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Home , Amit Shah (actor), Annabel Scholey, Anya Reiss, Ashley Chin, Barnaby Kay, Bertie Carvel

Annual Report 2012–2013 Annual National Report

Annual Report 2012–2013 Annual Report ‘…the National Theatre must… bulk large in the social and For the 52 weeks ended 31 March 2013 intellectual life of … It must not even have the air of appealing to a specially literary and cultured class. It must be visibly and unmistakably a popular institution, making a large appeal to the whole community. 2 Board and Advisers 5 Purpose, Vision and Objectives ‘It will be seen that the Theatre we propose would be a 6 John Makinson, Chairman National Theatre in this sense, that it would be from the first 9 , Director conditionally – and, in the event of success, would become 10 The Year in Review absolutely – the property of the nation.’ 12 Plays and Artists 17 National Theatre Productions Preface (1904) to A National Theatre: Scheme and Estimates by William Archer and Harley Granville Barker, London 1907 21 Awards 22 Audiences 27 Digital ‘We have never produced something to be a commercial 31 Learning success. One Man, Two Guvnors was a purely pragmatic 34 Public Engagement response to a summer of grim and serious plays. We had 38 National Theatre Future nothing that reached out to let the widest rejoice 40 NT Studio and celebrate… The backbone of our theatre is that it’s 42 Leadership un-hung up about juxtaposing the vulgar with the serious. 44 Sustainability We will do the vulgar, we will also do Timon and , 51 Fundraising Brenton and Shaw and O’Neill, plays about medicine, 52 Supporters Seventies politics, mental difference.’ 62 Performers 64 NT Associates, Committee Membership and Nicholas Hytner, , March 2013 NT Heads of Department 65 Photograph captions

In this document, The is referred to as If you would like to receive it in large print, “the NT”, “the National”, and “the National Theatre”. or you are visually impaired and would like a The full Financial Review and Financial Statements (and this member of staff to talk through the publica- Annual Report) are available to download at www.nationalthea- tre.org.uk/annualreport The Trustees’ Report comprises those tion with you, please contact the items on pages 2-5 and 10-65 of the Annual Report and pages Board Secretary at the National Theatre. 1-16 of the Financial Statements.

National Theatre Annual Report 2012–2013 3 Board and Advisers

Board Members Executive Chairman John Makinson Director* Peter Bennett-Jones Nicholas Hytner Dame Ursula Brennan DCB Executive Director Dominic Casserley Nick Starr CBE Susan Chinn CBE Chief Operating Officer Lisa Burger Tim Clark Deputy Executive Director Kate Horton Lloyd Dorfman CBE Glenn Earle Associate Directors Aminatta Forna Sebastian Born Farah Ramzan Golant CBE Howard Davies Ros Haigh Marianne Elliott Neil MacGregor Kate Mosse OBE Ben Power James Purnell Bijan Sheibani Tessa Ross CBE Bankers Clive Sherling Coutts & Co 440 Strand, London WC2R 0QS

Auditors PricewaterhouseCoopers LLP 7 More London Riverside London SE1 2RT

*The term “Director” is a traditional title used at the National. Neither the Director, the Associate Directors, nor other members of the Executive are directors under the Companies Act, 2006

2 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 3 The National Theatre of

Our Purpose Our Objectives The National Theatre is dedicated to the — The Artistic Programme and Artistic constant revitalisation of the great traditions Development. The NT presents a balanced of the British stage and to expanding the artistic programme, staging around 20 horizons of audiences and artists alike. In its productions a year from the whole of world three on the South Bank in London, drama, with a specific responsibility for the it presents an eclectic mix of new plays and creation of new work and representing the classics from the world repertoire with seven or widest range of voices eight productions in repertory at any one time. — Audiences. The NT is tireless in trying to The National Theatre aspires to reflect in its reach more people, broaden our audiences repertoire the diversity of the nation’s culture. and give them an unparalleled experience With a commitment to openness, wide-reaching — Learning & Engagement. The NT aims to be engagement and access for everyone, the National an inspirational, internationally recognised shares its resources, energy and creativity with resource for lifelong learning about and audiences and theatre-makers around the globe; through theatre using its Studio for research and development of new work, offering extensive learning and — Broadcast. The NT broadcasts a selection public engagement programmes, touring and of its repertoire to cinemas in the UK and broadcasting in the UK and internationally, internationally and creating innovative digital content. — Leadership. As a national theatre, the NT takes responsibility for fostering the health of the wider British theatre Our Vision — Sustainability. The NT operates in a The National Theatre strives to be a national financially and environmentally responsible centre of theatrical arts, central to the creative life manner, whilst striving to increase of the country and unmatched in the world for self-generated income scale, range of repertoire and audience reach. It aspires to produce to the highest standards — Innovation. The NT actively considers the by attracting the best artists and staff and by way in which it operates, and strives to providing an environment which stimulates innovate in all areas of its activity. them to realise the fullest extent of their talents. Education and public engagement are founding principles for the NT and are central to our vision of the future.

4 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 5 John Makinson ‘Above a fluorescent square, stars – Chairman about which the hero knows – blaze; on the ground, the apparently random numbers that help him to make a path through his panic are scattered in a radiant maze.’ Statistics cannot tell the whole story of the theatre directors in the land and performed The National Theatre opened Susannah Clapp, The Observer present range and success of the National Theatre by our greatest stage . The Shed, our its doors on 22 October 1963 but they are not a bad place to start. In the temporary replacement for the Cottesloe with a production of . 12 months on which we are reporting in this Theatre, is opening the NT to new talents and directed, Peter document, NT productions played to a global audiences through an innovative approach audience of 3.6million people, an achievement to programming and marketing. The Studio, O’Toole played the Dane and unmatched by any theatre in the world, tucked away in an anonymous building a few carried a spear. and accounted for more than a third of all play- hundred yards from the NT, is the most active This year we shall be celebrating going in London. Full houses on the South Bank and successful theatre laboratory in the world. and commercial transfers of some of our most The finances of the NT are in sound shape the 50th birthday of our beloved popular productions helped the NT’s income to thanks to the success of , a £87m, a record figure achieved despite a further NT and reflecting, inevitably, production that began life in the Studio, 4.4 per cent reduction in our Arts Council grant. on how the place has grown and and our other commercial transfers. The developed over those years. What these impressive figures cannot describe of building itself, not the most inviting of course is the energy, creativity and commercial structures, is being transformed by our nous that lie behind them. The NT has been £80m NT Future programme. Construction led for a decade now by an extraordinary troika activity is now underway and audiences will comprising Nicholas Hytner, our Director, Nick soon be rewarded with a more welcoming, Starr, our Executive Director, and Lisa Burger, versatile and expansive National Theatre. our Chief Operating Officer. The admiration For all its success, the NT retains an encouraging and respect that the NT enjoys among its roster restlessness. It is constantly re-examining its of creative artists, as well as with audiences and public purpose, redefining the boundaries donors, are attributable in no small measure of its activity through the NT Live cinema to the talents of those three individuals. initiative, strengthening its links with regional Both Nicholas Hytner and Nick Starr have and smaller theatres around the UK, using NT announced that they will be moving on from Future funds to enhance its role in education, the NT within the next two years. To say that carrying the argument for public support of they will be a hard act to follow is of course the arts to the media and to government. And a bit of an understatement. Yet, as the Board much else besides. If Laurence Olivier could undertakes a search for a new Director, we are have looked ahead 50 years from his seat in in no doubt that Nick Hytner’s successor will the stalls of , he would I hope have be building on the strongest of foundations. found ’s NT a hit, a very palpable hit. The NT’s creative output has never been richer or more varied. The Olivier and Lyttelton stages play host every evening to a breathtaking range of repertoire staged by the finest

6 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 7 Nicholas Hytner Director

Ten years ago, when I became Our conversations with government develop a policy that genuinely recognises the were productive, and many of the wilder return on systematic investment in the arts. Director of the National Theatre, excesses of instrumentalism disappeared. Whether or not our argument was thought to Successive Secretaries of State seemed very I was plunged into a fascinating be persuasive, the threatened 10 or 15% cut to comfortable to talk about the arts as valuable and lively debate about the arts investment in the most recent spending in themselves, and central to a civilised round failed to materialise, and the Chancellor’s purpose of tax payers’ investment society. It did not seem in those days that it 5% cut was greeted with some relief. In the would become necessary again to fight in the arts. The Labour context of current government policy, it would for the very idea of government funding. government had become perhaps be churlish to point out that by 2015- increasingly instrumental in its Over recent months, we have been asked by 16 the Arts Council will have been cut by government to make a case for the arts based on 35% in real terms since 2010. But it can’t be vision for the arts and expected, the benefits they bring to the economy. Since denied that we are entering very perilous times, in return for its funding, this seemed like the only game in town, my particularly outside London where individual measurable outcomes in the colleague Nick Starr and I made the case in an and corporate giving has yet to make anything article in . We pointed out like the kind of impact that it has in the capital. diversity of our audiences, in our that, according to a recently published report by The National Theatre must now become Nesta, the creative economy employs 2½ million educational outreach and in the ever more dependent on the generosity of its people in this country and is 10% of the overall social benefit of our activities. supporters. It is our phenomenal good fortune economy; growth in employment in the creative that we have such committed and generous I, like most of my colleagues, sector runs about four times the average. Growth individual donors, corporate sponsors and in the UK is going to rely on innovation; we had some sympathy for the then supportive trusts and foundations. Without have a highly interlinked creative economy of their help, our repertoire would have shrunk, government’s aspirations. Arts which, almost uniquely in international terms, our outreach would be a fraction of what it patronage has never come the arts and culture see themselves as a part. is, and the work we do outside of our three War Horse started as an experiment in our Studio. without strings, and the demand theatres – through our Learning department and We spent about £50,000 on its development, at our Studio – would be under severe threat. that we should be as inclusive and and about £500,000 putting it on. In the last I could not be more grateful to all of them, four years it has made the NT £11m. The lesson accessible as possible seemed and we are all aware how much more asking is not to ask the question, how do we create preferable, for instance, to the we will have to do over the coming years. the next War Horse? It is rather to continue glorification of the Medicis or the funding the NT Studio where much of the most Under these circumstances, it may be necessary worship of Joseph Stalin. commercially successful stuff starts life. This is to go back to basics in the argument we make However, it felt necessary in why the West End has largely outsourced its need for ourselves. No matter how economically for the new to the subsidised sector, as essential productive we are, no matter how much 2003 to push back against what to their business model. They can’t see how you value we provide educationally, no matter felt like an increasing tendency to would otherwise develop a Matilda or a Curious the strength of our work in bringing together Incident of the Dog In the Night-Time. The the widest possible audience – in the end, we assess the artistic experience director and nearly all of the cast of the recent work here and you come here because we all purely on the basis of the make- movie Skyfall (which took over a believe that the theatre is transformational up of its audience, and many arts billion dollars at the box office internationally) in itself. It challenges, it inspires, it elevates, it are alumni of the subsidised theatre. Modern educates, and it enlarges the spirit of everyone leaders and practitioners attracted 5.3 million visitors last year, many of who wants to make it part of their lives. rediscovered the case for the arts them tourists attracted to Britain by our arts and based on their inherent worth. heritage. And although we balk at describing Shakespeare as Britain’s leading brand in the rest of the world, it wouldn’t be untrue. We declared ourselves ready to help the Secretary of State

8 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 9 The Year in Review National Theatre 2012–13 £87m income

We opened last year’s Annual Report with an observation that, ‘By any measure the National Theatre is surely the busiest theatre in the world’. Over the past year, the NT has been even busier. Here on the South 1,959 performances in London Bank, the National Theatre Inside Out festival saw our activities spilling onto the riverbank to celebrate the Jubilee and Olympic summer. One Man, Two Guvnors arrived on Broadway to join War Horse, which also embarked on North American and Australian tours while celebrating its fifth anniversary in London. By the year’s end, transfers of The Curious Incident of the Dog in the Night-Time and Untold Stories meant that 59% four National productions were playing in the West End simultaneously. income from box office receipts

The growth and impact of In 2012-13, planning for NT Future and concepts for the Clore Learning Centre when over the past four years has been remarkable. further development of War Horse continued it opens in spring 2014, and enable us to trial Its first broadcast,Phédre in 2009, played to as specific objectives with the aim of advancing other ideas and projects for NT Future. 14,000 people at 70 venues in the UK, and a the NT’s constant organisational objectives In 2013-14, fundraising for the increased scope of total worldwide audience of 50,000 people. Now, (page 4) in the following ways; these will be NT Future and completion of the building works with 260 cinemas in the UK, British audiences reviewed throughout this Annual Report: continue as specific objectives, in addition to: alone regularly top 50,000. With a further 350 — The launch of the North AmericanWar Horse screens in 25 countries, audiences since the — A renewed focus on training and tour (June 2012) and licensed productions programme’s inception have passed one million. development with the introduction in Australia (December 2012) and Berlin of further apprenticeships; and the re- As a result of all this activity, the NT achieved its (2013) to provide opportunities for increasing launch of Step Change to create a national highest ever income of £87m: well over double international audiences; continued planning programme of early to mid-career professional that of ten years ago, and a clear demonstration for the UK tour of War Horse in autumn development with regional partners once again that the National’s entrepreneurial 2013 to increase the NT’s national reach. approach is enabled by our capacity to risk-take, New resources from the NT’s learning and — Development of a new business model in a year which saw a further cut of 4.4% in our digital departments to support audience to address the challenge of continued Arts Council grant (following a 7% cut last year). engagement nationally and internationally. reduction in government funding and Promised inflationary uplifts for the next two increased emphasis on fundraising — The commencement of the first phase of years were subsequently reduced, so that by 2014- NT Future building works in late summer — The launch of the UK tour and German 15, the real-term difference in the NT’s grant will 2012, leading to the closure of the Cottesloe production of War Horse in autumn 2013, amount to a decrease of 23% over four years. The Theatre in February 2013 and the opening and planning for involvement in the National’s earnings from War Horse enable us to of a temporary venue in April 2013. During centenary of World War One from 2014 offset the immediate effects of the reduction in 2012-13, build and develop repertoire, and test our Arts Council grant and to allow continued — Continued innovation, particularly in new ways of communicating with audiences. innovation and investment in the productions, Digital and Learning, while the NT is in skills and audiences of the future. Nevertheless, — Continued fundraising for NT Future transition to a new Director taking over our commercial income stream is not guaranteed. and taking forward design development from Nicholas Hytner in April 2015. for the second phase of building works, We continually ask ourselves: what is the focusing on improving the public appropriate role for the National Theatre in welcome. The extent of this scope is the time we live in? In the context of growing subject to reaching fundraising targets. concern at the long-term impact of reduced funding on regional and smaller companies, — During summer 2012, from the Queen’s Nicholas Hytner, Director many of whom are also suffering from cuts Diamond Jubilee to the end of the in local government grants, how can we best Paralympics, to enhance our annual summer support and nourish regional theatre? We programme under the banner National must strive to do more: through innovation, Theatre Inside Out. This opportunity to be training and the development of talent. part of London’s celebratory activities will also allow the Learning department to trial Nick Starr, Executive Director

10 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 11 Plays and Artists ‘Absurdity and glory can co-exist and there is wisdom in the old, even old hippies.’ Libby Purves, The Times The Repertoire

The NT aims to stage a diverse The tenth anniversary Travelex £12 Tickets Two young writers new to the Cottesloe season offered its customary stimulating mix made strikingly successful autumn debuts. repertoire that is both popular of innovative stagings of classics alongside new James Graham’s This House examined the and demanding, produced work, with five productions in the Olivier. hung Parliament of the 1970s; ’s to the highest standards, Nicholas Hytner’s production of John Hodge’s production transformed the Cottesloe pit Collaborators transferred from a sell-out into the House of Commons chamber. A by collaborating with the Cottesloe run, with and Simon co-production with Headlong, directed by best theatre-makers in an Russell Beale recreating their roles as Bulgakov , of Lucy Prebble’s new play The environment that enables and and Stalin. Polly Findlay directed a modern- Effect saw a similarly immersive staging with dress production of Sophocles’ Antigone, in a the Cottesloe audience finding themselves in a stimulates them to realise the version by Don Taylor, with Jodie Whittaker medical testing facility. The final performance fullest extent of their talents. in the title role and as of The Effect bade farewell to the Cottesloe In 2012-13 the repertoire ranged Creon; and gave another Theatre, which closed on 23 February 2013 for award-winning performance in the title role of its NT Future transformation to the Dorfman. from Greek and Shakespeare Shakespeare and Middleton’s rarely seen Timon New site-specific commissions from two , given a contemporary setting by tragedy re-imagined for the of Athens NT Studio affiliate companies were featured Nicholas Hytner. A greatly extended Cottesloe in the NT’s Inside Out festival: non zero 21st century, to new plays run in 2011 of Alecky Blythe and Adam Cork’s one’s you’ll see [me sailing in antarctica] and examining medical ethics and music theatre piece, London Road, had not Made in ’s Get Stuff Break Free were satisfied audience demand, so Rufus Norris’ 20th-century politics and society. performed on the National’s rooftop. production transferred to the Olivier; and the Travelex season ended with Tirso de Molina’s In the Lyttelton, Cillian Murphy’s performance Damned by Despair, in a new version by Frank in the London premiere of Enda Walsh’s McGuinness, directed by Bijan Sheibani. Misterman, previously seen in Dublin and New York, showed that solo shows can thrillingly fill and Nancy Carroll led the cast large as well as small spaces. returned of Arthur Wing Pinero’s Victorian farce The to the National to lead the cast in Stephen Magistrate, directed by Timothy Sheader, Beresford’s playwriting debut, The Last of the for the Christmas season; and in February, Haussmans, directed by Howard Davies. Nadia Antony Sher was , The Captain of Köpenick Fall made her NT debut directing Bernard Shaw’s with Adrian Noble directing Carl Zuckmayer’s The Doctor’s Dilemma; and Tom Cairns’ revival play in a new version by Ron Hutchinson. of Howard Barker’s Scenes from an Execution, Inua Ellams returned to the Cottesloe with his with as the painter Galactia, marked new one-man show, Black T-Shirt Collection, the playwright’s first production at the NT. presented by Fuel. Lisa D’Amour’s play Detroit The fruitful playwright/director partnership of received its UK premiere, with a British cast and Nicholas Hytner was renewed directed by Austin Pendleton who had staged the on a new play, People, with a cast led by Frances de original production for ’s Steppenwolf la Tour, Linda Bassett and Selina Cadell: another Theatre Company. In August came the opening sell-out. Two short pieces by Bennett, Cocktail of The Curious Incident of the Dog in the Night- Sticks, directed by Hytner, and Hymn, with music , based on the novel by Mark Haddon, Time by , directed by Nadia Fall, saw adapted by ; Marianne Elliott’s Alex Jennings play Alan Bennett in both, later innovative production, making stunning use of 12 transferring to the West End (see page 14). new plays technology, proved irresistible (see page 14). directed a version of Hansel At Christmas, 1927 returned with The Animals and Gretel, devised with and and Children Took to the Streets, previously seen based on the story by the Brothers Grimm, in the Cottesloe; and in January, Marianne Elliott for younger audiences at Christmas. directed a new production of Simon Stephens’ Port – a play whose premiere she had directed at 26 the Royal Exchange, , ten years earlier. productions in repertoire at the NT

12 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 13 Plays and Artists continued

UK Touring Nicholas Wright’s play Travelling Light completed its tour in Newcastle (its earlier visits to Salford, and Aylesbury having fallen in the previous financial year).

Richard Bean’s One Man, Two Guvnors embarked on a second UK tour, led by the comedian Rufus Hound as Francis Henshall (Owain Arthur took leave from the continuing West End production to play the role on the dates in his native Wales). The 13-week tour visited Leicester, Newcastle, , Belfast, Blackpool, Norwich, Leeds, Llandudno, Salford, Cardiff and , playing to 94,000 people, before setting off on an international tour.

West End and international transfers War Horse celebrated its fifth anniversary in London in October 2012 and is now booking until February 2014. A ten-month, nine-venue tour of the UK and Ireland begins in autumn 2013. The Broadway production completed a 21-month run at ; the Toronto production also ended in January 2013. The North American touring production continued to play across the US, visiting 21 cities over 42 weeks. A concurrent production with an all-Australian cast opened at the Melbourne Arts Centre State Theatre in December 2012 for a 15-week season, before visiting Sydney. A German-language production will open in October 2013 in Berlin, followed by another production in Holland; the second leg of the US tour will commence in September 2013. War Horse continues to travel with a strong ethos and emphasis on learning and participation.

One Man, Two Guvnors entered its third year in London in April 2013 and is booking at the Theatre Royal, Haymarket until March 2014. Having led its second UK tour, Rufus Hound took over the role of Francis Henshall While One Man’s London cast took a two- End’s , with scheduled 12-week run; Alex Jennings repeated in London from Owain Arthur, who led the week contractual holiday in September recreating his performance as Christopher his much-praised performance as Bennett. 2012, the National presented Michael Boone alongside many other members of the production on a 20-week international tour All four productions were presented by 14 Morpurgo’s Private Peaceful for a run of original cast. In April, shortly after the end of from February, visiting Hong Kong, Adelaide, National Theatre Productions, led jointly by weeks of UK touring 16 performances at the Haymarket. this financial year, the production won seven Auckland and Sydney (ending in Melbourne in Chris Harper and Stephen Rebbeck, with May). On Broadway, Olivier Awards – a record number for a play. One Man, Two Guvnors The Curious Incident of the Dog in the Night- the aim of maximising opportunities to completed a successful run with its original Booking has been extended to October 2014. Time opened in the Cottesloe in August, extend the life of NT productions without cast at the Music Box Theater, crowned by one of three NT productions to feature in Alan Bennett’s Hymn and Cocktail Sticks subsidy in the West End and beyond. James Corden’s Tony Award for Best . 444 the London 2012 festival. In March 2013 moved across the river in March to the Duchess 66 actors and musicians employed the production transferred to the West Theatre, under the titleUntold Stories, for a weeks of international touring by the NT in London

14 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 15 National Theatre Productions 2012–13

Fuel Dialect Coach Judith Windsor Producer Marianne Dicker BLACK T-SHIRT COLLECTION Cottesloe 15 May A roof-top location (Inside written & performed by Inua Ellams Out Festival) 9 July Supported by American Express Director Thierry Lawson ANTIGONE Design Michael Vale by Sophocles in a version by Don Taylor Lighting Design Michael Nabarro by Director Polly Findlay Emma Laxton Sound Design Director Nicholas Hytner Cottesloe 13 April Designer Soutra Gilmour Lighting Designer Mark Henderson Designer Lighting Designer Bruno Poet A Landmark Productions / Galway Music & Sound Designer Dan Jones Music Grant Olding Arts Festival production Movement Aline David Edward Watson MISTERMAN Fight Director Bret Yount Choreographer by Enda Walsh Christopher Shutt Company Voice Work Kate Godfrey Sound Designer Director Enda Walsh Olivier 30 May Dramaturg Ben Power Designer Jamie Vartan Sponsored by Travelex Company Voice Work Jeannette Nelson and Zabarjad Salam Lighting Designer Adam Silverman Olivier 17 July Music Donnacha Dennehy THE LAST OF THE HAUSSMANS a new play by Stephen Beresford Sponsored by Travelex Sound Designer Gregory Clarke Director Howard Davies Associate Sound Designer Helen Atkinson Designer Vicki Mortimer THE DOCTOR’S DILEMMA Mikel Murfi by Bernard Shaw Lighting Designer Mark Henderson Lyttelton 18 April Director Nadia Fall Projection Designer Designer Peter McKintosh Sound Designer Christopher Shutt COLLABORATORS Lighting Designer Neil Austin a new play by John Hodge Company Voice Work Jeannette Nelson and Zabarjad Salam Music Matthew Scott Director Nicholas Hytner Lyttelton 19 June Sound Designer Gregory Clarke Designer Sponsored by Accenture Movement Jack Murphy Lighting Designer Jon Clark Company Voice Work Kate Godfrey George Fenton Music Made in China Lyttelton 24 July Sound Designer GET STUFF BREAK FREE Associate Director Nadia Fall Created by Made In China (Tim Cowbury LONDON ROAD and Jessica Latowicki) and the cast Associate Lighting Designer Peter Harrison book and lyrics by Alecky Blythe Sean Gleason music and lyrics by Adam Cork Movement Jack Murphy Lighting Designer Christopher Brett Bailey Rufus Norris Fight Director Terry King Creative Associates Director (Dramaturg) and Alice Lacey (Director) Katrina Lindsay Company Voice Work Jeannette Nelson Designer Marianne Dicker Olivier 3 May (transfer from Producer Lighting Designer James Farncombe A roof-top location Cottesloe, 1 November 2011) Orchestrations Adam Cork Sponsored by Travelex (Inside Out Festival) 4 July Supported by American Express Music Director David Shrubsole Sound Designer Paul Arditti DETROIT by Lisa D’Amour non zero one Movement Director Javier De Frutos Ian Townsend Director Austin Pendleton you’ll see [me sailing in antarctica] Associate Music Director Created and performed by Sarah Original Lighting Designer Bruno Poet Set Designer Kevin Depinet Butcher, Cat Harrison, John Hunter, Paul Kenah Costume Designer Susan Kulkarni Fran Miller and Alex Turner Associate Video Designer Tim Blazdell Lighting Designer Mark Henderson Additional performer Emily McDonald Motion Graphics Designer Jeannette Nelson Music Anthony Capel and Matthew Scott Sound Designer Helen Atkinson Dialect Coach (from Cottesloe, Sean Gleason Olivier 1 August Sound Designer John Leonard Lighting Designer 14 April 2011) Choreographer Arthur Pita Composition James Bulley Sponsored by Travelex Company Voice Work Jeannette Nelson Co-composition Sami El-Enany

16 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 17 National Theatre Productions 2010–11 continued

THE CURIOUS INCIDENT OF Movement Director Aline David HYMN PORT Wales Millennium Centre, Cardiff Fight Director Kate Waters THE DOG IN THE NIGHT-TIME a memoir of music in childhood by Simon Stephens Fight Director Kate Waters Theatre Royal, Nottingham Company Voice Work Jeannette Nelson based on the novel by Mark Haddon words by Alan Bennett Director Marianne Elliott adapted by Simon Stephens Music Director David Shrubsole music by George Fenton Lyric Theatre, Hong Kong Arts Festival Casting Alastair Coomer Designer Lizzie Clachan Apollo Theatre 12 March 2013 Director Marianne Elliott Company Voice Work Jeannette Nelson Director Nadia Fall Her Majesty’s Theatre, Adelaide Festival Lighting Designer Neil Austin Designer Dialect Coach Penny Dyer Designer Bob Crowley Aotea Centre, Auckland Arts Festival Olivier 10 October Movement Director Scott Graham Sydney Theatre (running until 11 May 2013) UNTOLD STORIES Lighting Designer Lighting Designer Tom Snell Sponsored by Travelex Fight Director Kate Waters (also Arts Centre, Melbourne Hymn & Cocktail Sticks Movement Directors Scott Graham and Sound Designer Mike Walker 17 May – 29 June 2013) Two recollections by Alan Bennett Sound Designer Ian Dickinson for Frantic Assembly Producer Pádraig Cusack Hymn PEOPLE Lyttelton 16 December Associate Lighting Designer Rob Halliday with music by George Fenton Video Designer a new play by Alan Bennett WAR HORSE Kate Godfrey Music Adrian Sutton Company Voice Work Director Nadia Fall Director Nicholas Hytner USA, 14 June 2012 – 2 April 2013 Dialect Coach Richard Ryder Sound Designer Ian Dickinson COCKTAIL STICKS Boise, Los Angeles, San Francisco, Dallas, Designer Bob Crowley Designer Bob Crowley by Alan Bennett Lyttelton 28 January Kate Waters Atlanta, Durham, Boston, Washington Tom Snell Fight Director James Farncombe Lighting Designer Lighting Designer Nicholas Hytner Company Voice Work Jeannette Nelson Director DC, Pittsburgh, Philadelphia, East Lansing, Sound Designer Mike Walker Sound Designer Rich Walsh Cottesloe 2 August 2012 Designer Bob Crowley THE CAPTAIN OF KÖPENICK Des Moines, Chicago, Denver, Costa Mesa, by Carl Zuckmayer Voice Richard Ryder Supported by the NT’s Cottesloe Partner Movement Director Jonathan Watkins Tempe, Seattle, Portland, Spokane, St Louis, Lighting Designer Tom Snell in a new English version by Ron Hutchinson Drew Mulligan Neptune Investment Management Jon Driscoll Cincinatti (tour continues in 2013-14.) Resident Director Short film by George Fenton Music Director Adrian Noble Cocktail Sticks Company Voice Work Kate Godfrey Australia, 31 December 2012 – 2 April 2013 Sound Designer John Leonard Director Nicholas Hytner THIS HOUSE Lyttelton 7 November Designer Arts Centre, Melbourne; Lyric Theatre, Richard Ryder a new play by James Graham Sponsored by Accenture Company Voice Work Lighting Designer Neil Austin Sydney (also Brisbane in July 2013). Designer Bob Crowley Lyttelton 16 December Director Jeremy Herrin Music Steven Edis Lighting Designer Tom Snell Designer Rae Smith Co-production with Headlong Movement Director Sue Lefton Sound Designer John Leonard A 1927 production National Theatre Productions Lighting Designer Paule Constable THE EFFECT Fight Director Malcolm Ranson Music George Fenton a new play by Lucy Prebble THE ANIMALS AND CHILDREN in the West End Music Stephen Warbeck Mic Pool Voice Richard Ryder TOOK TO THE STREETS Sound Designer A Scamp Theatre production in association Scott Ambler Director Rupert Goold Drew Mulligan Choreographer Writer and Director Suzanne Andrade Associate Lighting Designer Rob Halliday with Poonamallee Productions Resident Director Designer 2 April 2013 Sound Designer Ian Dickinson Film & Animation Paul Barritt Company Voice Work Jeannette By arrangement with the Lighting Designer Jon Clark Theatre Royal, Haymarket Company Voice Work Zabarjad Salam Costume Esme Appleton & Sarah Munro Nelson and Richard Ryder Music Sarah Angliss Olivier 5 February ’s Dialect Coach Penny Dyer Music Lillian Henley Cottesloe 25 September 2012 Projection Designer Jon Driscoll Supported by American Express PRIVATE PEACEFUL Animation Assistant Derek Andrade Directed and adapted by Simon Reade Olivier 28 February 2013 Sound Designer Christopher Shutt Supported by the NT’s Cottesloe Partner Producer Jo Crowley Designer Bill Talbot Neptune Investment Management Movement Director Aletta Collins Lyttelton 12 December National Theatre Touring Lighting Designer Wayne Dowdeswell Fight Director Kate Waters (previously at the Cottesloe Productions in December 2011) Sound Designer Jason Barnes SCENES FROM AN EXECUTION Company Voice Work Jeannette Nelson TRAVELLING LIGHT Supported by the NT’s Cottesloe Partner Associate Director Mark Leipacher by Howard Barker Cottesloe 13 November Neptune Investment Management 3 – 7 April 2012 Supported by the NT’s Cottesloe Partner Theatre Royal, Newcastle Theatre Royal, Haymarket Director Tom Cairns Neptune Investment Management 18 – 29 September 2012 (previously The Lowry, Salford, Grand Theatre, Designer Hildegard Bechtler HANSEL AND GRETEL written by Lucy Kirkwood Leeds & Waterside Theatre, Aylesbury, Lighting Designer Peter Mumford THE MAGISTRATE devised by Katie Mitchell and Lucy Kirkwood 13 March – 31 March 2012) THE CURIOUS INCIDENT OF Music & Sound Designers Ben & Max Ringham by Arthur Wing Pinero based on a story recorded THE DOG IN THE NIGHT-TIME Kate Godfrey Director Timothy Sheader by the Brothers Grimm based on the novel by Mark Haddon Company Voice Work ONE MAN, TWO GUVNORS adapted by Simon Stephens Lyttelton 4 October Designer Katrina Lindsay Designer Vicki Mortimer 25 October 2012 – 2 April 2013 Supported by American Express Director Marianne Elliott Lighting Designer James Farncombe Lighting Designer Jon Clark Curve, Leicester Designer Bunny Christie Lyrics Richard Stilgoe Music Paul Clark Theatre Royal, Newcastle DAMNED BY DESPAIR Lighting Designer Paule Constable Music Richard Sisson Movement Director Joseph Alford Theatre Royal, Glasgow by Tirso de Molina Movement Directors Scott Graham and Sound Designer Gareth Fry Grand Opera House, Belfast in a new version by Frank McGuinness Movement Director Liam Steel Steven Hoggett for Frantic Assembly Paul Arditti Puppet Conception and Creation Toby Olié Grand Theatre, Blackpool Director Bijan Sheibani Sound Designer Video Designer Finn Ross David Shrubsole Company Voice Work Kate Godfrey Theatre Royal, Norwich Set Designer Vocal Arranger Music Adrian Sutton Cottesloe 13 December Costume Designer Moritz Junge Company Voice Work Jeannette Nelson Grand Theatre, Leeds Supported by the NT’s Cottesloe Partner Sound Designer Ian Dickinson for Autograph Kate Godfrey Neptune Investment Management Venue Cymru, Llandudno Lighting Designer Jon Clark Dialect Coach Associate Director Nadia Fall Olivier 21 November The Lowry, Salford Video Designer Finn Ross Resident Director Katy Rudd Music & Sound Designer Dan Jones

18 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 19 ‘Of all the triumphs War Horse Awards 2012–13 catalogues – of Allied forces in World War I; of a boy’s fierce devotion; of an animal’s fighting spirit – the most exhilarating is

one of engineering.’ 2012 New York Outer Critics’ 2012 Evening Standard Peter Marks, Washington Post Circle Awards Theatre Awards Outstanding New Broadway Play Best Director One Man, Two Guvnors Nicholas Hytner for Timon of Athens Outstanding Director of a Play Best Actor Nicholas Hytner for One Man, Two Guvnors Simon Russell Beale for Collaborators Outstanding Actor in a Play Best Design James Corden for One Man, Two Guvnors Soutra Gilmour for Antigone (and Inadmissible Evidence at the ) 2012 Toronto Theatre The Lebedev Special Award Critics Awards Nicholas Hytner for his dynamic directorship of the National Theatre Best Design The creative team ofWar Horse 2012 Critics’ Circle Theatre Awards 2012 New York Drama Desk Awards Best Shakespearean Performance Simon Russell Beale for Timon of Athens Outstanding Actor in a Play Best New Play James Corden for One Man, Two Guvnors The Effect by Lucy Prebble Outstanding Featured Actor in a Play Tom Edden for One Man, Two Guvnors Outstanding Music in a Play 2013 Association for Cultural Grant Olding for One Man, Two Guvnors Enterprises Awards Best New Range 2012 New York The NT’sWar Horse merchandise Best Overall Product Best Performance by a Leading Actor TheWar Horse goose puppet in a Play James Corden for One Man, Two Guvnors 2013 South Bank Award for Theatre 2012 Toronto Dora Awards The Curious Incident of the Dog in the Night-Time Outstanding Costume Design Rae Smith, Adrian Kohler with Basil Jones for Handspring Puppet Company for War Horse 2012 Los Angeles Drama Critics Outstanding Choreography Circle Awards for War Horse Best Production Audience Choice Award War Horse (US tour at the Ahmanson Theatre, War Horse jointly with The Book of Mormon, Justin Love and Cyrano) 2012 Los Angeles Stage Alliance Best Lighting Design Ovation Awards Paule Constable and Karen Spahn for War Horse Best Presented Production War Horse at Center Theatre Group: Ahmanson Theatre

20 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 21 Audiences 866,099 people saw an NT touring production Just as the meaning of the word ‘theatre’ has evolved radically over movement and interaction are expected, with quiet spaces to relax for those who need to leave the past 50 years with the constant development of new forms and and re-enter the auditorium during the show. approaches to theatre-making, the term ‘audience’ is similarly With the aim of enabling more effective challenged. The millions who engage with the National Theatre go communication with the National’s audiences, 558,291 far beyond those sitting in our auditoriums on the South Bank, or our insight programme has been significantly people saw One Man, Two even on tour. Digital and Learning programmes are central to our expanded. Over 25,000 surveys were completed Guvnors on tour, in London, by our audiences, and seven in-depth qualitative New York and via NT Live existence: core, vital means of sharing our work with a broader and research sessions were used to understand more more diverse community, and deepening engagement. In 2012-13 about existing and potential visitors. This has particularly informed the marketing and press the National’s paying audience reached 3.6million globally. strategy for The Shed, the temporary venue open from April 2013: tickets are being released Audience Development later than normal, and greater emphasis placed 88,000 on digital and social media engagement. Travelex £12 Tickets sold In 2012, Travelex marked their tenth year of sponsoring the transformative £12 Tickets Audience Experience 28% scheme. Over 1.3million £12 (originally £10) at the National Tickets have been sold since 2003 (88,000 of South Bank audiences were Commercial Operations is run by and in 2012), and 2.1million people in total have for the National Theatre and comprises first-time bookers attended the Seasons. Travelex Tickets continue Catering, Hospitality Events, Retail, House to attract first-time ticket-buyers: 21% in 2012. Management, Tours and Information, Stage Entry Pass, our popular free discount ticket Door and Housekeeping. Its focus is to deliver an scheme for 16-25-year-olds, continues to attract exceptional audience experience to help support new members and now numbers over 42,000. the NT’s commitment to reaching and retaining 36% Further engagement with the scheme was more audience members; and to generate revenue of South Bank bookers were encouraged through 13 workshops and events, to support the ongoing work of the NT. on subjects ranging from directing Shakespeare NT Future will bring a redesign of the NT’s foyer from outside London to the evolution of new writing from rehearsal spaces and facilities. In June 2012 a forum was to first night, and a four-day introductory course devised in which members of the public could to theatre production. Half-price tickets for experience a taste of the proposed changes, seeing under-18s are available for all productions outside objects from the archive and costumes up close the Travelex season, in 2012-13 representing a and ‘test-driving’ a prototype digital installation. discount of £1.8m against average ticket price. In addition, a substantial phase of on-site 90% 102,000 under-18s and people in college groups surveying was carried out and a foyer signage trial capacity houses on the attended NT performances in London. South Bank took place. Digitally, a relatively new method of Over 21,000 concessionary tickets were sold to research, remote usability testing, was used to disabled people and their companions for NT gain feedback on website designs. Focus groups productions in London; in the capital and on also informed the re-design of the repertoire tour we provided 54 captioned performances, leaflet, ensuring its new layout was equally helpful 54 audio-described performances and two sign to members and to less regular audiences. language interpreted performances. The year The NT Bookshop, whose range has significantly 97% also saw the introduction of two pilot ‘relaxed expanded in recent years to include exclusively capacity houses for War Horse at performances’ for The Curious Incident of the designed gifts and products, was recognised New London Theatre Dog in the Night-Time and Hansel and Gretel. in two categories of the 2013 Association for Specifically designed to welcome people with an Cultural Enterprises Awards: Autistic Spectrum Condition, learning disability Best New Range: or sensory and communication disorders into ‘You don’t put yourself The NT’sWar Horse merchandise the theatre, relaxed performances give those who Best Overall Product: otherwise might feel excluded the chance to into what you write, TheWar Horse goose puppet 3.6m experience live performance. Lighting and special you find yourself there.’ paying audience worldwide effects are adapted and additional audience Alan Bennett

22 National Theatre Annual Report 2012–2013 NationalNational TheatreTheatre AnnualAnnual ReportReport 2011–20122012–2013 2323 WORLDWIDE 2012-2013

US

1 2 3 5 6 7 11 13 18 23 30 59 69 267 324 VENUES

MEXICO MALTA ROMANIA ESTONIA BELGUM GERMANY SOUTH AFRICA CZECH REPUBLIC SWEDEN IRELAND ITALY NEW ZEALAND AUSTRALIA FRANCE CANADA UK US

BAHAMAS GREECE LUXEMBOURG HUNGARY FINLAND

CYPRUS INDIA RUSSIA

BULGARIA POLAND CHINA

ONE MAN, ONE MAN, ONE MAN, ONE MAN, WAR HORSE TWO GUVNORS TWO GUVNORS TWO GUVNORS TWO GUVNORS NT ON TOUR WAR HORSE TRAVELLING LIGHT

24 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 25 Digital

National Theatre Live

The National Theatre Live programme of in the Night-Time, setting a new UK record cinema broadcasts goes from strength to audience of 42,000 (72,000 worldwide) – a strength and is now regularly available in record swiftly overtaken byThe Last of the 600 venues (more are added for selected Haussmans which figured at number 8 in the broadcasts) in 25 countries, with 260 week’s cinema box office chart and was seen screens in the UK. The worldwide by 43,000 in the UK alone. Timon of Athens audience for National Theatre Live since and The Magistrate were followed by Alan its launch has reached 1,275,000. Bennett’s People, which smashed all previous records: 65,000 saw it in UK cinemas, with In 2012-13, an ‘encore’ broadcast of Frankenstein a total worldwide audience of over 94,000. was followed by The Curious Incident of the Dog

National Theatre Live Audiences

600000

500000

400000

300000

200000

100000

0 2009-10 2010-11 2011-12 2012-13

UK Audience (’000) International Audience (’000) Total Audience (’000)

Note: 2010-11 featured two more broadcasts than 2011-12 or 2012-13 260 600 venues in the UK NT Live venues worldwide 1,275,000+ 25 worldwide audience for National Theatre countries Live since its launch

26 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 27 Digital

Digital Innovation and Broadcast

The National Theatre’s free The NT’s digital audience grew by 70% including iTunes, iTunes U (where a playwriting for secondary schools, along with a recording of over the year. 300 new items of free digital course received over 10,000 downloads in the full production. Horse Power, an interactive broadcast and digital media content – from videos and podcasts to articles one week), SoundCloud, YouTube, TES, map supporting War Horse, and exploring the content is constantly developing and education packs – were published, Promethean, London Grid for Learning and world-wide history of First World War cavalry to reflect and explore the creative with well over 30,000 downloads and Clipbank. A new relationship regiments, was launched in August 2012. streams every week: 1.5 million a year. with the Google Cultural Institute will Frankenstein: A Modern Myth, a film using work taking place in the building. launch with digital exhibitions in 2013. National Theatre podcasts were introduced the National Theatre production to look at Taking advantage of the a year ago and have a subscribed audience Digital resources continue to extend the NT’s the origins of Mary Shelley’s novel and the unparalleled opportunity for of over 10,000 listeners for audio from our offer to schools. The National’s profile on the enduring myth that it has created over time, access, reach and impact afforded archive as well as Platform events and other Times Educational Supplement website hosts premiered in October 2012 on Channel 4. programmes. Among the most popular items over 300 pieces of video and audio content as Filming also began for a two-part BBC TV by digital, we have forged new were Alan Bennett reading his introduction well as pdf education packs. In the last twelve ‘Arena’ documentary marking the NT’s 50th collaborations and partnerships to the playtext of People, and a 1984 recording months, this content has been streamed 30,000 anniversary in October 2013; telling the story with a variety of organisations, of reading his log of Death of a times on TES alone: an increase of 500% from of the National from Laurence Olivier’s Old Salesman in Beijing. Our audio collection of the previous year, highlighting our growing Vic company to the South Bank, it will include thereby significantly increasing King James Bible readings has been listened popularity on the channel. In December 2012 footage of historic performances, and goes the audiences for our online to 10,000 times since January 2012. we launched our digital collection on Polly behind the scenes of recent productions such as Findlay’s 2012 production of Antigone on the War Horse, Frankenstein and Nicholas Hytner’s platforms and strengthening The NT website was re-designed in summer National Theatre website, TES, iTunes U and 2013 production of Othello. Contributors 2012; an average audience of 5,000 users international awareness of YouTube. The collection was streamed and include , , Adrian a week watch video and listen to podcasts downloaded over 60,000 times in its first four Lester, , Ian McKellen, Lucy British theatre. through the NT site. We have also developed months and has recently been launched on Prebble, Alan Bennett and many more. and expanded to numerous other platforms Channel 4 Clipbank, a digital learning experience

30,000 Downloads and streams every week 60,000 Views and downloads of NT learning resources on Antigone

28 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 29 Learning

The National Theatre’s Learning programme opens up the NT’s repertoire, artistry, skills, and the building itself, enabling participants of all ages to discover new skills and experience the excitement of theatre .

11 July 2012 saw the first known performance Cupboard of Surprises, for audiences aged of a play in the 900-year history of Westminster 2-5, was created as part of our Early Years Hall, attended by the Speakers of both Houses of programme, which works with local community Parliament. The play wasRe-write by 17-year-old groups, young parents and grandparents to Tosin Omosebi, a student at Greenford High encourage creative play and learning. The School in Southwark and a participant in New production also toured to seven nurseries and Views, the National’s playwriting programme for children’s centres across inner London. 15-19 year-olds. Tosin’s teacher commented: Autumn saw the launch of a major new youth I feel that we have genuinely enriched [students’] programme with funding from the Paul Hamlyn lives – with New Views and with your feedback Foundation. The Young Studio is aimed at and support. That’s what we teachers go into the talented and committed young theatre-makers profession to do – to change people’s lives – and it’s aged 16-25, from a wide-range of disciplines, incredibly fulfilling when you think you may offering the support of NT and NT Studio actually have [that] positive impact. artists to enable participants to create their own work. Its first season explored approaches to The premiere ofRe-Write was one highlight of devised work; the second saw young people a year of development and growth, with many working with writers Rachel De-lahay and projects building towards the launch of the Bola Agbaje, with Simon Stephens among Clore Learning Centre as part of NT Future in a number of visiting artists. We have also 2014. These included the Pop-up Workshop, launched a programme of Youth Partnerships, which over the three months of the Inside Out working in London communities with young festival (see page 35) offered young people, people with little or no previous experience children and families the chance to take part of theatre: the first partnership is with the in aspects of theatre: from puppetry, stage Blackfriars Settlement. Through Entry Pass we combat and directing to set and costume design, continue to offer open-access workshops, events prop-making and scenic art. Schools visited for and courses for young people aged 16-25. Inside Out days exploring aspects of the NT’s work, and we ran three week-long, in-depth Connections is a national programme, projects with young people. Key to the success offering youth theatres and school drama of the Pop-up Workshop was the NT’s first groups the chance to stage one of 10 new large-scale volunteering programme, a pilot plays, commissioned by the NT, and take for the Clore Learning Centre: 48 volunteers part in festivals held at theatres across the supported the programme throughout the UK. Numbers participating grew this year: summer for a total of 200 shifts and 579 hours. in 2011-12, 173 youth theatre companies completed the project; in September 2012, I have volunteered everywhere from inner city 235 companies joined the programme. The education projects to high profile projects within National Theatre’s own Connections Festival in some of our national institutions. My experience at June 2012 invited ten companies from London, the National has been far and away the best. The Essex, Yorkshire, Northern Ireland, Bristol, National team have got it right in all aspects. Plymouth and Nottingham to perform in the (Volunteer, Pop-up Workshop) Cottesloe and Lyttelton Theatres. Connections Two new plays were also produced in the Pop-up. 2012-13 was launched in the autumn with Cesario by Bryony Lavery was commissioned an expanded Directors’ Weekend, offering for the World Shakespeare Festival (produced in-depth professional development for the by the RSC for London 2012) and performed teachers and youth theatre directors leading by a cast of young actors aged from 12 to 18. each company; we also expanded the number

30 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 31 Learning continued

of partner theatres, with Eden Court, Inverness, NT Learning programmes also run the Marlowe Theatre, Canterbury, Greenwich internationally alongside War Horse. In Australia, Theatre and the Lyric Theatre, Belfast, bringing a large-scale education programme was launched the number of Connections festivals across in Melbourne and continues in Sydney and the country to 23. This year’s Connections Brisbane. Loyal Creatures, a monologue 5,000 young people from plays, published in an anthology by Methuen exploring the themes of War Horse from an Drama, are written by Howard Brenton, Jim Australian perspective, was commissioned Cartwright, Lucinda Coxon, Ryan Craig, Stacey from Morris Gleitzman and performed as Gregg, Jonathan Harvey, , Jemma a core part of the programme. In Bendigo, Kennedy, Morna Pearson and Anya Reiss. Victoria, a 3-day residency explored the play with residents spanning different generations New Views is a national playwriting programme 220 and uncovered extraordinary and moving in schools. The project invites teachers to set up school and youth theatres local testimonies of the First World War. playwriting groups, supported by a weekend’s participated in Connections at: intensive training at the National, an online The National’s Primary school programme has course, and workshops in school by playwrights. this year focused on NT repertoire . 23 classes 45 schools joined this year, with additional from 13 primary schools, involving 644 children groups based at the NT and . and 46 teachers, took part in projects on Hansel Three hundred scripts were submitted, an and Gretel, exploring different aspects of theatre increase from last year’s 178; ten have been including song-writing, stage design, and 23 selected for rehearsed readings by members of creating their own short devised performances regional theatre partner festivals the NT acting company, and one play will be based on one of Grimm’s fairy tales. All also produced in The Shed and at Parliament. attended a performance in the Cottesloe Theatre. Children and teachers from two primary Schools programmes opening up NT repertoire, schools took part in a project on War Horse, Our community programme is supported make, see, explore and respond to theatre. We to revisit favourite shows or catch up on recent including in the West End, have also expanded exploring how the production might act as a by income from Theatreworks, the NT’s will continue to grow and develop our Learning ones missed. We have also enjoyed hosting this year. The Curious Incident of the Dog in the stimulus for creative learning and independent communications training programme for the offer, at the NT, in schools and communities some very excited fan-clubs from all over the Night-time and Port were the focus of a number reading; this will provide new resources for corporate and third sectors. We also collaborated across the UK, and digitally, throughout the next world: amongst his other accomplishments, of in-depth projects: Curious with groups schools attending the production in London. with the on a late evening year. We look forward with excitement to the is responsible for 53,000 including young people with Autistic Spectrum school and college students saw event linked to their Shakespeare: staging the new opportunities the Clore Learning Centre introducing hundreds of people to archives. conditions; and Port with students from four Adult and community programmes also continue world exhibition. Over 1,000 people watched will bring to people of all ages from 2014. NT performances in London girls’ schools in East London who created a to build partnerships across inner London. We Research projects this year focused on preparing stage combat demonstrations and performances short film telling their own stories of resilience. ran 18 Theatreworks Partnerships projects – resources to tell the story of the National Theatre of Lucinda Coxon’s The Eternal Not and The National Theatre Archive Students from five London schools worked building confidence, developing skills and through various publications, documentaries, Shakespeare Shorts, as well as participating The Archive serves as an important resource for with NT directors to explore and stage excerpts introducing aspects of theatre – with a wide catalogues and new digital resources to be in voice, acting, prop-making and design learning and public engagement and for theatre from the Black Plays Archive. Director Polly range of partners and participants, including released for the National’s 50th anniversary. workshops led by NT staff and company. practitioners, alongside its vital role in preserving Findlay opened the rehearsal room for Antigone looked after children, young people not in A cataloguer was appointed to prepare for public 1,140 a record of the National’s creative output and to groups of sixth-form students and teachers. employment, education or training, and older Throughout the year, developments in the access the Shakespeare Memorial National teachers and youth theatre administrative functions. During 2012-13 we people. Highlights of the year included a project NT’s Learning programme have taken place Theatre collection, which documents the directors trained We ran 107 workshops and Q&A sessions for welcomed over three thousand people to research with participants from Age UK Lambeth and against a growing concern for drama and movement to found the National. The NT’s schools exploring NT productions and skills and engage with our collection. Over recent Southwark creating a performance in response theatre in schools, as a consequence of reforms Black Plays Archive (blackplaysarchive.org. in acting, directing and design, involving 2,227 years for the Archive has diversified to People; and two projects with young people to the primary and secondary curriculum and uk) continues to grow as a national resource; students. The NT Revealed programme of from being a largely academic one, served by in partnership with Barnardo’s, exploring Port: to examinations. The NT is concerned that work with the Learning, Broadcast and Digital masterclasses for schools, exploring aspects of without sustained drama teaching, many young our partnerships with various universities and and Platforms departments has been key to performance, design and technical skills, crafts As a result of the project they want to continue to drama schools, to a much wider public. We are 6,159 people will not have the chance to take part in engaging a wide audience in the histories and careers in theatre, saw a further 12 events work together as a group to tell their stories in a safe people participated in the a school play, to have their imagination woken now working more closely with schools and have uncovered in the development of this resource. attended by 990 young people. Highlights of the and creative way, to highlight the emotional and Pop-Up workshop through drama, to see a live performance in a seen an enthusiastic take-up of our programme The papers of Kate Fleming, the National’s year’s programme included a conference inspired practical challenges of growing up in care but also theatre – let alone discover a skill in playwriting. of screenings and introductory research sessions first voice coach, were gifted to the National by Katie Mitchell’s Five Truths installation. On the humour and the amazing ways that they The National’s role, now more than ever, is to at the Archive. The work of the NT’s Broadcast by her family and a catalogue completed. tour, a learning programme alongside One Man, overcome obstacles and challenges along the way to promote and support drama provision for young and Digital team ensures that very high quality Two Guvnors involved schools in Blackpool, dispel some of the myths about kids in care... Volunteers continue to play a valued role in our people across the UK, to argue for its value, and recordings of our productions and Platforms are Leeds, Norwich, Salford and Nottingham, and (Manager, Barnardo’s South London) work and we extend our thanks to them. The NT to offer wide opportunities for young people to available to everyone at the Archive and we are 3,000 youth groups in Belfast, Cardiff and Llandudno. increasingly welcoming the NT-going public Archive is open to everyone by appointment. visitors to the NT Archive

32 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 33 Public Engagement

The National Theatre believes that theatre is for everyone, and that it does not begin and end with the rise and fall of the curtain; therefore we aim to make our work accessible to as wide an audience as possible, deepening engagement and positioning the building as a popular destination.

National Theatre Inside Out foyer with counterparts in Paris, Istanbul and Festival and London 2012 Brussels through a 3D virtual environment. The summer of 2012 – from the Queen’s The fifteenth edition of Watch This Space in Diamond Jubilee to the end of the Paralympics Theatre Square was the liveliest ever, with 367 – was an extraordinary one. The National performances by 134 companies and bands Theatre wholeheartedly entered the spirit of over 15 weeks. Featuring some of the most London’s celebratory activities by turning itself skilled outdoor artists working in the UK and inside out, with a packed festival programme internationally, including NoFit State Circus, designed to bring a flavour of what normally Metro-boulot-dodo, Circa, Leandre, The goes on inside the building – in the theatres Dirty Brothers, Cirque Bijou and The Burnt themselves and backstage – onto the riverside Out Punks, with new commissions or terraces and squares. 238,000 people (of whom co-commissions from Square Peg Contemporary 63% weren’t seeing a play and 42% hadn’t Circus, Bash Street Theatre, Upswing and visited the National in the previous two years) The Gandinis among others, the programme took part. 70% were under 45 years old. also included deaf and disabled artists such as Some of Inside Out’s highlights (and three NT StopGAP Dance Company, Francesca Martinez, productions: Timon of Athens, The Last of Shannon and Kuljit Bhambra. WTS hosted Haussmans and The Curious Incident of the Dog a section of one of the big Olympic “surprises”, in the Night-Time) were part of the London Elizabeth Streb’s One Extraordinary Day; 2012 Festival, a 12-week nationwide celebration WildWorks’ Ark-ive created a giant Noah’s which brought together leading artists from Ark exploring man’s complex relationship across the world with the very best from the UK. with the animal world; and The Fire Garden by The World Famous set the building aflame On Sunday 3 June, as Her Majesty Queen for the arrival of the Olympic Torch. Elizabeth II sailed down the Thames in the from the first early workshops to , seating from , and filled with seven Platforms, several featuring key political Diamond Jubilee River Pageant, she received Throughout the summer a Pop-up Workshop on through designs, costume, models, puppets authentic props, it opened from noon every figures from the 1970s and current MPs. a unique salute from the National Theatre, in Waterloo Terrace offered learning and family- and video. The Making of Timon, produced day serving street food and local English beer, Fiona Shaw scored a unique double by association with Handspring UK, culminating focused events and workshops, both paid and in association with the British Museum, gave spirits and wine, with music and DJs on Fridays appearing in two different Platforms on the in an appearance by Joey from War Horse free. Over 6,000 visitors of all ages were able to audiences an insight into Timon of Athens and and Saturdays until 2am. Attracting 160,000 same day (an afternoon In Conversation 238,000 on the Olivier flytower. Joey was the natural try their hand at puppetry and prop-making the world of the play in Jacobean London. customers, it was a commercial success entirely and an early evening poetry reading, before attended National Theatre choice to give the National’s Jubilee Salute; and learn about stage combat, costume design in the artistic and inclusive spirit of Inside Out. her “regular” evening performance of Scenes Inside Out The Queen visitedWar Horse in 2009 and Joey or the art of slapstick and commedia, led by On the first day of the Olympic Games, the from an Execution). Simon Russell Beale, has paid a private visit to Windsor Castle. members of the NT’s production staff and artists NT contributed to artist Martin Creed’s Support for National Theatre Inside Out Alan Bennett, Julie Walters and Private Eye including Frantic Assembly and Candoco Dance nationwide invitation to thousands was one element of a multi-year partnership Two new site-specific works were commissioned maintained their best-selling audience appeal; company. Performances included Cupboard of of bells at 8am with a Big Bell Breakfast, between American Express and the NT. from NT Studio affiliate companies: joined Ava Astaire McKenzie, Surprises, a play for very young children and welcoming the local community to toll the Made In China’s Get Stuff Break Free and daughter of the legendary dancer, to explore their grown-ups, and Bryony Lavery’s new play giant bell from ’s production Platforms non zero one’s you’ll see [me sailing in the legacy of the siblings Fred and Adele; and Cesario, inspired by the twins in Shakespeare’s of Frankenstein on the Baylis Terrace. Platforms offer audiences a deeper insight antarctica] were, for the first time, performed gave the Annual Jocelyn plays and performed by young people from into the work on stage and other aspects on rooftop locations at the National. A unique café-bar, Propstore, was created for Herbert Lecture on the role of the designer London schools and youth theatres. of cultural life. 167 guests took part in 60 147,000 the duration of the summer on the riverfront. in theatre from a playwright’s perspective. Me and My Shadow, an interactive digital attended Watch This Space Two free exhibitions offered a rare and revealing Designed in-house and crafted from National Platforms and eight In Conversation events, portal, connected participants in the NT attended by 19,000 people. James Graham’s look behind current productions. Staging War Theatre sets, including scenery fromThe Comedy offered a particularly rich vein for Horse told the full story of War Horse’s journey of Errors, trees from She Stoops to Conquer and This House

34 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 35 Public Engagement continued

Free Exhibitions and Concerts Katie Mitchell’s immersive multi-media Much of the summer of 2012 in the Lyttelton installation Five Truths, created for the V&A exhibition space was dedicated to Staging in association with the National Theatre and War Horse (covered earlier under Inside Out); featuring the actress , was exhibited this followed the Corbis-sponsored herald in the Olivier Stalls foyer in the autumn: it of the Festival summer, a selection of images explored how five of Europe’s most influential from their archive, linking Glastonbury, 20th-century theatre directors – Antonin Artaud, the Siennese Palio, and swan-upping. , , Jerzy Grotowski and Constantin Stanislavski – would each have A lifetime’s collection of photographs and directed the actress playing Ophelia in the fascinating artefacts amassed by the explorer famous mad scene from Shakespeare’s Hamlet. Robin Hanbury-Tenison was on display in the Olivier in the new year; after the exhibition Free music concerts enliven the foyers for closed, the collection was donated in toto to audiences pre-show and attract both casual . A second exhibition drawn and dedicated visitors. Some 500 musicians from the Corbis archive opened in March: gave 322 concerts last year, indoors and out, Lifework, Norman Parkinson’s Century of including gifted amateurs from the Catering, Style brought together all the classic images Tours and Information, Sound and Lighting from the great photographer’s career and departments. Music also played a large role in drew unprecedented press attention. Watch This Space with acts booked around themed weeks such as Dance and Children.

Backstage Tours Spectrum Conditions. And, when questions insights from Simon Russell Beale, Alan Almost 27,000 people joined a Backstage were invited on a tour in December, one young Bennett, Marianne Elliott, Mark Haddon, Frank Tour this year. Seeing the sets and props up man fell to his knee on the Olivier stage and McGuinness and Simon Stephens. The price for close highlighted the craftsmanship of the asked his partner to marry him. She said “yes”. programmes in the Olivier and Lyttelton was held for the eighth successive year at £3, with 12 National’s workshops, from Vicki Mortimer’s Publications free exhibitions minutely detailed house and garden for The some sold at only £1. NT programme contents Last of the Hausmanns to Bob Crowley’s Programmes and other publications add are also supplied to touring and transfer venues in opulent but decayed interiors for People. to the experience of seeing a play. Specially the UK and abroad, and illuminating background Cottesloe productions enabled visitors to step commissioned articles providing background packs on most productions are compiled and into the House of Commons or the waiting to the National’s repertoire this year included edited by Publications with NT Learning. room for a clinical trial, or perhaps to avoid suburban transformation in post-2008 America; 322 the gingerbread house of Hansel and Gretel. medical advances since Victorian times; free concerts mathematics as a ‘safe place’; the emergence of Costume tours showcased the cutting room, women artists; Robert Adam’s architecture; and dye shop and the intricate work of our Wigs, the plague of neuroscientism. Distinguished Hair and Make-up team. The subject matter of writers included Richard Cork, Giles Fraser, The Curious Incident of the Dog in the Night- Peter Holland, Michael Holroyd, Russell Jackson, Time increased interest from groups with Paul Morley, Steven Poole, Dominic Sandbrook learning disabilities and those with Autistic 27,000 and Marcus du Sautoy, alongside backstage people took a backstage tour

36 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 37 National Theatre Future

Over the last ten years, we have done all we can to make the National Theatre as open as possible. We have made tickets affordable with the Travelex seasons; we perform on Sundays; we broadcast our productions six times a year into cinemas throughout Britain and abroad. It is now time to turn our attention to making our building itself more open.

In essence, the National’s home presents three This confident initiative is testimony to the fact problems and one bottleneck. The building that fundraising for NT Future has progressed doesn’t take advantage of its river-side position extremely well over the past three years. In and seems fortress-like. There is no space for our the past twelve months, the Heritage Lottery education programmes. The building is ageing Foundation has pledged a grant of £2.5m. and parts are wearing out; we need to make it Another major gift has been received from the cheaper to run, and to earn more income. As for Rayne Foundation; as thanks for this donation, the bottle-neck, there isn’t room to accommodate as well as for the Rayne family’s longstanding the designers, writers, directors and crafts-people support of the NT, our new production building who create the productions that make the NT will be known as the Max Rayne Centre. Lord responsible for 35% of London’s total play-going. (Max) Rayne was the National Theatre’s longest- serving Chairman, overseeing the company We have called this scheme NT Future for 18 years from 1971 – 1988, including its because – as we come up to our 50th move from the Old Vic to the South Bank. birthday – we’d like future playgoers to get as much out of the National as those We are also enormously grateful to US-based who have enjoyed the first 50 years. Bruce and Suzie Kovner, who – seeing how effective the Kovner Foundation ‘challenge grant’ has proved in inspiring and attracting matched funding from American supporters – have increased it by a further $1 million, taking Lisa Burger, Chief Operating Officer their potential grant to $5m. We continue to National Theatre, which will accommodate a The second phase of construction and renewal, seek donations, large and small, in the US. paint studio, design studios and production primarily focused on upgrading and enhancing offices, and in spring 2013 its steel frame the front of house public facilities, including the There are now 54 members of the Chairman’s is starting to rise. New prop-making and creation of the new Sackler Entrance Pavilion and Circle (gifts of £100,000 or more). Most set assembly areas are nearing completion; a riverside bar and café, will take place in 2014. Construction work for NT Future has now of these individuals and foundations were work has begun to create new carpentry, begun in earnest, with the National remaining involved in supporting the NT in some way Regular updates and photos of construction metalwork and resources workshops. open and as busy as ever throughout. before this campaign, albeit at a more modest work are posted on the website at At June 2013, the funds pledged for NT Future level. The commitment inspired by this The Cottesloe’s transformation into the Dorfman nationaltheatre.org.uk/ntfuture. stand at over £68.4m. With this achievement project is staggering and we would not have Theatre (to open in spring 2014), alongside the in mind, we have taken the decision to raise the achieved so much without their foresight. Clore Learning Centre, is also in train. Having been handed over to our building contractors target for the campaign to £80m. This increased In January 2013 we launched an appeal to for stripping out in February, seats and technical ambition will allow us to absorb the higher our audiences, many of whom have already equipment removed from the auditorium were construction costs experienced in the first phases responded generously, with contributions so installed in The Shed, a temporary theatre of the work; and to take advantage of this once- far of £900,000 including gift aid. Over 2,000 providing a third stage for the company during in-a-generation opportunity to broaden the people have sent gifts from £5 to £10,000, with the Cottesloe’s redevelopment. Designed scope of the campaign: increasing and improving £100 the most popular. A further 40,000 people by Haworth Tompkins, it opened in April the extent of the new landscaping around the have added a contribution to NT Future when in Theatre Square. Celebrating new theatre building, redeveloping the ageing dressing-room making ticket purchases online or by telephone. block, overhauling and updating IT systems, that is original, ambitious and unexpected, it The first phase of construction work is well and refurbishing the Olivier foyers and toilets. will present work by theatre-makers familiar underway. Foundations have been laid for the to the NT as well as emerging voices. Max Rayne Centre immediately behind the

38 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 39 NT Studio

The NT Studio is fundamental to our system of artistic development and support, broadening the work we present on our stages and allowing us to refresh and renew our repertoire. The Studio plays a vital role in promoting the health and renewal of theatre at large by providing an environment in which writers, actors and practitioners of all kinds can explore, experiment and devise work, free from the pressure of public performance.

A major focus for the Studio this year has been from Ireland. International companies who to generate work for the National’s repertoire, received a workshop included New York’s The and in particular The Shed, the temporary TEAM and Dublin’s Corn Exchange, both venue operating during the Cottesloe’s closure developing new devised work. Iceland’s Gisli for the NT Future redevelopment from April Örn Garðarsson collaborated with Ireland’s 2013. The production which will open The Enda Walsh to begin a research process for a Shed, Table, has largely been created through a new play revisiting ancient Icelandic sagas. workshop process at the Studio, led by director We continue to support and develop directors, Rufus Norris and writer Tanya Ronder. Other and the fourth Leverhulme Emerging Director major workshop projects developed in the Studio Award was presented to Justin Audibert. The £1.6m this year, and now set for Olivier, Lyttelton award culminated in his UK premiere production spent on research and and Shed productions over the forthcoming of Rajiv Joseph’s Gruesome Playground Injuries year, include the musicals Home and The Light development at our new partner The in Notting Princess, the children’s shows Emil and the Hill, for a sold-out run. The second Quercus Detectives and Elephantom, and revisited classics Award was repositioned to offer a year’s Associate Edward II and From Morning To Midnight. Director salary to a regional theatre. Charlotte Alongside NT repertoire work is a Gwinner was appointed jointly by the National commitment to support both emerging and Theatre and Liverpool Everyman and Playhouse, 21 established UK artists. 89 workshops took and will join the latter in 2013-14, culminating play readings place from independent theatre-makers of in a main-stage production. Joining existing all kinds, who came together to develop affiliate companies Made in China and non zero new ideas and relationships. Artists whom one, the Studio appointed the newly formed the Studio supported this year included Yard Theatre in Hackney Wick as an affiliate. Filter, developing the company’s 10-year Our support has ranged from development of anniversary show The Western; Olivier Award- Artistic Director Jay Miller’s own productions 59 nominated deviser Caroline Horton; and through to mentoring on areas including attachments offered (22 writers, writer Tony Harrison, who workshopped technical, fundraising, and management 7 directors, 3 composers/sound his translation of Euripides’ Iphigenia. (further details overleaf under Leadership). artists, 4 producers, and 23 other In addition to organising workshops and readings, the Studio was host to 59 different theatre-makers) artists on attachment: writers, directors, composers and devisers. This year, we were joined by multi-instrumentalist Ray Lee, deviser Tania El Khoury, performer/designer Mamoru Iriguchi, and writer Katherine Chandler amongst others. Ryan Craig was our Writer-in-Residence, working 66 on several projects including an NT commission. development workshops for We welcomed a number of international artists projects outside the to the Studio this year, including writers Nikole NT repertoire Beckwith from the USA and Carmel Winters

40 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 41 Leadership

As a national company, the NT the regional theatre network and examine the Building on our previous relationship with house space. A fire risk assessment and exit review meetings of the South Bank Employers’ Group, February 2013 saw the graduation of the fifth threat to their achievements should funding Punchdrunk, the National is currently co- were carried out for the newly re-opened Bush South Bank Partnership, South Bank Forum, cohort of participants from the Step Change takes responsibility for fostering be further reduced. The conference brought producing their new London show The Drowned Theatre. The Lyric Hammersmith, , South Bank and Bankside Cultural Quarter, programme, led and funded by the National the health and renewal of the together 23 directors from Liverpool, Leeds, Man: A Hollywood Fable, opening in June 2013, Polka Theatre, Royal Court, Royal & Derngate, South Bank Business Watch, and the Waterloo with the , and with in-kind wider British theatre community Nottingham, York, , Manchester, also offering box office and marketing support. Northampton and the Royal Academy have Quarter Business Improvement District. support from BAC, Nitro and the Young Vic. Leicester, Salisbury, Oldham, Scarborough, joined the Arts Basket, a collective arrangement Launched with a pilot in 2006-07 for an original The NT Studio has offered space and support The National last year forged a new partnership by sharing our expertise and Newcastle, Watford, , Plymouth, launched by the NT in 2012 with the Royal commitment of five years, the programme has to its new affiliate company, The Yard Theatre in with the Industry and Parliament Trust, Bolton, Newcastle-under-Lyme, Colchester, Albert Hall and Royal Opera House, which been very successful in meeting its stated aims resources with emerging talent, Hackney Wick. NT lighting equipment has been hosting Fellowship visits from two Members , Ipswich and Bristol, and attracted allows arts venues to combine forces in order of offering early to mid-career professional freelance artists and other theatre loaned; business management advice has been of Parliament with particular interests in substantial national media coverage. to procure the most cost-effective and clean development for talented individuals in need given by NT departments including Finance and costume-making and Learning respectively; and, companies and providing energy. The Leverhulme Award production of additional experience in order to make The NT provides administrative and marketing Commercial Operations; and Nicholas Hytner in May, a rare group outing for parliamentary of Gruesome Playground Injuries at The Gate a change in direction or area of work; to appropriate levels of support support to other theatre companies by selling and Kate Horton have respectively offered advice whips of all parties to see This House. Theatre was cast by the NT; and a member of encourage a greater diversity in the workforce across artistic and administrative tickets via the NT Box Office and promoting on artistic direction and Board development. the Sound department provided consultancy of arts organisations; and to build relationships them in NT marketing materials where Developing People areas of theatre-making. NT Touring supported Iron Shoes’ production to the Old Vic on problems with their assisted between larger and smaller companies. appropriate. In 2012-13, 42,000 tickets were We strive to attract a diverse and talented staff, of Mad About the Boy by Gbolahan Obisesan, listening system. We continue to provide 81 people have participated since the outset, sold for Shunt’s The Architects at the Biscuit developing them to their fullest potential, originally developed at the NT Studio, for a HR advice: regularly to the Young Vic, but over 50% of whom are now in a role which they Factory in Bermondsey; Gatz (part of the and fostering an environment for ideas and Sharing our Resources 44-performance tour to Oxford, Manchester, also to several others on an ad hoc basis. consider themselves unlikely to have achieved LIFT Festival) in the West End; Handspring innovation – both for the benefit of the NT, Sheffield, Whitehaven, Malton, Bristol and without the experience gained on Step Change. This year we have again looked for ways to UK’s production of Crow at Greenwich The National’s Head of Voice runs a professional London, between May and September 2012. and for the creation of a generation who can help sustain theatre-making in difficult times. International Festival; Matthew Bourne’s Play mentoring programme, aiming to support voice take on what they learn to the benefit of theatre The NT is committed to continuing the work In November, Danny Boyle (in his first media Without Words at Sadler’s Wells; Paines Plough’s The Yard, The and Punchdrunk teachers in Drama Schools from the perspective at large. Building a workforce that is talented, of Step Change, but going forward we will appearance since directing the Olympic Opening Roundabout season at Shoreditch Town Hall; have benefited from advice on bar design and of professional theatre practice. Workshops committed, enthusiastic and sufficiently resilient endeavour to develop a new format with regional Ceremony) and Nicholas Hytner hosted a press and dreamthinkspeak’s In the Beginning was operation from the NT Commercial Operations were run in the Lyttelton Theatre for Infinity and agile to meet the various challenges is the partners, to re-launch in autumn 2014. This briefing for artistic and executive directors from the End at Somerset House. 65,000 tickets and Catering team, who also wrote a business Drama School, which offers part-time actor core of HR activity across the next few years. reflects the welcome increase in numbers of around the UK to highlight the strengths of were sold for co-productions at the NT with case for Arts Centre’s successful training with a particular focus on ethnic applicants from outside London over the last Having successfully piloted two paid companies including Fuel, 1927 and Headlong. fundraising application to develop their front of minority students; and with The National two years. It is hoped that more secondments apprenticeships in Technical theatre last year, Youth Theatre Repertory Company. Voice will be hosted outside the capital by new partners the National has expanded the programme; we teachers are annually invited to bring students and other regional organisations, creating a now have two apprentices in Sound and one from the major drama schools onto the Olivier truly national programme that will develop in Health and Safety. In 2013 we will recruit stage, to experience the demands that this talented individuals across the entire country. a further apprentice in Prop-Making and unique theatre puts upon the actor’s voice. another in IT, in both cases working with local National Theatre Foundation Members of the Development department community organisations to build a diverse The National Theatre Foundation is an provide informal fundraising support and pool of applicants. We are also committed independent charity, whose primary purpose is advice to a range of organisations, and to recruiting two apprentices in Concrete to make benevolent welfare grants to support in 2013 will continue their work with Conservation (supported by the National the National Theatre and individuals closely Northern Stage. Members of the NT Lottery through the Heritage Lottery Fund associated with it. In order to help support the Executive and Senior Management continue as part of the NT Future programme), and an health of the UK theatre at large (nourishing to serve on a wide range of theatre boards apprentice in Events Management. Each of and sustaining theatre crafts, emergent theatre and as formal and informal mentors. these cases furthers the NT’s aim to to address artists and managers as well as encouraging areas of under-representation in our workforce, innovation), it is currently developing a long- Building external relationships particularly women in technical theatre and term strategy to assist the profession with As part of the community in Lambeth, the attracting applicants from ethnic minority financial support, bursaries, training schemes, National collaborated with our main NT backgrounds; and to identify credible partners awards and prizes: in short, to support Future building contractor, Lend Lease, on within the community and education sectors to theatre education in the widest possible sense. a project to refurbish two large rooms in help put the programme on a sustained footing. Accordingly, fund-raising is a major priority, the local community hub, Waterloo Action A number of internal placements have assisted in particular the targeting of legacies. The first Centre; and offered architectural advice progress from customer service to backstage roles. step is to ensure that the existence and purposes (via Haworth Tompkins) on the lay-out of Since 2010, nine staff have been placed on the of the Foundation become better known. a café at Archbishop’s Park. The Director V&A’s innovative leadership and management of External Relationships and Partnerships programme, whose aim is to develop future chaired the Visitor Management Group of leaders in the arts and heritage sector. local companies, and participated in board

42 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 43 Sustainability

The NT keeps a constant eye The NT Future redevelopment will bring a larger £17.5m grant), as well as £7.1m for revenue The National maintains a balance between self- Set out below is a summary statement of income and expenditure. It combines the National’s building footprint and an increased volume of activity from individual giving, corporate generated income – box office, fundraising, unrestricted income and expenditure with short-term project expenditure funded by earmarked exploitation of National Theatre productions and on sustainability and efficiency, activity. However, we will more than offset the sponsorships and commercial promotion. donations (restricted funds) and the element of the regular ACE grant which has been restricted catering and front of house trading – and public to capital expenditure (£1.4m). It excludes NT Future income and expenditure which is treated costs by investing in energy-saving measures, subsidy from Arts Council (ACE). streamlining operations, Our current levels of activity are dependent on as a long term project, as well as movements in any other long term restricted funds. increasing self-generated revenue, improving processes and practices to the funding received from the Arts Council operations and finding efficiencies and savings. achieve the best and fairest (£17.5m in 2012-13, representing 20% 2013 2012 Income £m £m Financial Sustainability of income). The NT saw its Arts Council use of our resources, of both funding cut in the year by 4.4% (£0.8m) but 20% Box office at NT 22.5 26% 20.0 25% The National had another very strong financial 26% and people. was able to use its income from commercial UK Commercial Productions 25.1 29% 22.2 28% year, with significant box office income at its productions to offset this reduction; finance International Commercial Productions 3.8 4% 2.6 3% theatres on the South Bank, and the continued the construction of The Shed, the temporary success of War Horse at the New London Theatre Trading and other income 11.9 14% 10.8 13% theatre open in 2013-14 whilst the Cottesloe 7% and at the Theatre Royal One Man, Two Guvnors Theatre is redeveloped; and runInside Out, the Fundraising 6.3 7% 6.6 8% Haymarket. In addition, four international extended 2012 summer festival programme. ACE grants 17.5 20% 18.3 23% productions of War Horse ran during 2012-13. After designations to the funds for 14% Total 87.1 100% 80.5 100% The Development department raised £10.5m capital and NT Future, the balance on for NT Future (including £1.9m from Arts unrestricted reserves is £2.6m. 29% Council England as the first tranche of their 4% Expenditure Production costs 36.0 43% 34.9 48%

Box Of ce at the NT UK Commercial Productions 23.6 28% 18.8 26% UK Commercial Productions International Commercial Productions 4.1 5% 1.7 2% International Commercial Productions NT Learning & Public Engagement 6.8 8% 5.5 7% Trading and other income Research 1.6 2% 1.7 2% Fundraising ACE grants Trading 9.4 11% 8.1 11% Fundraising 1.5 2% 1.5 2% Irrecoverable VAT 1.0 1% 1.1 2% Governance 0.2 0% 0.2 0% Total 84.2 100% 73.5 100%

Transfers Use of restricted project funds 0.1 (0.1) Designation of funds: Capital (2.7) (3.5) The Shed (1.7) 0.0 War Horse International 1.4 (1.4) NT Future 0.0 (1.7) Net surplus on unrestricted funds 0.0 0.3

44 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 45 Sustainability continued

Production expenditure at the National Theatre and on tour represented 43% of total expenditure for the year; a further 33% of expenditure was for UK and international commercial productions.

8% National Theatre paid attendances (thousands) 2008/09 2009/10 2010/11 2011/12 2012/13 8% 29% Olivier 402 364 355 353 342

Lyttelton 310 322 285 286 314

14% Cottesloe 105 98 104 108 103

War Horse 398 408 422 404

One Man Two Guvnors 208 278

Curious Incident of the Dog in the Night-Time 23 20% 21% Other 8 16 ‘I now realise that the Total 817 1,182 1,152 1,385 1,480 Stockport of Port…

Performance running is more a place of Actors and Musicians Attendance as % of capacity 93% 90% 90% 92% 90% Production build my imagination. Planning and direction Number of performances: 2008/09 2009/10 2010/11 2011/12 2012/13 Sometimes, coming Writers, Directors and Designers Touring Olivier 383 384 343 357 339 back to this play has Lyttelton 376 393 373 391 394 felt like sitting on the Cottesloe 347 355 373 368 325 back seat of the top War Horse 414 414 421 409 deck of the 192 bus One Man Two Guvnors 159 400

Curious Incident of the Dog in the Night-Time 31 with Marianne and

Other 50 61 Rachael, listening to Total 1,106 1,546 1,503 1,746 1,959 the Stone Roses and A full Financial Review and Financial Statements for 2012-13 is available and talking about Paul can be downloaded from www.nationaltheatre.org.uk/annualreport Scholes – of Manchester, heading home.’ Simon Stephens,

46 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 47 Sustainability continued

Environmental Sustainability

The NT recognises that as one 2013 by implementing a cooling strategy, utilising of four corner towers that draw air through the the absorption chiller and thermal storage. building. With architects Haworth Tompkins we of the world’s major production explored the possibility of designing a building The installation of 37 automated meter readers that could be fully re-used but decided the theatre companies, its activities (AMRs) was completed in February. By targeting extra construction cost, and transport costs for have significant environmental specific zones of the building, we can focus a moveable building, could not be justified. It on electrical energy consumption area by area impacts which it has a has therefore been constructed out of materials and, in some cases, even at departmental level. designed to be recyclable, such as plywood responsibility to minimise. By analysing this data we can look for trends and unpainted steel, and wherever possible The NT has been at the forefront and interrogate anomalies; our initial priority with components re-used from elsewhere: will be to reduce overnight consumption. of energy-saving practice and all the seating and most of the lighting have Electrical distribution equipment installed been re-used from the Cottesloe Theatre. aspires to lead by example in the as part of NT Future is fitted with AMRs as theatre sector. standard; these will feed into our existing data The NT adheres to a zero-to-landfill waste policy collection, Trend Energy Manager software, with a building-wide recycling programme allowing us to build up historical statistics and that aims to enlist all staff. In partnership with The Combined Heat and Power plant (CHP), simplify the analysis of large amounts of data. recycling company Paper Round, last year we whose installation was a significant element of the achieved a 60% recycling rate. 38,910kg of Low energy usage has been a guiding principle NT’s Environmental Master Plan, came online paper were recycled; 250,730 kg of CO2 and in the design for the NT’s temporary venue The in January 2013. By generating heat from waste 463 trees were saved. General waste is taken to Shed, which is connected to the Combined exhaust, an overall reduction of 6.7% in carbon a plant where energy from incinerated waste Heat and Power Plant. The building is also emissions has been achieved since the start of the is pumped back into the National Grid. naturally ventilated, which generated the shape project. Further savings will be made in summer

37 automated meter readers installed 39,960kg food waste composted

48 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 49 ‘The enduring power of ancient Greek tragedies Fundraising to speak to us so directly almost 2,500 years afer they were written is one of the great wonders of civilisation.’ Charles Spencer, Daily Telegraph

When a vital capital campaign is underway – in our case for NT Future – there is always a danger that revenue for annual income may decline. Thankfully, owing to the generosity of our supporters, this did not happen. The ambition that the National Theatre demonstrates, and the extensive range of activities it programmes, allow trusts to direct grants towards specific areas of our work; people passionate about theatre to be so generous in their philanthropy; and for companies to find mutually rewarding opportunities that help us to achieve our mission. This year, our gross annual income from fundraising reached £7.1m.

Individuals Centre and the National Portrait Gallery); Sidney E Frank Foundation, towards production We enjoyed substantial and continued support and Neptune, who extended their Cottesloe support and innovative digital work, respectively. partnership to include the Shed and the from individuals and, aside from a large legacy We would like to express our gratitude to Dorfman Theatre when it opens in early 2014. received last year, the figures show an increase the very many people and organisations that compared to previous years. The roll-out of In addition to these partnerships we also have helped us, by recognising them in the the NT Future campaign, far from causing the greatly benefited from increased activity following pages. Their support is invaluable predicted dip in income, seems to have helped from American Express, our preferred card and we are immensely grateful for their support growth in memberships. Raising partner, who sponsored both our Diamond continuing commitment and for the many ways awareness that the NT relies on charitable Jubilee celebrations and our summer activity in which they enable and enrich our work. support for all that it sets out to achieve to coincide with the Olympics. American proved beneficial to annual revenue results. Express also agreed to sponsor War Horse The growth in membership was most apparent internationally, including Australia and Europe. at two levels. We continue to attract Priority We also developed our relationship with members (£65 p.a.) at the rate of around 1,000 American Airlines, the official airline of the new members a year; collectively they now NT, who are now also the flight partner number over 11,000 and contributed over £0.8m for One Man, Two Guvnors and War Horse, this year. The Individual Giving Committee’s and initiated a new relationship with leadership in hosting events to encourage new Hugo Boss who became the contemporary Patrons is working well and last year we saw 69 clothing partner for the National Theatre. new supporters at this level giving from £1,250 p.a. Our highest level of membership, the Olivier Trusts Circle (£10,000 p.a.) is now 90 individuals/ Over £400,000 came from Trusts and couples strong and many of these have gone on to Foundations, who contributed towards a wide provide significant support to NT Future as well. range of projects. The Paul Hamlyn Foundation have given a generous grant to our pioneering Companies youth programme, Young Studio, and the The financial year 2012-13 saw a record year Leverhulme Trust continued their generous for corporate income with a gross revenue total support of emerging artists at the NT Studio. of £3.4m. This was driven in large part by the Our learning work on tour was once again number of high-value, multi-year partnerships supported by The Dorset Foundation, and our which include the Travelex £12 Tickets scheme work with primary schools was enabled thanks which this year celebrated its tenth season; to a number of trusts including The Ingram Accenture, our partners for innovation; Aviva, Trust and The Archie Sherman Charitable Trust. our global partner for NT Live; J.P. Morgan, who We were delighted to receive support from renewed the Signature Series for another year (in international foundations, including the Laura which we are a partner along with the Southbank Pels International Foundation for Theater and the

50 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 51 Supporters

NT Future Major Gifts Lawton W Fitt & James I McLaren Olivier Circle Mr Robert MacDonald throughout campaign Anna & Ralph Goldenberg Eric Abraham & Sigrid Rausing John Makinson to 1 June 2013 Kate & Arne Groes Celia & Edward Atkin CBE Selina & David Marks Linda & Tony Hill Penny & Bill Bardel Mr Ian & Mrs Beth Mill The Dorfman Foundation Madeleine Hodgkin Graham & Joanna Barker Mirisch & Lebenheim Charitable Sue Howes & Greg Dyke Alex Beard & Emma Vernetti Foundation American Associates of the Mr & Mrs Robert I MacDonald Tony & Gisela Bloom Malcolm & Elizabeth Offord National Theatre Ian & Beth Mill Simon & Sally Borrows The O’Grady Foundation The Monument Trust Mirisch & Lebenheim Charitable Neil & Sarah Brener Dalip & Chandrika Pathak The Garfield Weston Foundation Foundation James & Debby Brice Laura Pels The Clore Duffield Foundation Francesca Robinson Barbara Broccoli OBE Sara & Paul Phillips Heritage Lottery Fund Jay & Deanie Stein Mrs J A Brodie The David & Elaine Potter Bruce & Suzie Kovner The Harold & Mimi Steinberg Mr & Mrs L L Browning, Jr Foundation The Rayne Foundation Charitable Trust Mr John Burbank & Francesca Robinson The Royal National Theatre Hugh & Catherine Stevenson Ms Jordan Cook The Ruddock Foundation for Foundation Leila & Mickey Straus Russ & Linda Carr the Arts The Dr Mortimer and Monica G-S & Ali E Wambold Dominic & Nancy Casserley Sir Robin & Lady Saxby Theresa Sackler Foundation Steven & Bonnie Ward Terri & Timothy Childs Jon & NoraLee Sedmak Marcia B Whitaker Mrs Carol Sellars Clive & Sally Sherling The Cielinski Family George & Patricia White David & Sophie Shalit The Wolfson Foundation Sir Ronald & Lady Cohen and 1 anonymous donor Veronica Cohen Richard Sharp The Badenoch Turst Miss Dasha Shenkman Penny & Bill Bardel Christine Collins Christine Collins Michael & Melanie Sherwood Dominic & Nancy Casserley Lin & Ken Craig & the Aloisia The Foyle Foundation David & Alison Slade CHK Charities Ltd Hofmann Charitable Trust The Ingram Trust Peter & Esther Smedvig Tim & Caroline Clark The Cranshaw Corporation Mr George Soros Celia & Edward Atkin CBE Barbara G. Fleischman Polly Devlin OBE Susie & Stelio Stefanou Graham & Joanna Barker Stephanie & Carter McClelland Shawn M Donnelley & Jay & Deanie Stein Simon & Sally Borrows Michael & Melanie Sherwood Christopher M Kelly Leila & Mickey Straus The Deborah Loeb Brice and 1 anonymous donor Sarah & Lloyd Dorfman Max & Joy Ulfane Foundation Mr Greg Dyke & Ms Sue Howes The National Theatre is also Steven & Bonnie Ward The Dorset Foundation Glenn & Phyllida Earle grateful for the generous support Ian & Victoria Watson Glenn & Phyllida Earle Peter & Leanda Englander of members of the Royal National Marcia B Whitaker Lydia & Manfred Gorvy Jane M & Howard D Epstein Theatre Board and the Board George & Patricia White The Hintze Family Charitable Lawton W Fitt & James I McLaren of the American Associates Sir Robert & Lady Wilson Foundation Foundation of the National Theatre Ms Anna Wintour John Makinson Barry & Penny Francis Dr & Mrs Gerald Woolfson Susie & Stelio Stefanou Robin Geffen Individual Giving – Richard & Jacqueline Worswick Sir Siegmund Warburg’s Voluntary Richard & Kara Gnodde Annual Support April George & Moira Yip Settlement 2012 – March 2013 Lydia & Manfred Gorvy and 4 anonymous donors Jacqueline & Richard Worswick Chris & Angela Graham Major Gifts and 1 anonymous donor Kate Groes Life Benefactors Alta Advisors Clare Groom Alex Beard & Emma Vernetti Eric Abraham & Sigrid Rausing Keith & Helen Bolderson Susan Harbour Tony & Gisela Bloom Access Industries Sir Trevor & Lady Chinn Ms Frances Hellman & Russ & Linda Carr Irwin & Mary Ackerman Ian & Caroline Cormack Mr Warren Breslau Terri & Timothy Childs Jonathan & Marie-Claire Agnew Liz & Simon Dingemans Linda & Tony Hill Sir Trevor & Lady Chinn Basil Alkazzi Sir Harry & Lady Djanogly Madeleine Hodgkin Lin & Ken Craig & the Aloisia Jeffrey Archer Beth & Gary Glynn Clare & Bernard Horn Hofmann Charitable Trust Celia & Edward Atkin CBE Clive & Sally Sherling Mrs Luce Julien Mick & Barbara Davis Royce & Rotha Bell Edgar & Judith Wallner Mr & Mrs Jack Keenan Liz & Simon Dingemans Ron Beller & Jennifer Moses Guy & Charlotte Weston Bruce & Suzie Kovner Shawn M Donnelley & The Mark Krueger Charitable Fund Jody Locker Berger Christopher M Kelly

52 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 53 Supporters continued

Tony & Gisela Bloom CBE Elizabeth & Daniel Peltz Benefactors Mr & Mrs Michael Bienes Mr & Mrs T Krumland Ms Sherry Jacobson Mr & Mrs Francesco Boglione Keith & Helen Bolderson Mrs Catherine Graham Mark Pigott OBE Jack & Ian Archer-Watters Cathie Black & Tom Harvey Sarah Le May and 3 anonymous donors Mr & Mrs Charlie Bott Benjamin Bonas David R Graham The David & Elaine Potter Edward & Victoria Bonham Carter Mark & Sophie Lewisohn John & Jean Botts Peter & Ali Bennett-Jones Patrons Ms Katie Bradford Evelyn & David Green Foundation Tania & Keith Black Mark & Susan Bradley Mr James Libson & Mr Thomas Brezina Ivor Braka Ltd Gabrielle, Lady Greenbury Oliver & Helen Prenn Alison & David Blood Sir Peter & Lady Cazalet Ms Anne Joseph Graham & Pearl Aaronson Mr & Mrs R L Bristow Neil & Sarah Brener Jill Hackel & Andrzej Zarzycki Quercus Trust Mr Philip Bowman Alan & Betsy Cohn Jane E Livesey Brian Abbs Mrs Sarah Britton The Deborah Loeb Brice Katherine Hallgarten Sue & David Ramsbotham Mr Peter Brown Gill & Garf Collins Graham & Eileen Lockwood Dame Jennifer Abramsky Damon & Deborah Buffini Foundation Dr Martin Halusa Mr H K Rausing Lord Browne of Madingley Mr & Mrs Leigh Collins John & Celine Lowrey Acacia Charitable Trust John & Susan Burns Jonathan Brooks & Clare Laffin The Philip & Pauline Harris Stephen & Monica Richardson Sandra Carlisle & Angus Carlill Mr & Mrs Paul Collins Stephanie & Carter McClelland Act IV Mr Philip Buscombe Russ & Linda Carr Charitable Trust Sir Simon & Lady Robertson Martin & Michele Cohen Douglas S Cramer In memory of John McGinty Meg Addison & Helena Butler Camilla Cazalet Susan & Richard Hayden Ruth Robinson Guy & Lucy Davison Dr Neil Cross Ian & Carolyn MacKenzie Irwin Charles Ferry Keith & Pamela Butler-Wheelhouse Terri & Timothy Childs Morven & Michael Heller The Roddick Foundation Alyce Faye Eichelberger-Cleese Mr & Mrs Cullman Donald Main James & Esthy Adler Martin Byman & Margaret Samson Sir Trevor & Lady Chinn The Hintze Family Charitable Bianca & Stuart Roden Barbara G Fleischman Sir Howard Davies Lady Medina Marks Spindrift Al Swaidi Miss Sarah Caplin Janet M Christensen Foundation Michael Rose & Roz Rosenblatt Emily & Alex Fletcher Mrs Josephine Dean Brenda Meldrum Mr Harry Allan Ms Susan Carpenter Dr David Cohen CBE David Hobbs Jeffrey A & Marjorie G Rosen Mark Frewin John & Catherine Debs Joy Menschel Mr & Mrs Richard Allan Douglas & Joan Carter Sir Ronald & Lady Cohen Dr & Mrs Alan J Horan The Michael Harry Sacher Anna & Ralph Goldenberg Mr & Mrs R DeScherer Ms May Mosawi Joan & Robin Alvarez Jason & Belinda Chaffer Veronica Cohen Clare & Bernard Horn Charitable Trust Ramy & Smadar Goldstein Edmund & Fiona Dilger Philip Noel Helen & Bob Appel Richard Clark Ian & Caroline Cormack Nita Jackson Theresa Sackler Mrs Themy Hamilton Dr Elza Eapen & Luke & Kate Nunneley Mrs Catherine Armitage Tim & Caroline Clark Sidney & Elizabeth Corob Lord & Lady Jacobs Anya & John Sainsbury Sir Maurice & Lady Hatter Dr Govindasamy Balachandran Vincent O’Brien John Armitt Michael & Susan Clasper Lin & Ken Craig & The Aloisia Joseph & Jill Karaviotis The Hon Simon Sainsbury Mrs Caroline Hoare Abby Edwards Maria O’Donoghue Aspect Charitable Trust Adam Cleal Hofmann Charitable Trust Mr & Mrs Jack Keenan Yusuf & Fawzia Samad Christopher Kneale Mrs Maureen Elton Enid Oppenheim James Astor Mr Daniel Clifford Lord Dalmeny Mathilda & Terence Kennedy Jon & NoraLee Sedmak Margie Marwick Mrs Eliane Fattal Mark & Amanda Otway John Atanaskovic Mrs Denise Cohen David Day Charitable Trust Mrs Carol Sellars Sir Deryck & Lady Va Maughan Roger & Jane Formby Midge & Simon Palley Annette Atkins & Thomas Joyce Louise & Bonnie Cohen Jose & David Dent Gillian & Vimal Khosla Sir Patrick Sergeant Tim & Medforth The Edwin Fox Foundation Michael & Mary Parkinson Denise Augar Michael & Arlene Cohrs Sir Harry & Lady Djanogly Mark J & Elizabeth L Kogan Miss Dasha Shenkman Gabriela Mendoza Ian & Margaret Frost Mr David Pike Professor John & Carolyn Axford Mr John Coldman Edward Dolan-Abrahams Charitable Fund Mr & Mrs William Shenkman David & Sue Morley Andrew Galloway Anne & Barry Pinson John Ayton Geoffrey Collens Justin & Emma Dowley Bruce & Suzie Kovner Clive & Sally Sherling Andrew & Jane Onslow Jacqueline & Jonathan Gestetner Peggy & John Pirovino R Derek & Bonnie Bandeen Miss V I Comba James & Elizabeth Downing The Mark Krueger Charitable Fund Lois Sieff OBE Jeff & Liz Peek Piers & Melanie Gibson The Porter Foundation Mr & Mrs Lawrence Banks Andrew & Polly Congreve Dame Vivien Duffield DBE Jon & Mary Leadbetter Rita & Paul Skinner Oliver & Helen Prenn Bruce Golden & Michelle Mercer Gail, Robert & Ian Reichert John Barker Carole & Neville Conrad Robyn Durie Kenneth & Melissa Leet Jay & Deanie Stein Mr Gerald M Ronson & Lady Shauna Gosling Mrs Clare Rich Mr & Mrs John Barkshire Kay Ellen Consolver David Dutton Mr A Lenson Joan Steinberg Dame Gail Ronson Mr and Mrs Edward Greene Mr Robert Rooney Mr Keith Barnett Ricki & Robert Conway Glenn & Phyllida Earle Lady Lever Hugh & Catherine Stevenson Salomon Oppenheimer Mrs Kate Grimond Elihu & Susan Rose Ray Barrell & Ursula van Almsick Mrs Jennifer Coombs Ambassador & Mrs Edward Sir Stuart & Lady Lipton Leila & Mickey Straus Philanthropic Foundation Pamela, Lady Harlech John & Susan Rotenstreich Anne J Barsh Dorothy Cory-Wright E Elson Thomas Lynch Mr John J Studzinski CBE Mr & Mrs Paul Sonabend Mark Heappy & Anne Markland William & Julie Ryan Stephen Bartlett Ms Sophie Coumantaros Jane M & Howard D Epstein Edward McKinley & Mr Ian Taylor Joan Steinberg Helen Lee Henderson Betsy & Jack Ryan Ginny & Humphrey Battcock Ms Elizabeth Crosoer Mr Joey Esfandi Kathleen Lavidge Mr Eric Tomsett Leila & Mickey Straus The Lady Heseltine Dr Joseph Sassoon Mrs Gwendoline Baxter Sheila Cross John & Jill Fairchild Justin & Jill Manson Jan & Michael Topham Deryck L Thornley Mrs Caroline Hoare Phil Scaturro Sir Peter Bazalgette & Mr T A R Curran John & Tawna Farmer Selina & David Marks Jonathan Tyler Mrs Diana Venison Cathy MacNeil Hollinger & The Simon Family Foundation Hillary Newiss Deborah David & Mr & Mrs Stuart Fiertz Judy Marshall Mr & Mrs Max Ulfane Charlotte & Simon Warshaw Mark Hollinger Sir David & Lady Scholey Mrs Arlene Beare Norman A Kurland Maureen & Allan Fisher Patrick Mears The Ury Trust Maxine White Angela Howard & the late Patricia & David Smalley Mr Ernest G Beaumont Mr & Mrs Jonathan Davie Lawton W Fitt & James I McLaren Mirisch & Lebenheim Charitable Edgar & Judith Wallner Susan Wilen David Gestetner Helen & Anthony Spiro James & Caroline Beery Mr & Mrs Ian Hay Davison Foundation Foundation Monica G-S & Ali E Wambold and 3 anonymous donors Piers & Melanie Gibson Mike Staunton J & A Bénard Roger & Alison De Haan Emily & Alex Fletcher Carol Mitchell Ian & Victoria Watson Lady Shauna Gosling Oliver & Sally Stocken Mr Mark Benerofe The de Laszlo Foundation Clara & Michael Freeman Mr Miles Morland Jeffrey Weingarten Premier Patrons Chris & Carolyn Hughes Anne Sweetbaum Mr Michael Bennett Mrs Anne De Pinna Daniel & Joanna Friel Debbie Morris Guy & Charlotte Weston Liz & Peter Huhne Lady Juliet Tadgell Mrs Josephine Dean Mr Stephen Allcock Phil & Lisa Bennett Jacqueline & Michael Gee Mr & Mrs George Newell Mrs Mary Weston William & Weslie Janeway Hilary Till Conrad Dehn, QC Mr Jeremy Asher Norman Benzaquen Charitable Trust Mr & Mrs Jim Nicol Susan Wilen Alex Joffe Laura & Barry Townsley Martin & Marian Denny Attias Family Foundation The Bertie Black Foundation Jill & Jack Gerber Robert & Jane Norbury Rachel & Anthony Williams Ms Nicola J Kerr Melissa Ulfane Mrs Yvonne Destribats Sir John & Lady Baker Sam & Rosie Berwick Mrs Juliet Gibbs The O’Grady Foundation The Stuart & Hilary Williams John Kinder Marina Vaizey Mr & Mrs R DeScherer Susan Baker & Michael Lynch Dr Kate Best Beth & Gary Glynn Georgia Oetker Foundation Rupert & Alice King Lady Patricia Varney Mark Dichter Sir David & Lady Bell Mrs Wendy Birkby Michael Godbee Gregory & Susan Palm Sir Robert & Lady Wilson Philip Kingsley Ed & Carol Victor Dr & Mrs C J Dilloway J & A Bénard Debbie Bisno Lydia & Manfred Gorvy Simon & Carolyn Parker Bowles Dr & Mrs Gerald Woolfson The Kowitz Family Foundation Gerry Wakelin Arnold & Greta Edward William Benjamin & Jill Kowal Martin Blackburn Nick & Julie Gould Barrie & Catherine Pearson and 16 anonymous donors Herbert Kretzmer OBE Mr Gene Zuriff & Sir Vernon & Lady Ellis

54 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 55 Supporters continued

Peter & Barbara Elliston Mr Samuel A Haubold Don Ellwood & Sandra Johnigan Dr Gordon Hay Sarah & Louis Elson Marc Hayton Mrs Alexandra Emmerson Malcolm Herring Mr Stuart Errington Mrs Coreen R Hester Davide Erro Soo & Jonathan Hitchin Christophe & Priscille Evain Melvyn & Diane Hughes Lord Feldman Jane Hurt Dorothy Field John D Hyatt Mrs Hilary Finer Robin & Inge Hyman Claire Fisher Richard & Rosie Hytner Tony Fisher Roda Infield Mr & Mrs William Fisher Nicholas & Cherry Jones Mr & Mrs Mortimer Fleishhacker Nicholas Josefowitz Mr Paul Fletcher Paul Kafka Susan Fletcher Ralph & Patricia Kanter The Gerald Fogel Charitable Trust David Kaskel & Christopher Teano Helen Freeman Donovan Kelly & Ann Wood Adam & Victoria Freudenheim John & Jenny Kelly Arnold Fulton David Killick Mr Jonathan Gaisman Steve Kingshott Paul Gambaccini Baroness Denise Kingsmill CBE Ms Lucy Garrett Mrs Frances Kirsh Brian Garrison Robert & Susan Klein Hon William & Lori Gibson Mr & Mrs Adrian Knight Jon Gilmartin Bill & Stephanie Knight John & Indrani Gleave David Knox Mrs M C Godwin David & Linda Lakhdhir Mrs Carolyn Goldbart Mr David Lanch Val Gooding & Steven Larcombe & Crawford Macdonald Sonya Leydecker Paul & Kay Goswell Mrs Rosanna Laurence Margaret & Arthur Grandy Nicola Leach Mr & Mrs Edward Greene Mark Lee Lesley Gregory J Leon Charity Fund John & Ann Grieves Mrs Sahra T Lese Richard & Odile Grogan Mr & Mrs B Lesslie Karen Groos Sara Levene Stephen Gross & Dona Matthews Dr Mark Levesley Byron Grote & Susan Miller Fred M Levin & Nancy Livingston Don & Sue Guiney Colette & Peter Levy Clifford & Sooozee Gundle Mrs Lynn Lewis Jan & Michelle Hagemeier William & Rebecca Lewis Ros & Alan Haigh Sir Gavin & Dr Naomi Lightman Mark & Moira Hamlin Ms Jeanne Linnes Caroline Hansberry Sam & Pam Lipfriend David & Claudia Harding Sir Sydney Lipworth QC & Richard H Harding Lady Lipworth CBE Richard Hardman & Mrs Georgina Liverpool Alice Deschampsneufs Lady Lloyd of Berwick Sir Michael & Lady Harrison John Lockyer & Jane Creasey Maureen & Derek Harte Rachel Lomax Mrs Dorothy G Harza Victor & Marilyn Lownes

56 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 57 ‘Language is as alive and as Supporters continued constant as air.’ Inua Ellams, quoted in Metro

Mrs Lesley Jane Lynn Mrs Katherine Palmer Eileen Serbutt Mrs Felicity Lyons Lord & Lady Pannick Louisa Service Ginny Tim Parker Mr & Mrs Mark Shanker Gordon & Dena McCallum Carol & David Pascall CBE Ellen & Dan Shapiro Hugh MacDougald Rakshita Patel Victor Shargai David McGibney Mr R H C Pattison Mr Robert A Silver Alistair Mackinnon-Musson Kristin M Paulus The Simon Family Foundation Ian McVeigh Countess Cosima Pavoncelli Linda & Stephen Simpson Dr John H Makin & Oliver & Emma Pawle Mike & Janet Slosberg Ms Gwendolyn Van Paasschen Ms Judy Peck Christopher & Mrs Claudine B Malone Ms Suzanne Peck Ingeborg Smallwood Charles & Nicola Manby Gordon & Marian Pell Mr & Mrs R A H Smart Dr Anna Mann William Pidduck Brian D Smith William Mansfield William Plapinger & Cassie Murray John & Ann Smith The Maplescombe Trust Pat & John Porter Tessa Smith Paul & Paula Marber Jack & Noreen Poulson Sir Harry & Lady Solomon Marina & William Marcoux Simone Prendergast Charitable Janna Spark & Iko Meshoulam David M Marks QC Tr ust Ms Francesca Stanfill Nye Julian & Camilla Mash Clifford Press Mr & Mrs Don Starr Victoria Mather Mrs Marie Prutton Alan & Ruth Stein Edward & Dale Mathias David & Hilmary Quarmby Gayfryd Steinberg Lara & Richard Max Mrs Patricia Ranken Kathryn Steinberg Ian & Serrie Meakins Anthony & Ann Regan George & Elizabeth Stevens Cornelius Medvei Greg & Karen Reid Judy & David Stewart Mrs Elizabeth Meyer Christopher Marek Rencki Olive & Michael Stone Sandy & Ed Meyer Joyce Reuben Mr & Mrs Charles Stonehill Mrs Kathryn Michael His Honour Michael Rich QC Sue & Stuart Stradling Nick & Suzie Miles Mrs Clare Rich Andrew & Laura Sukawaty Barbara Minto Mrs Lesley Robins Sir John & Lady Sunderland Mark & Carolyn Mishon Caroline Roboh Mrs Ann Susman Ashley & Elizabeth Mitchell Mr David Rocklin Robert & Patricia Swannell The Lowy Mitchell Foundation Mr & Mrs Roeder Richard Szpiro Mr & Mrs Giuseppe Modiano Christina Rogge Eileen J Taylor Dr Donald Moir Mr & Mrs Kenneth Rokison Bernard & Nadine Taylor Barbara Morgan Sir John & Lady Rose Mr & Mrs Russell W Taylor Mr & Mrs M D Moross Mr & Mrs Harvey Rosenblatt Ms Chantal Thompson Gary Morris & Sue & Tony Rosner Tony & Valerie Thompson Robert Venables QC Mr P M Roth Henry Timnick Mr & Mrs Morrison Mr David Royds Christopher & Julia Tugendhat Pat Morton Anthony Rudd Mrs Margaret K B Turner Gerald Moss William & Hillary Russell Jonathan Tyler Jacqueline Mountain John & Jeremy Sacher Charitable Debra Valentine Dr & Mrs Julian Muir Tr ust Peter Ventress Kathie Murphy & Walter Hall Anthony & Sally Salz Mr & Mrs Eric Vezie Dr Ann Naylor Ruth & Brian Sandelson Gary Von Lehmden Dr Joy H W Newman Victor & Bernice Sandelson Tim & Nadine Waddell Stanley Newman & Mr Robert Sansom & Christopher Wade Dr Brian Rosenthal Ms Edith Eligator Mr & Mrs Jeffrey Walker Andrew & Sue Nichols Michael Sayers, QC Mary Wallach Larry & Melanie Nussdorf Mrs Sylvia Scheuer Denise & Frank Weil David C Olstein Michael & Beth Schneider Geoff Westmore Sandy & Caroline Orr Mr & Mrs Richard J Schwartz Mrs Reba White Williams Sir Peter Osborne Rod & Sarah Selkirk Mrs Ailsa White

58 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 59 Supporters continued ‘In many ways it’s a play for our times: foreseeing the foundation of the NHS; the vast financial rewards now at stake; and the moral choices which funding shortfalls may force doctors to make.’ Tim Auld, The Sunday Telegraph

Graham & Sue White Premium Members Société Gènèrale The Topinambour Trust Mr & Mrs Brian M Wides Linklaters LLP The Stanley Foundation The Transformation Trust Mary Willett Morgan Stanley Tesco plc The Vandervell Foundation Anne-Marie Williams UBS Unilever plc The Worshipful Company Ann Williams Zurich Insurance plc of Weavers Peter Williams Platinum Members and 1 anonymous donor Marilyn & Geoffrey Wilson Team Builder American Airlines Mr & Mrs Michael Wilson American Associates of Bloomberg LP Hutton Collins Henry & Louise Windeler Cohen the National Theatre BNP Paribas Richard & Susan Wolff Media Partner British American Tobacco AANT Board Members Mrs Jane Wood Cisco Travelex £12 Tickets David & Vivienne Woolf Leila Maw Straus (Chair) and General Trust plc David Wormsley William G. Bardel, Treasurer Delta Airlines Cynthia Wu Trusts & Foundation David Smalley, Secretary Deutsche Bank Jonathan Yudkin – Annual Revenue Peter Brown G3 David & Barbara Zalaznick Support April 2012 – Timothy Childs GlaxoSmithKline Stephen & Laura Zimmerman March 2013 Shawn M. Donnelley Goldman Sachs James D Zirin Alyce Faye Eichelberger-Cleese Pearson plc Major Trusts & and 33 anonymous donors Lawton Fitt Prudential plc Foundations Barbara Fleischman Shell Legacies The Behrens Foundation Maxine Isaacs Smiths Group plc April 2012 – March 2013 The Dorset Foundation Suzie Kovner Standard Chartered Bank Peter & David Lund Sidney E Frank Foundation Debby Landesman Ronny Schwartz Gold Members The Paul Hamlyn Foundation Jeanne Linnes Madeleine Berta Simms The Ingram Trust Lady Lyall Grant Bain & Company The Leverhulme Trust Carolyn MacDonald The National is also grateful for Bartle Bogle Hegarty The Mulberry Trust Stephanie McClelland the support of our Supporting Cantate The Laura Pels International Jeffrey Peek Cast, Priority Plus, Priority Clifford Chance Foundation for Theater Laura Pels Members, Young Patrons CQS Quercus Trust Jay Stein and all AANT Members. Credit Suisse The Rose Foundation Joan Steinberg DAC Beachcroft Archie Sherman Charitable Trust Monica Wambold Corporate Support Equity Invest The Wates Foundation Lady Westmacott April 2012 – March 2013 Finsbury Ltd and 2 anonymous donors Susan Wilen Partners Forsters LLP The Inzito Partnership Trusts & Foundations Honorary Council Travelex KPMG LLP The E Dennis Armstrong Trust Terri Childs Accenture Lazard The Chapman Charitable Trust Suzanne Elson American Airlines Macfarlanes LLP Ernest Cook Trust Richard Harding American Express Man Group plc The Mohamed S. Farsi Foundation Elliott F. Kulick Aviva Markson Pianos The Goldsmiths’ Company Charity John Makinson Hugo Boss Moore Stephens LLP The Worshipful Company Sir Deryck Maughan J.P. Morgan Nyman Libson Paul of Grocers Stafford Matthews Neptune Investment Management Penningtons Solicitors LLP Milton Grundy Foundation Lady Sheinwald Philips Pentland Group plc The Idlewild Trust National Theatre Education is Reed Elsevier The National Theatre would like to Jill & David Leuw supported by Goldman Sachs Regatta Ltd acknowledge the generous support Rosetrees Trust The Rose Foundation of Robert Boyett Theatricals (US Royal Victoria Hall Foundation Santander UK plc partner) and National Angels Ltd. Santander Foundation Slaughter and May The Schneer Foundation Smith & Williamson The Sobell Foundation

60 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 61 Performers 2012–13

The Acting Company Richard Cant Derek Elroy Mark Jackson Laura Matthews Rachel Sanders Zoe Thorne Lynne Wilmot Cristiano Castelitto Tom Lessels Marianne Adams Nancy Carroll Craige Els Ellie Jacob Henry Maynard Jack Sandle Emma Thornett Sam Wilmott Judih Choi Castro Alisa Liubarskaya Will Adamsdale Tamsin Carroll Alfred Enoch Jonathan Jaynes Dogan Mehmet Karis Scarlette Paul Thornley Thomas Wilton Nick Cooper Aisling Manning Holly Aird Sabrina Carter Mark Extance Christian Jenner Pietra Mello-Pitman Adrian Schiller Luke Treadaway Claire Winsper Richard Coughlan Monica McCarron Zoë Aldrich Jake Ferretti Alex Jennings Tom Meredith Annabel Scholey Meghan Treadway Duncan Wisbey Sarah Crisp Adam Martin Gareth Aled Tamsin Fessey Luke Jerdy Justine Mitchell Michael Shaeffer Tilly Tremayne Matthew Woodyatt Anna Croad Gaelle-Anne Michel Sam Alexander Gunnar Cauthery Curtis Jordan Mark Monero John Trindle Rosie Wyatt Jonathan Eddie Louise Morgan Nigel Allen Nick Cavaliere Cindy Jourdain Claire Moore Richard Shanks Tony Turner Simon Yadoo Sam Edgington Ed Morris Suzanne Andrade Martin Chamberlain Scott Folan Miles Jupp Robyn Moore Fiona Shaw Jez Unwin Sion Daniel Young Rachel Elliott Buffy North Ashley Cheadle Matthew Forbes Okezie Morro Ian Shaw Rupert Vansittart Chris Fish Grant Olding Antony Antunes Supernumeraries Andy Apollo Jason Cheater Hal Fowler Gráinne Keenan Cillian Murphy Michael Sheldon Christian Forshaw Colin Rae Esme Appleton Paul Chequer Bob Fox Rory Keenan Jess Murphy Antony Sher Ross Waiton Charlie Blackwood, John Paul Gandy Oliver Seymour Marsh Christina Arestis Philip Childs Aaron Foy Danny Kelly Ben Murray Dwane Walcott Scheherazade Brathwaite, Tom Green David Shrubsole Sebastian Armesto Vincent Franklin Louise Kempton Paddy Navin Seun Shote Josie Walker Anna Burkholder, Jamie Richard Halliday Steve Smith Derek Arnold Jack Chissick Richard Freeman Jamie Kenna Luke Newberry Eliot Short Champion, Tyson Douglas, Simon Haram Bryan Smith Owain Arthur William Chubb Antony Gabriel Dylan Kennedy Phoebe Nicholls Nick Sidi Brendan Wall Harper James, Matt Jessup, Amy Harman Josh Sneesby Frances Ashman Eke Chukwu Robert Galas Harry Kershaw Steve Nicholson Jay Simpson Daniel Walsh Pandora McCormick and Kimberly Jill Harrenstein Billy Stookes Alex Avery Sam Clark Don Gallagher David Killick Mike Noble Malcolm Sinclair Julie Walters Haydn Whiteside. Richie Hart Kevin Street Callum Coates Peter F. Gardiner Christopher Patrick Nolan Nicola Sloane Howard Ward Joji Hirota Tim Sutton Jamie Ballard The Show Musicians John Banks Alexander Cobb Johnny Gibbon Barbara Kirby Luke Norris Roger Sloman Alexander Warner David Holt Seila Tammisola Alice Barclay Darren Cockrill Aden Gillett Joshua Lacey Steve North Gavin Spokes Alex Warren Robert Ames Robin Hopcraft Ian Townsend Matthew Barker Christina Cole Seán Gleeson Jane Lambert Anthony O’Donnell Robin Weaver Neyire Ashworth Phil Hopkins Tony Wagstaff Martin Barrass Kate Colebrook Emily Glenister Fred Lancaster Kate O’Flynn Claire Sundin Adam Welsh Arthur Boutillier Jim Hustwit Philip Murray Warson Linda Bassett Emily Cooper Rory Langmuir Lauren O’Neil Michael Taibi Gemma Whelan Martin Briggs Jeremy Isaac Jenny Wilkinson Sandy Batchelor Giles Cooper Christopher Godwin Isabella Laughland Jonjo O’Neill Matt Tait Jodie Whittaker Ben Brooker Phil James Minsi Yang Oliver Beamish Jonathan Coote Tom Goodman-Hill Pieter Lawman Genevieve O’Reilly Giles Taylor Liz White Alan Brown Liam Kirkman Barbara Zdziarska Emma Beattie John Cormack Thomas Goodridge Amanda Lawrence Sarah Ovens Samuel Taylor Russell Wilcox Lisa Bucknell Rachael Lander Mensah Bediako Phil Cornwell Michael Gould Penny Layden Alastair Parker Richard Teverson Joseph Wilkins Andrew Callard William Belchambers Matt Costain Michael Grady-Hall Nicholas le Prevost Jack Parker Ivan Thorley Leon Williams Margaret Campbell Ivan Leon Edward Bennett Olivia Cowley Amy Griffiths Dominic Leeder Aimee Parkes David Benson Jonathan Coy Robin Guiver Rose Leonard Katherine Pearce Paul Bentall Rhona Croker Owain Gwynn John Lithgow Reuben Pearce Ruby Bentall Laura Cubitt Colin Haigh Olivia Llewellyn Robin Pearce Robin Berry Amy Cudden Amy Hall Gabrielle Lloyd Alan Pearson Leanne Best Ewen Cummins Ian Hallard Christopher Logan Lewis Peploe Nigel Betts Kaisa Hammarlund Andrew London Tom Peters John Biggins Danny Dalton Robert Hands Brian Lonsdale Adam Philps Anne Bird Carole Dance Lucas Hare Tom Lorcan Matthew Pidgeon Joshua Blake Rhiannon Harper-Rafferty Tunji Lucas Nick Blakeley Alan David Emma Harris Nicholas Lumley Peter Polycarpou Nicholas Blane Alicia Davies Nathalie Harrison Helena Lymbery Robert Portal Richard Booth Damian Davis Nicholas Hart Gerrard McArthur Olivia Poulet Amy Booth-Steel Andy de la Tour Linzi Hateley Maggie McCarthy Jodie Prenger Robin Bowerman Andrew Havill Joshua McCord Kelly Price Edward Bracey Jack Deam Paul Hawkyard Helen McCrory Sergio Priftis Alistair Brammer Robert Demeger James Hayes Andrew McDonald Jeff Rawle Owen Brazendale Stavros Demetraki Lillian Henley Iarla McGowan Pierce Reid Michael Brett Andrew Dennis Paul Herzberg Joshua McGuire Lorna Brown Reece Dinsdale Anastasia Hille Tim McInnerny Malcolm Ridley Charlie Buckland Neil Ditt To m Ho d g ki n s Shaun McKee Gillian Budd Jo Dockery Kobna Holdbrook-Smith Sean McKenzie Iris Roberts Ian Burfield Paul Dodds Jack Holden Ciarán McMenamin Tom Robertson Pascale Burgess James Doherty Nick Holder Kristen McNally Christian Rodska To m Bur ke Jonathan Dryden Taylor Robert Horwell Stuart McQuarrie Mark Rose Nicholas Burns Kate Duchêne Rufus Hound Hilton McRae Beverly Rudd Ellie Burrow Clare Dunne David Hounslow Siobhán McSweeney Simon Russell Beale Clare Burt Sophie Duval Peter Howe Colin Mace Mat Ruttle Sarah-Jayne Butler Christopher Eccleston Ed Hughes Nick Malinowski William Rycroft Selina Cadell Charles Edwards Derek Hutchinson Joshua Manning Hugh Sachs David Calder Lynette Edwards Max Hutchinson Ben Mansfield Justin Salinger Calum Callaghan Trevor Imani David Mara Nick Sampson Sarah Calver Taron Egerton Daniel Ings Matthew Marsh Tim Samuels Inua Ellams Jennifer Jackson Brian Martin Rochenda Sandall

62 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 63 NT Associates, Committee Membership and Heads of Department Photo captions 26 48 National Theatre Live Stuart McQuarrie, Clare 2 The Last of the Haussmans Dunne, Justine Mitchell and Linda Bassett, Frances de la Photo Ludovic des Cognets Will Adamsdale in Detroit Tour and Selina Cadell in People Photo Catherine Ashmore Photo Catherine Ashmore 30 Pop-up Workshop, 49 4 NT Associates John Rodgers Royal National Theatre Planning National Theatre Inside Out Above: London Road The Fire Garden, Alison Chitty Rita Skinner Enterprises Limited Robin Hawkes Photo Ludovic des Cognets Photo Helen Warner National Theatre Inside Out Bob Crowley Nick Starr Directors Platforms/WTS Festival Angus MacKechnie Photo Ludovic des Cognets Below: Owain Arthur in One Man, NT Future Project Ros Haigh, Chair 33 Jonathan Dove Lisa Burger Press Two Guvnors Photo Johan Persson Committee Port workshop in an East London Edward Hall Farah Ramzan Golant CBE Lucinda Morrison 7 Mark Henderson Glenn Earle, Chair Patrick Harrison Print & Publications school Photo Ludovic des Cognets 50 Alex Jennings Lisa Burger Mark Hix Lyn Haill Luke Treadaway in The Curious Jodie Whittaker in Antigone Kwame Kwei-Armah Dominic Casserley Karen Jones Technical & Production Incident of the Dog in the Night- 35 Tim Clark John Langley Mark Dakin Time Photo Manuel Harlan Photo Johan Persson The Burnt Out Punks, Watch Lloyd Dorman CBE Geoffrey Matthews Mark Davies Sacha Milroy This Space Photo Steve Stills Patrick Marber Ros Haigh Kate Mosse 8 53 Kate Horton Technical Producer Nick Starr Ruby Bentall and Dylan Kennedy Alan Leibowitz Katrina Gilroy Simon Russell Beale in Timon of 36 John Makinson Honorary Council Voice Athens Photo Johan Persson in Hansel and Gretel Jeannette Nelson Model wearing a Legroux Soeurs Simon Russell Beale Clive Sherling Sir David Bell Photo by Stephen Cummiskey Nick Starr Hat, 1952, NPK001182 Corbis/© Zoë Wanamaker Tony Bloom NT Productions 11 Dr David Cohen CBE Chris Harper Norman Parkinson Ltd/Courtesy 56 Associate Producer Nominations Committee Justin Dowley Fiona Shaw in Scenes from an Norman Parkinson Archive Pádraig Cusack Steve Rebbeck Antony Sher and Tim Clark, Chair David Dutton Execution Photo Mark Douet Peter Bennett-Jones Anthony O’Donnell in Committee Membership Michael Gee 37 at 31 March 2013 James Purnell Michael Grade CBE 13 The Captain of Köpenick Get Stuff Break Free Remuneration Committee Robert Norbury Photo Brinkhoff/Mögenburg Development Council Oliver Prenn Helen McCrory, Julie Walters Photo Ludovic des Cognets Howard Davies, Chair and Rory Kinnear in Susan Chinn, Chair Lois Sieff OBE 58 Clive Sherling, Vice Chair Dame Ursula Brennan DCB Max Ulfane The Last of the Haussmans 38 Graham Barker Tim Clark Edgar Wallner Photo Catherine Ashmore Inua Ellams in Black T-Shirt Royce Bell Lloyd Dorfman CBE NT Future images courtesy Collection Photo Brian Roberts Dr Neil Brener Ros Haigh Board and Committee of Haworth Tompkins John Makinson Secretary 14 Sarah Brener 61 Russ Carr Donna Parker Vincent Franklin, Philip Glenister National Theatre 41 Tim Clark and Lauren O’Neil in Tom Burke and Genevieve Productions Limited NT Heads of Department Cillian Murphy in Misterman Simon Dingemans This House Photo Johan Persson O’Reilly in The Doctor’s Dilemma Charles Dorfman Directors Casting Photo Catherine Ashmore Photo Johan Persson David Hall Peter Bennett-Jones, Chair Wendy Spon Lisa Burger 16 Rosie Hytner Commercial Operations 42 63 John Makinson Tim Clark Patrick Harrison Billie Piper and Jonjo O’Neill in Chris Harper Regional theatre press conference Oliver Pawle Development Photo Ellie Kurttz Amanda Lawrence and Kate Horton The Effect Rita Skinner John Rodgers Photo Richard H Smith Bertie Carvel in Damned by Despair Charlotte Warshaw André Ptaszynski Digital Media 20 Photo Brinkhoff/Mögenburg Charlotte Weston Tessa Ross David Sabel 44 David Sabel Engineering The National’s Diamond Jubilee Finance & Audit Committee Nick Starr John Lithgow in The Magistrate Kieron Lillis Salute Photo Ludovic des Cognets Photo Johan Persson Howard Davies, Chair National Theatre External Relationships & Partnerships Dame Ursula Brennan DCB John Langley Productions Overseas 23 Tim Clark Limited Finance 47 Lloyd Dorfman CBE Fern Stoner Alex Jennings in Untold Directors Kate O’Flynn in Port Ros Haigh General Counsel Stories Photo Jayne West John Makinson Peter Bennett-Jones Peter Taylor Photo Kevin Cummins Lisa Burger Human Resources NT Future Fundraising Nick Starr Tony Peers Committee Peter Taylor Information Technology Joe McFadden Clive Sherling, Chair National Theatre North Graham Barker America LLC Learning Lisa Burger Alice King-Farlow The Royal National Theatre, Susan Chinn Directors Marketing Upper Ground, Tim Clark Peter Bennett-Jones Alex Bayley London. Lisa Burger Ian Cormack Music SE1 9PX Tim Clark David Hall Matthew Scott + 44 (0)20 7452 3333 John Makinson Nick Starr NT Studio Peter Taylor Laura Collier Company registration number 749504. Registered charity number 224223. Registered in England.

64 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 65