93 343 196 Cost of productions not yet opened 255 255 292 292 Incoming resources from charitable activities 4 14,591 0 0 118 14,709 13,673 Debtors 16 2,451 3,478 2,708 2,672 ______Short term cash deposits 6,627 6,619 3,275 3,275 Total incoming resources 41,268 78 1,577 2,272 45,195 42,022 Cash at bank and in hand 2,928 1,916 2,611 2,608 ______Resources expended: Total current assets 12,640 12,322 9,345 8,944 Costs of generating funds: Costs of generating voluntary income 987 0 0 0 987 790 Fundraising trading: Creditors: amounts falling due within one year 17 (5,753) (5,428) (6,535) (6,134) Cost of goods sold and other costs 25 5,900 0 0 0 5,900 5,695 Charitable activities 5 30,440 754 1,508 4,020 36,722 37,713 ______Governance costs 5 217 0 0 0 217 252 Net current assets 6,887 6,894 2,810 2,810 ______Total resources expended: 37,544 754 1,508 4,020 43,826 44,450 Total net assets ______22,707 ______22,714 ______21,338 ______21,338

Net incoming/(outgoing) resources before transfers 3,724 (676) 69 (1,748) 1,369 (2,428) Represented by: Gross transfers between funds: Operations fund 18 879 886 205 205 Capital & maintenance reserve 18 (2,550) 2,550 0 0 0 0 Designated funds 18 4,704 4,704 2,330 2,330 Front of house capital 18 (500) 500 0 0 0 0 ______Total unrestricted funds 5,583 5,590 2,535 2,535 Net movement in funds 674 2,374 69 (1,748) 1,369 (2,428)

Restricted funds 18 16,395 16,395 18,057 18,057 Reconciliation of funds Total funds brought forward 205 2,330 314 18,489 21,338 23,766 Revaluation reserve 729 729 746 746 ______Total funds 22,707 22,714 21,338 21,338 Total funds carried forward______879 ______4,704 ______383 ______16,741 ______22,707 ______21,338 ______

All incoming resources and resources expended are derived from continuing activities. There are no other gains and losses other than those noted above and therefore no separate statement of total recognised The financial statements were approved by the Board of Directors on 5 September 2005 and signed on gains and losses has been prepared. its behalf by: The accompanying accounting policies and notes form an integral part of these financial statements. The statement of financial activities incorporates an income and expenditure account. Sir Hayden Phillips Edward Walker-Arnott Chairman Director

42 43 Consolidated Cash Flow Statement Notes to the Financial Statements For the 53 weeks ended 3 April 2005 For the 53 weeks ended 3 April 2005

Group Group 53 weeks to 52 weeks to 1. PRINCIPAL ACCOUNTING POLICIES 3 April 28 March A BASIS OF PREPARATION 2005 2004 The financial statements have been prepared under the historical cost convention, except for the Note £’000 £’000 revaluation of the freehold property, and in accordance with applicable United Kingdom accounting standards, the Companies Act 1985, and follow the recommendations in the Revised Statement of Net cash inflow from operating activities i 5,577 2,786 Recommended Practice "Accounting and Reporting by Charities" (the SORP) issued in March 2005. Returns on investment: interest received 330 200 Where appropriate, comparative figures for the 52 weeks ended 28 March 2004 have been restated in Capital expenditure & financial investment accordance with the principles of SORP 2005. Payments to acquire fixed assets (2,238) (2,565) Management of liquid resources B CONSOLIDATION AND THE ROYAL NATIONAL THEATRE GROUP Increase in short term deposits (3,352) (4) The Royal National Theatre is a charitable company limited by guarantee. The main activities are ______presentation of dramatic performances and education of the public. Increase in cash in the year ii 317 417 ______The Group financial statements consolidate those of the National and its non-charitable trading subsidiary Royal National Theatre Enterprises Limited (see note 25, page 56). The results of the trading i NET CASH INFLOW FROM OPERATING ACTIVITIES subsidiary have been incorporated on a line by line basis, before transfers to the charitable company. 2005 2004 £'000 £'000 The National has taken advantage of section 230 of the Companies Act 1985 and has not included its Net incoming resources before transfers 1,369 (2,428) own income and expenditure account in these financial statements. The net income of the charitable Interest receivable (343) (196) company for the year was £110,000 (2004 net expenditure: £2,428,000). Decrease in stock 80 38 Decrease in work in progress 37 151 The National has also taken advantage of the exemption not to disclose any transactions or balances Decrease in debtors 270 626 between group entities that have been eliminated on consolidation. (Decrease)/Increase in creditors and provisions (574) 228 Depreciation charge 4,738 4,301 C LEASE OF THE NATIONAL Work in progress expensed 0 66 The National holds a lease on its building from its freeholder Arts Council England, at a peppercorn rent. ______This lease expires in 2138. Under the terms of the lease, the National is responsible for maintaining the Net cash inflow from operating activities 5,577 2,786 ______fabric of the building and its mechanical and electrical equipment.

i ANALYSIS OF NET CASH RESOURCES In the past nine years the National has met this obligation substantively through the Modernisation As at As at fund supported by Lottery and Partnership funding (see note 18 page 53). As this programme 28 March 3 April reaches its final stages, additional funds are being designated from the National’s own resources 2004 Cashflow 2005 £’000 £’000 £’000 to a Buildings and Equipment reserve to provide for the future maintenance of the building and its mechanical and electrical equipment. This is in accordance with the terms of the Lottery funding. Cash in hand 2,611 317 2,928 Short term deposits 3,275 3,352 6,627 D FIXED ASSETS AND DEPRECIATION ______Expenditure of a capital nature over £1,000 is capitalised at cost as fixed assets within the relevant Total 5,886 3,669 9,555 ______fund. Depreciation is provided on a straight line basis to write off fixed assets over their anticipated useful economic lives and charged to the relevant fund as follows:

< Freehold property over fifty years (excluding land value, which is not depreciated) iii RECONCILIATION OF NET CASHFLOW TO MOVEMENT IN NET FUNDS 2005 2004 < Leasehold improvements over ten years £'000 £'000 < Equipment over three years Increase in cash in the year 317 413 Cash outflow from increase in liquid resources 3,352 4 Work in progress on the modernisation of the building has been included at cost. No depreciation is ______Movement in net funds in the year 3,669 417 provided until the assets come into use. Expenditure of £94,000 has been incurred on fees in Net funds at 28 March 2004 5,886 5,469 connection with the redevelopment of the Studio and has been capitalised in 2004/05 but will not be ______depreciated until the redevelopment is complete. Net funds at 3 April 2005 ______9,555 ______5,886 ______The freehold property is stated at market value on the basis of a valuation made in October 2000.

44 45

E STOCKS I OPERATING LEASES Stock held within Royal National Theatre Enterprises Limited represents catering, bookshop and Rentals payable under operating leases are charged to the statement of financial activities on a programme supplies for resale. Other stock comprises consumable supplies for use in the making of straight line basis over the term of the lease. sets and costumes. All stock is valued at the lower of cost and net realisable value. The valuation basis J PENSIONS is latest price for catering, and average cost for production stock and first in, first out for bookshop. The National offers a stakeholder scheme to its employees and contributes to defined contribution F COST OF NEW PRODUCTIONS NOT YET OPENED schemes for certain of its other employees (see note 24, page 56). These costs are expensed in the The materials cost of new productions and associated creative team fees are carried forward until statement of financial activities. written off on the first performance to a paying public audience. Internal labour and rehearsal costs K FOREIGN CURRENCIES are expensed as incurred. Assets and liabilities in foreign currencies are translated at rates of exchange ruling at 4 April 2005. G INCOMING RESOURCES Transactions in foreign currencies undertaken during the year have been translated at an average rate Voluntary Income comprises all incoming resources from sponsorships, donations, membership on the transaction date. Currency differences are written off to the statement of financial activities. subscriptions and grants. Voluntary income is recognised on a receivable basis in the appropriate fund. L FUND ACCOUNTING Income from membership schemes eligible for Gift Aid is recognised in full on receipt. For other schemes, The charity has various types of funds for which it is responsible, and which require separate disclosure. including corporate supporters, income is time apportioned over the period of the subscription and the These are as follows: element relating to a future period is credited to deferred income. Restricted Funds These are earmarked by the donor, or the terms of an appeal, for specific purposes Where donor imposed conditions require that the resource is expended in a future accounting period, within the overall aims of the organisation. The donation and income deriving therefrom will be used in income is credited to deferred income and accounted for as a liability. accordance with the specific purposes. Income from corporate supporters previously reported within Royal National Theatre Enterprises Unrestricted Funds Funds which are expendable at the discretion of the Board in furtherance of the Limited is now recognised as unrestricted funds within the charitable company. objects of the charity. Income from legacies is recognised on a receivable basis. Designated Funds The Board may at its discretion set aside unrestricted funds for specific purposes. Activities for Generating Funds comprises income generated by Royal National Theatre Enterprises A description of the specific funds in existence during the year is given at note 18 on page 53. Limited from trading activities. Income is recognised on a receivable basis. MVAT Incoming Resources from Charitable Activities Box office income comprises ticket sales for Income and expenditure is stated net of VAT to the extent that it is recoverable. performances at the National Theatre, income from touring activities of the National Theatre (excluding grants) and ticket sales for NT Education projects where these are sold through the NT Box office. Income is recognised in the statement of financial activities on maturity of the performance. 2 VOLUNTARY INCOME – ANALYSIS BY FUND TYPE Investment Income comprises interest receivable on cash balances held in appropriate interest bearing deposits. Interest receivable is credited to funds in proportion to cash holdings. 2005 2005 2005 2005 2004 Unrestricted Restricted Restricted Restated Other Income comprises exploitation and rights, mailing list subscriptions and sundry other income. projects long-term Total total Income from exploitation and rights, handling charges and sundry sources is recognised on receipt. £'000 £'000 £'000 £'000 £'000 Income from the mailing list is recognised over the period of the subscription. Arts Council England: 15,878 H RESOURCES EXPENDED Revenue grant 15,878 0 0 14,341 Touring grants 482 0 0 482 495 Resources expended which relate directly to the National’s charitable objectives are analysed between: Capital and other grants 0 0 1,046 1,046 1,201 Performances at the South Bank; Performances on tour; Education; Research and development ______16,360 0 1,046 17,406 16,037 (including the NT Studio and commissioning costs); and the wider amplification of the NT’s objectives (Archive, Outside events, Platforms and Foyer music). Other voluntary income: Performances 561 154 0 715 957 Resources expended which form part of the Group’s trading activities are separately disclosed in Education 312 1,209 0 1,521 2,304 fundraising trading. Research & development 38 108 0 146 158 Amplification 0 106 0 106 72 The costs of generating voluntary income represent the costs of securing sponsorship and donations Long-term projects 0 0 1,015 1,015 150 together with the cost of providing membership benefits. General activity 2,515 0 0 2,515 1,972 ______Governance costs represent the costs of the Company Secretary, Board expenses, Internal Auditor 3,426 1,577 1,015 6,018 5,613 and audit fees. ______Total voluntary income ______19,786 ______1,577 ______2,061 ______23,424 ______21,650 Support costs relating to a single activity are allocated directly to that activity. Where support costs relate to several activities, they have been apportioned as set out in note 6 on page 49. All expenditure is accounted for on an accruals basis and is recognised when there is a legal or constructive obligation to pay. Provision has been made, where appropriate, for relevant expenses where a present obligation exists at the balance sheet date in accordance with the requirements of FRS 12. 46 47

3 VOLUNTARY INCOME - ANALYSIS BY INCOME TYPE 6 ANALYSIS OF SUPPORT COSTS 2005 2005 2005 2005 2005 2004 2005 2005 2005 2005 2004 Sponsorship Donations & Grants Other Total Restated Promotion Theatre Support Total Total subscriptions total operations services £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 Arts Council England 0 0 17,406 0 17,406 16,037 Trading operations 0 286 357 643 633 Performances 561 154 0 0 715 957 Charitable activities: Education 349 264 596 312 1,521 2,304 Performances - NT 2,325 3,537 2,153 8,015 8,077 Research & development 0 102 6 38 146 158 Education 104 111 138 353 541 Amplification 0 106 0 0 106 72 Research & development 35 249 65 349 385 Long-term projects 0 1,015 0 0 1,015 150 Amplification 87 167 56 310 365 General activity 0 2,515 0 0 2,515 1,972 ______2,551 4,064 2,412 9,027 9,368 910 4,156 602 350 6,018 5,613 Governance 0 50 14 64 71 ______Total voluntary income 910 4,156 18,008 350 23,424 21,650 ______Total support costs 2,551 4,400 2,783 9,734 10,072 ______

Allocated costs include: 4 TOTAL INCOMING RESOURCES FROM CHARITABLE ACTIVITIES 2005 2004 2005 2005 2005 2004 £'000 £'000 Unrestricted Restricted Total Total Operating lease rentals: total long-term Plant and machinery 14 16 £'000 £'000 £'000 £'000 Land and buildings 189 189 National Theatre Box office ______203 205 Olivier 5,694 0 5,694 5,182 ______Lyttelton 5,857 0 5,857 4,869 Cottesloe 1,547 0 1,547 1,663 Auditors’ remuneration: ______Group audit fee 43 42 13,098 0 13,098 11,714 Tax and other fees 4 9 Touring - England & Wales 228 0 228 160 ______47 51 Touring - Other countries 92 0 92 0 ______Other Box office 110 0 110 192 ______Included within the group audit fee is £5,300 in respect of Royal National Theatre Enterprises Limited. 430 0 430 352 Promotion comprises Marketing and Press. Theatre Operations comprises Front of House, Building Services, Insurance, Exploitation and rights 603 118 721 796 Cleaning and Security. Support Services comprises Finance, IT, Personnel, Pensions and Staff Canteen net of cost recoveries. Other 460 0 460 811 ______The following bases of allocation are used: Total incoming resources from charitable activities ______14,591______118 ______14,709 ______13,673 Marketing & Front of House – Management review of estimated usage Finance & IT – Management review of estimated usage Personnel – Headcount Touring income includes co-production & touring fees where appropriate. Building Services – Management review of estimated space usage

5 COSTS OF CHARITABLE ACTIVITY 7 ANALYSIS OF EXPENDITURE ON PERFORMANCES BY FUND TYPE 2005 2005 2005 2005 2005 2004 2005 2005 2005 2005 2004 Unrestricted Unrestricted Unrestricted Restricted Total Total Unrestricted Restricted Restricted Total Total direct support total total direct costs costs projects long-term costs costs costs costs £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 £'000 National Theatre Performances - NT 18,414 8,015 26,429 229 26,658 28,019 Capitalisation & running costs 11,773 154 75 12,002 16,545 Performances - Touring 799 0 799 0 799 397 Workshops & stages 9,242 0 0 9,242 7,338 Education 796 353 1,149 1,144 2,293 2,983 Producing & direction 5,414 0 0 5,414 4,135 Research & development 758 349 1,107 122 1,229 1,114 ______Amplification 646 310 956 113 1,069 899 26,429 154 75 26,658 28,018 ______21,413 9,027 30,440 1,608 32,048 33,412 Touring - England & Wales 735 0 0 735 397 Touring - Other countries 64 0 0 64 0 Depreciation and related costs 754 0 754 3,920 4,674 4,301 ______799 0 0 799 397 Total costs of charitable activity 22,167 9,027 31,194 5,528 36,722 37,713 ______Total expenditure ______27,228 ______154 ______75 ______27,457 ______28,415 ______Governance ______153 ______64 ______217 ______0 ______217 ______252 48 49 8 ANALYSIS OF EXPENDITURE ON EDUCATION BY FUND TYPE 11 STAFF COSTS AND NUMBERS 2005 2005 2005 2004 Unrestricted Restricted Total Total 2005 2004 projects £'000 £'000 £'000 £'000 £'000 £'000 Wages and salaries 20,050 19,882 Shell connections 255 271 526 693 Social security costs 1,997 2,017 Culture online 0 162 162 313 Other pension costs 375 354 Head for business 40 163 203 106 ______Secondary schools 40 110 150 40 ______22,422 ______22,253 Interact 33 189 222 81 Art of regeneration 92 124 216 786 Other 689 125 814 964 Average numbers employed in the year: ______2005 2004 Number Number Total expenditure on education projects ______1,149 ______1,144 ______2,293 ______2,983 Actors and Musicians 144 172 Total expenditure on education projects was £2.293m. This was funded by: Production 274 271 Catering and Front of House 239 230 2005 2005 2005 2004 Administration 172 185 Unrestricted Restricted Total Total ______projects ______829 ______858 £'000 £'000 £'000 £'000 ______Voluntary income: Sponsorship 0 349 349 280 Donations 0 264 264 217 2005 2004 Grants 0 596 596 1,322 Number Number Other 312 0 312 210 £60,001-£70,000 1 0 Core funds 837 0 837 1,261 £70,001-£80,000 1 2 Surplus on restricted funds 0 (65) (65) (307) £80,001-£90,000 0 1 ______£90,001-£100,000 1 0 1,149 1,144 2,293 2,983 ______£100,001-£110,000 1 0 £130,001-£140,000 1 1 ______9 ANALYSIS OF EXPENDITURE ON RESEARCH AND DEVELOPMENT BY FUND TYPE ______5 ______4 2005 2005 2005 2005 2004 Unrestricted Restricted Restricted Total Total Retirement benefits are accruing to three higher paid staff under defined contribution schemes. Employer contributions of projects long-term £17,312 (2004: £15,524) were made during the year. £'000 £'000 £'000 £'000 £'000 NT Studio 773 97 25 895 774 Commissioning new scripts 242 0 0 242 205 12 DIRECTORS’ EMOLUMENTS Associates 92 0092 135 No directors of the company or its operational subsidiary received any remuneration during the year ______or in the previous year. Expenses for travel and entertainment totalling £2,619 (2004: £2,229) were Total expenditure ______1,107 ______97 ______25 ______1,229 ______1,114 ______incurred by two directors wholly and necessarily on the National's business and were reimbursed during the year. 10 ANALYSIS OF EXPENDITURE ON AMPLIFICATION BY FUND TYPE

2005 2005 2005 2004 13 TAXATION Unrestricted Restricted Total Total projects The National's charitable activities fall within the exemptions afforded by section 505 of the Income £'000 £'000 £'000 £'000 Corporation Taxes Act 1988. The trading subsidiary, Royal National Theatre Enterprises Limited, Outdoor events 475 0 475 367 passes profits on which tax would be payable to the National under a Gift Aid arrangement. Platforms & Foyer Music 210 0 210 210 Accordingly, there is no corporation tax charge in these accounts. Archive 138 0 138 140 Access initiatives 133 13 146 182 Exteriors programme 0 100 100 0 ______Total expenditure ______956 ______113 ______1,069 ______899

50 51 14 TANGIBLE FIXED ASSETS 17 CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR Group Company Group Company 2005 2005 2004 2004 Freehold Leasehold Equipment Work in Total £'000 £'000 £'000 £'000 land & buildings improvements progress £'000 £'000 £'000 £'000 £'000 Trade creditors 1,563 1,443 1,737 1,526 Taxation and social security 716 716 785 785 Cost or Valuation Advance bookings 1,507 1,507 1,945 1,945 As at 28 March 2004 1,850 30,549 8,682 2,023 43,104 Other creditors and accruals 1,554 1,407 1,592 1,569 Additions 0 528 1,235 267 2,030 Deferred income 413 355 476 309 Transfers from Work in progress 0 717 531 (1,248) 0 ______5,753 ______5,428 ______6,535 ______6,134 As at 3 April 2005 ______1,850______31,794 ______10,448 ______1,042 ______45,134 Movement on Deferred Income Depreciation Group Company Group Company As at 28 March 2004 117 17,117 7,342 0 24,576 2005 2005 2004 2004 Charge for year 39 3,179 1,520 0 4,738 £'000 £'000 £'000 £'000 ______Deferred income brought forward 476 309 1,235 604 As at 3 April 2005______156 ______20,296 ______8,862 ______0 ______29,314 Released in the year (476) (309) (1,235) (604) Deferred in the year 413 355 476 309 Net Book Value ______As at 3 April 2005 ______1,694 ______11,498 ______1,586 ______1,042______15,820 ______Deferred income carried forward______413______355 ______476______309

As at 28 March 2004______1,733 ______13,432______1,340 ______2,023 ______18,528 Deferred income relates to membership subscriptions and other income recognised over more than one financial year in accordance with the accounting policy stated in Note 1.

All fixed assets were used for the ultimate benefit of the National, which is a charitable company. 18 FUNDS The freehold property, being the Studio, was professionally valued at £1,850,000 in October 2000 by Cluttons, Chartered Balance at 28 Balance at 3 Surveyors. The basis for valuation was open market value for existing use, in accordance with the RICS Appraisal and March 2004 Income Expenditure Transfers April 2005 Valuation Manual. £’000 £’000 £’000 £’000 £’000 The Board is not aware of any material changes since that valuation and considers that the market value is not less than Unrestricted: the carrying value shown. The difference between the historical cost depreciation charge and the depreciation charge Operations fund 205 41,268 (37,544) (3,050) 879 based on the revalued freehold property is £52,000. Designated: Building and equipment fund 2,330 78 (754) 2,550 4,204 15 STOCKS Front of House capital 0 0 0 500 500 Group Company Group Company Restricted: long-term funds 2005 2005 2004 2004 Modernisation fund 17,282 1,111 (3,903) 0 14,490 £'000 £'000 £'000 £'000 Revaluation reserve 746 0 (17) 0 729 Musical fund 461 140 (100) 0 501 Goods for resale 325 0 357 0 Studio refurbishment 0 1,021 0 0 1,021 Consumable items 54 54 102 97 ______Total long-term funds 18,489 2,272 (4,020) 0 16,741 ______379 ______54 ______459 ______97 ______Restricted: project funds Education: Shell Connections 0 271 (271) 0 0 Stagework 0 216 (162) 0 54 16 DEBTORS Head for Business 0 163 (163) 0 0 Secondary schools 53 78 (110) 0 21 Group Company Group Company Interact 137 165 (189) 0 113 2005 2005 2004 2004 Art of Regeneration 9 142 (124) 0 27 £'000 £'000 £'000 £'000 Other education projects 79 174 (125) 0 128 Trade debtors 1,735 1,631 1,961 1,084 Performances 0 154 (154) 0 0 Due from Royal National Theatre Enterprises 0 1,211 0 895 Research & Development: Arts Council revenue grants 73 73 10 10 Studio projects 29 108 (97) 0 40 Arts Council lottery grants 190 190 380 380 Amplification: Other debtors 109 109 12 12 Exteriors 0 100 (100) 0 0 Prepayments and accrued income 344 264 345 291 Access 7 6 (13) 0 0 ______2,451 3,478 2,708 2,672 Total project funds 314 1,577 (1,508) 0 383 ______Total funds 21,338 45,195 (43,826) 0 22,707 ______

52 53 STUDIO PROJECTS: DESIGNATED FUNDS The Studio projects fund represents restricted funding for studio projects secured from various trusts and foundations. Buildings and Equipment Fund The buildings and equipment fund is a designated fund set aside by the Board in order to enable monies to be available over the long term for the renewal and maintenance of the AMPLIFICATION: National's buildings and mechanical and electrical equipment in accordance with its lease and obligations Exteriors This represents funding received from the Wolfson Foundation for the development of the under lottery funding. £2,550,000 was transferred from the operations fund during the year. The expenditure exterior spaces at the National. for the year represents depreciation on assets purchased through this fund and the transfer represents Access This represents funding received from trusts in connection with enhancing public access to funds earmarked for future expenditure. the National. Front of House Capital £500,000 was transferred from the operations fund during the year to continue the enhancement of the National’s external spaces. A number of projects are under development 19 ANALYSIS OF NET ASSETS BETWEEN FUNDS including further work on the illumination of the building and the development of the public spaces both Fixed Assets Cash Other Net Total Net Front of House and external. Current Assets Liabilities £'000 £'000 £'000 £'000 RESTRICTED FUNDS Unrestricted: Operations fund 0 3,547 (2,668) 879 Long-term Funds Designated: Building and equipment fund 1,828 2,376 0 4,204 Long-term funds represent funds used for capital or where there is an expectation that the fund will be Front of House capital 0 500 0 500 used over the longer term. ______1,828 2,876 0 4,704 Modernisation Fund In accordance with the recommendations of the Arts Council, monies received by way of capital funding are credited to the Modernisation fund. During the year ended 3 April 2005, lottery grants Restricted: Long-term funds of £1,046,043 were credited to the plan in this respect. The annual depreciation charge for fixed assets Modernisation fund 13,169 1,321 0 14,490 Revaluation reserve 729 0 0 729 acquired through the Modernisation fund is charged to the fund. The effect of the policy will be to reduce Musical fund 0 501 0 501 the balance of the Modernisation fund to zero over the same period as the lives of the fixed assets concerned. Studio refurbishment 94 927 0 1,021 RNT Musical Fund This reserve reflects an obligation under a Deed of Covenant with the Mackintosh ______Foundation to set aside a proportion of income received from exploitation of productions originally funded 13,992 2,749 0 16,741 by a gift from the Mackintosh Foundation for the development of the art of the musical and for future musical productions by the National. £75,000 was drawn down in the year to support A Funny Thing Restricted: Project funds Happened on the Way to the Forum and £25,000 to support activity at the NT Studio. Education: Studio Refurbishment Fund This fund has been created to support a major refurbishment of the NT Stagework 0 54 0 54 Secondary schools 0 21 0 21 Studio and the creation within the existing building of a new Education studio and a new home for the NT Interact 0 113 0 113 Archive. £1m has already been secured and a further £1m pledged. Art of Regeneration 0 27 0 27 Other education projects 0 128 0 128 Project Funds Studio 0 40 0 40 ______These represent funds made available for projects generally completed within two years or activities Total Restricted 0 383 0 383 funded on an annual basis. ______Touring Fund The annual touring grant received from Arts Council England was reclassified as unrestricted Total Funds ______15,820 ______9,555 ______(2,668) ______22,707 during the year in agreement with funders and consistent with the treatment of the main Arts Council grant. EDUCATION: Shell Connections This represents sponsorship received from Shell towards the Connections education 20 CAPITAL COMMITMENTS: GROUP AND COMPANY project. 2005 2004 Stagework This represents funding received from DCMS Culture Online and BT to continue the £'000 £'000 development of an education website. Approved and contracted ______42 ______637 Head for Business This represents funding received from the London Development Agency and other supporters in connection with the training of artists. Lighting dimmers 20 0 Secondary Schools This represents funding received from various trusts to support the Backstage Pass Fire alarms 22 363 project working with secondary schools in London. Air handling unit 0 129 Interact This represents funding received from DfES and Deutsche Bank to support the teaching of the Replacement of carpets 0 135 Other 0 10 Citizenship curriculum through drama. ______Art of Regeneration This represents contributions from the London Borough of Lewisham, NESTA and 42 637 ______various trusts towards projects working with young people and artists in Greenwich and Lewisham. The amount payable within one year is £42,000. Other Education Projects This represents restricted funding for education projects secured from various companies, individuals, trusts and foundations.

54 55 21 RELATED PARTY TRANSACTIONS A summary of Royal National Theatre Enterprises Limited's trading results is shown below: Nicholas Wright, a member of the Board, was paid royalties of £120,649, commissioning fees of £6,196, a masterclass fee of £100 and VAT on the above of £20,757 during the year. These amounts Subsidiary Subsidiary 2005 2004 were consistent with those for a playwright of his standing. £'000 £'000 Information regarding connected charities can be found on page 34 of this Report. Turnover 7,132 8,022 Cost of sales (5,256) (5,214) Administrative expenses (643) (638) 22 VAT ______Profit on ordinary activities before interest 1,233 2,170 The National submitted a claim as a culturally exempt organisation during the year under Schedule 9 Interest receivable 26 3 to the VAT Act 1994 and is currently awaiting a decision from HMRC. Until a decision is made, the ______financial impact cannot be calculated with reasonable certainty and no provision has been made for Net result 1,259 2,173 the outcome in these accounts. Donation due to parent company (1,254) (2,168) ______Retained in the subsidiary 5 5 ______23 OPERATING LEASE COMMITMENTS: GROUP AND COMPANY As at 3 April 2005 the aggregate amount of Royal National Theatre Enterprises Limited's assets, At 3 April 2005 the National was committed to making the following payments during the next year in liabilities, share capital, and reserves was: respect of operating leases: 2005 2004 £'000 £'000 2005 2004 Equipment leases which expire within one year 0 6 £'000 £'000 Equipment leases which expire within two to five years 16 8 Fixed assets 0 0 Property leases which expire within one year 189 0 Current assets 1,529 1,315 Property leases which expire within one to two years 0 189 Creditors: amounts falling due within one year (1,536) (1,327) ______205 ______203 (7) (12) ______

24 PENSIONS Represented by: Share capital and reserves (7) (12) Pension Contributions ______(7) (12) The National makes payments to defined contribution schemes, which are available to all permanent ______employees, on completion of their probationary period. The charge for the period was £374,611 (2004: £354,462). The results of Royal National Theatre Enterprises Limited are consolidated into the Group accounts on a line by line basis as follows: 25 COMMERCIAL TRADING OPERATIONS AND INVESTMENT IN TRADING SUBSIDIARY 2005 £'000 The National has two wholly-owned subsidiaries incorporated in the United Kingdom: Activities for generating funds 6,719 Royal National Theatre Enterprises Limited (wholly owned; incorporated in England) Investment income 26 ______The company’s main activities are the provision of catering services, the sale of books and 6,745 publications, the hiring out of costumes/props and studio facilities and the receipt of car park revenue. Less: costs of goods sold (5,900) Issued share capital: 2 ordinary shares £1 each. Net trading surplus reported in group accounts 845 No value is ascribed to this subsidiary within the accounts of the National, because it has no net assets, and donates all its profits back to the National. Inter entity sales eliminated on consolidation 414 ______Net surplus for the year 1,259 ______

National Theatre Productions Limited (wholly owned; incorporated in England) Issued share capital: 2 ordinary shares £1 each. This company is dormant and has not been consolidated.

56 57 NT ASSOCIATES Finance & Audit Committee Simon Russell Beale Edward Walker-Arnott (Chairman) Alison Chitty Sir Hayden Phillips Bob Crowley Rachel Lomax Declan Donnellan Caragh Merrick Jonathan DoveEdward Hall Caro Newling Mark Henderson (Lighting Consultant) Rt Hon Lord Smith of Finsbury Alex Jennings Nominations Committee Adrian Lester André Ptaszynski (Chairman) Phyllida Lloyd Caro Newling Patrick Marber Ben Okri OBE Helen Mirren Remuneration Committee Katie Mitchell Edward Walker-Arnott (Chairman) Michael Morris Sir Hayden Phillips Mark Ravenhill Rachel Lomax Zoë Wanamaker Caragh Merrick COMMITTEE MEMBERSHIP Caro Newling AT 3 APRIL 2005 Rt Hon Lord Smith of Finsbury Development Council Susan Chinn (Chairman) ROYAL NATIONAL THEATRE Edgar Wallner (Vice Chairman) ENTERPRISES LIMITED Simon Russell Beale Edward Walker-Arnott (Chairman) David Bell David Hancock Tony Bloom Gregory Hutchings Neil Brener Karen Jones Camilla Cazalet Justin Manson David Cohen Geoffrey Matthews Caroline Cormack Caragh Merrick Ian Cormack Peter Wiegand Iain Davidson Justin Dowley David Dutton Glenn Earle Clara Freeman Michael Gee Gabrielle Greenbury James Hill Christopher Hogg Nicola Horlick Gregory Hutchings Jack Keenan Edward McKinley Robert Norbury Oliver Pawle Hayden Phillips Ronny Schwartz Rita Skinner Tony Thompson Jeffrey Weingarten Susan Weingarten Charlotte Weston Peter Wolff

58