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Home , Amit Shah (actor), Anastasia Hille, Angus Wright (actor), Anna Mackmin, Bunny Christie, Clare Holman

The Annual Report and Financial Statements 2007 – 2008 board

The Royal National Theatre Chairman Sir Hayden Phillips GCB DL Upper Ground, South Bank, SE1 9PX Susan Chinn + 44 (0)20 7452 3333 Lloyd Dorfman CBE www.nationaltheatre.org.uk Ros Haigh Kwame Kwei-Armah registration number 749504 Rachel Lomax Registered charity number 224223 Neil MacGregor Registered in John Makinson Caragh Merrick Caro Newling André Ptaszynski Farah Ramzan Goland The Royal National Theatre is a company limited by guarantee and a registered charity. It was established Rt Hon Lord Smith of Finsbury in 1963 for the advancement of education and, in particular, to procure and increase the appreciation and Edward Walker-Arnott understanding of the dramatic art in all its forms as a memorial to . These objects are Nicholas Wright set out in the governing document, which is its Memorandum and Articles of Association, and have been Company Secretary Kay Hunter Johnston developed into a set of aims and objectives as described on page 4. Executive Artistic Director Executive Director Nick Starr Finance Director Lisa Burger

Associate Directors Sebastian Born Marianne Elliott Tom Morris

Bankers Coutts & Co 440 Strand, London WC2R 0QS

Auditors PricewaterhouseCoopers LLP 1 Embankment Place, London WC2N 6RH

This Annual Report and Financial Statements is available to download at www.nationaltheatre.org.uk

If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Company Secretary at the National Theatre.

1 annual report and financial statements

For the 52 weeks ended 30 March 2008

4 Aims and Objectives 5 Hayden Phillips, Chairman 7 Nicholas Hytner, Artistic Director 9 Overview 14 Productions 2007-08 17 Tours, Transfers and Awards 18 Acting Company 20 Show Musicians 21 NT Education and Training 23 Platforms and Watch This Space 24 Exhibitions 25 Foyer Music and Publications 26 NT Studio 28 NT Archive 29 Development and Fundraising 31 Development Supporters 36 Structure, Governance and Management 41 Financial Review 47 Report of the Board 49 Independent Auditors’ Report 50 Financial Statements 54 Notes to the Financial Statements 71 Associates, Committee Membership and Heads of Department 72 Photograph captions

In this document, The Royal National Theatre is referred to as “the NT”, “the National”, and “the National Theatre”

3 aims and objectives Hayden Phillips, Chairman

The National Theatre is central to the creative life of the country. In its three This Annual Report underlines the continued good health of the National Theatre theatres on the South Bank in London it presents an eclectic mix of new plays and the quality and excitement of what it offers both from the stage and in many and classics from the world repertoire, with seven or eight productions in other ways too. It was especially encouraging in the last year that so many repertory at any one time. And through an extensive programme of amplifying young people were attracted to what we do – across the NT’s audiences 85,500 activities – Platform performances, backstage tours, foyer music, publications, were aged under 18, 12% of the total. Education through enjoyment was, and exhibitions and outdoor events – it recognises that theatre doesn’t begin and remains, central to the NT’s purpose and encompasses the whole age range of our end with the rise and fall of the curtain. audience. That is why the Board and the Management are increasingly focused on how theatre is made, and how the social, political and historic context of drama Aims can be illuminated and appreciated more and more by all generations. To coin a The National endeavours to maintain and re-energise the great traditions of phrase – Watch This Space. the British stage and to expand the horizons of audiences and artists alike. It aspires to reflect in its repertoire the diversity of the nation’s culture. It takes a I thank all those who support us financially and who therefore help to sustain the particular responsibility for the creation of new work – offering at the NT Studio a variety of our repertoire and our Box Office success. space for research and development for the NT’s stages and the theatre as a whole. Through NT Education, it engages tomorrow’s audiences. As the national theatre, it The Government listened and the public expenditure settlement for the arts overall aims to foster the health of the wider British theatre through policies of was good: no cause for whingeing there. Allocation to individual organisations is collaboration and touring. another matter and never easy but I know that the new management of the Arts Objectives Council are determined to build greater confidence into their decision-making The National’s continuing objective is to present a balanced artistic programme. process. The NT will support them in that in any way we can. The repertory system is a key to this, not as a good in itself, but as the means of taking artistic risks and responding to audience demand. The NT endeavours Our corporate and individual supporters, and Trusts and Foundations, have to produce to the highest standards by attracting the best artists to work in an remained loyal and generous. We thank all of them unreservedly. environment that enables and stimulates them to realise the fullest extent of their talents. On behalf of the Board I thank two of our departing members: Caragh Merrick, who has brought her professional skills to the Board and the Finance and Audit These are the NT’s constant objectives. Alongside are two long-term and Committee with commitment and affection; and Edward Walker-Arnott who interlinked strategies. The NT seeks to broaden the work on its stages, by has led the Finance and Audit Committee and the Enterprises Committee with nurturing new plays and new forms at the Studio, by commissioning, and by distinction, and who has brought to those meetings and to the Board wisdom and active project development of all kinds, in which Associate Directors, associates good humour. We shall miss them. and other consultants are involved. I am delighted however that four new members join the Board: the playwright, It seeks to broaden its audiences through the programming choices it makes, Kwame Kwei-Armah; John Makinson, Chairman and CEO of the Penguin Group; by keeping ticket prices down, and by making manifest its ambition to be bold, Farah Ramzan Golant, CEO of Abbott Mead Vickers BBDO; and Ros Haigh, contemporary and accessible. Director of Financial Control at the John Lewis Partnership.They are immensely welcome.

Finally the most important thanks go to all who work at the NT, on and off the stage, permanent and temporary. The NT is successful and loved because they make it so.

4 National Theatre Annual Review 2007-08 5 Nicholas Hytner Director of the National Theatre

On 23 September 2007 the National Theatre celebrated the centenary of its first director, . Members of his original NT company shared the stage with members of our current company, and many of the , writers and directors who are something like legends to my generation joined his widow, Joan Plowright, in the audience. Those of us who work in the theatre may be too prone to become tearful about our genuine sense of continuity with the past, but the evening palpably demonstrated that even if there is unlikely ever to appear on the stage of the Olivier Theatre an like Olivier, the National Theatre is consumed still by the ambitions that drove him and his contemporaries.

Our audience still includes many who saw what must, to them, remain definitive productions of the great classical plays that were staged at during the Olivier era. They cast a long shadow even on those of us who are too young to have seen them, and although I would like to think that in 40 years’ time the Beatrice and Benedick of Zoë Wanamaker and will be remembered as fondly as those of Maggie Smith and , I am not convinced that any National Theatre will quite supplant Olivier’s in the public memory. I am pretty certain, however, that our aspirations and the responsibility we feel constantly to honour and refresh the classical tradition have not changed since 1963.

We may sometimes be slow to make connections between the past and the present. I have to shoulder some of the blame for the neglect of Bernard Shaw at the National over the last few years, but I can’t pretend that any of my colleagues was carrying a torch for him either. So I will claim some of the credit for twisting Marianne Elliott’s arm to direct Saint Joan, but the lion’s share of it should go to her and to Anne-Marie Duff for one of the most exciting and incisive classical productions I’ve seen on the Olivier stage. It was a sell-out too, so we quickly programmed Major Barbara, and Simon Russell Beale (who must have almost as secure a hold on the theatre-going public’s affections as Olivier had) ensured that it, too, played to capacity houses. Eugene O’Neill, Harold Pinter, Victoria Benedictsson, Noël Coward and Euripides all proved equally eloquent when given the chance to continue their conversation with the contemporary public; and Howard Davies’ superb production of Gorky’s Philistines was one of the year’s undoubted highlights.

Our determination to commission and produce new plays is nothing new either. Some of Olivier’s playwrights are still at it, but this year their successors have been particularly fertile. I particularly enjoyed working with Ayub Khan-Din on his play Rafta, Rafta… which was based on Bill Naughton’s play from the 60s, All in Good Time. The Bolton house which once contained the Fitton family now belongs to the Dutts and, just as Harish Patel is recognisably doing the same job as Bernard Miles, so the Dutts are consumed by exactly the same

6 National Theatre Annual Review 2007-08 7 concerns as the Fittons. ’s Landscape with Weapon was steeped in the contemporary arms trade but a 60s audience, schooled in the Cold War, overview would have had no trouble connecting with its arguments. The older generation in Kwame Kwei-Armah’s Statement of Regret may not, in the 60s, have been able to predict how their community would look in 2007 – Kwame’s trilogy of plays about contemporary black Londoners has been a revelation both to those SPECIFIC Artistic Programme to whom it holds up a mirror and to those who have discovered new worlds in OBJECTIVES Now in its sixth season, the Olivier Theatre’s Travelex Season has proved to be them. But Howard Brenton used 40 years of hindsight to write in Never So Good FOR 2007-08: one of the National’s long-term hits, a sustainable programming model that has the play that would, in 1963, have done for Olivier’s audience what Kwame does proved not only popular with audiences – we expect to sell our millionth £10 ticket for ours. Howard also, and most profoundly, used recent history to amplify our during 2009 – but hospitable to a large range of work. The season played, overall, to develop to 90% capacity for the fifth year in a row. Also in the Olivier were Much Ado sense of the present. Plays by Matt Charman, Roy Williams, Dennis Kelly and Lin new work for Coghlan were all minutely responsive to the contemporary world. And in Happy About Nothing, and , which had been three years in development under the two large Associate Director Tom Morris. Now? Lucinda Coxon delivered a play which, maybe more than any other this stages year, created for our audience that frisson – unique to the theatre – of shared experience: it was always exciting to stand at the back of the Cottesloe and hear The Lyttelton Theatre’s programme was typically eclectic. Rafta, Rafta… drew the gasps of recognition. South Asian audiences in numbers not previously seen at the National. Philistines, Present Laughter and Howard Brenton’s new play Never So Good were all directed There has been one big change since the 1960s. When the National moved by Howard Davies. The Hour We Knew Nothing of Each Other was the London into the Old Vic, there wasn’t much of a fringe. But within ten years, much of the premiere, after 16 years, for a work by Peter Handke with 400 characters and no most innovative energy in the theatre had moved away from the establishment. words. There has been an even bigger change since then. The fringe has, to a very large extent, been re-absorbed into the mainstream, and we have made a point As in previous years, the Cottesloe’s repertoire was mostly new plays, with one of offering support to companies like punchdrunk, who play in unconventional re-discovered classic. The classic was Victoria Benedictsson’s 1888 play The spaces and who challenge what the word ‘theatre’ means. What once seemed Enchantment. The premieres were by Joe Penhall, Matt Charman, Kwame Kwei- an impregnable divide between established theatre and experimental theatre has Armah, Lucinda Coxon, Roy Williams, Dennis Kelly and Lin Coghlan, the last three disappeared. Much of the work of which we are proudest here is made by artists in the Connections triple bill. With our involvement with punchdrunk’s The Masque who have been formed on the experimental fringe, and happily move between it of the Red Death at BAC, we continued our support of pioneering companies and us; This isn’t just a matter of shows like Peter Handke’s wordless play, The beyond the South Bank. Hour We Knew Nothing of Each Other, or Emma Rice’s brilliant reinvention of the Powell-Pressburger movie A Matter of Life and Death, to which she brought all Touring and the NT’s Reach the skills she has developed in Cornwall with her company Kneehigh Theatre. (It is It was another busy year on the road. We toured for 25 weeks in Britain with Rafta, a vibrant sign of that Kneehigh now jumps from the National to the West Rafta…, and Chatroom & Citizenship; and A Midsummer Night’s End and back to Cornwall without missing a beat. And maybe another sign of the Dream from NT Education toured primary schools in London. This farewell tour times that A Matter of Life and Death was instantly packed with a predominantly for The History Boys, which for the second year played a season in the West End, young audience that seemed to create its own word of mouth.) marked the end of a remarkable four-year life. Worldwide, the NT’s production gave over 1,000 performances, 750 of them in the UK. In total it was seen by 885,000 But perhaps the most successful appropriation of theatre techniques outside the people on stage, 650,000 in the UK. literary mainstream came with War Horse, which may very well turn out to be one of the most successful shows the National has ever produced. Our collaboration To develop the NT’s Increasingly the NT is touring abroad. Happy Days visited Paris, Madrid, with Handspring Puppet Company on an adaptation of ’s international links Washington DC, New York, and Epidaurus, where its opening performance was seemingly unadaptable novel caught the audience’s imagination like nothing seen by over 6,000 people, probably the largest audience ever to see Beckett in else this year. It rose in every respect to the Olivier Theatre’s glorious challenges one evening. Unfortunately its second night, for which 10,000 were booked, was and delivered to its weeping audience an emotional transfiguration out of bent cancelled because of the forest fires that had engulfed part of mainland Greece. bamboo and brown gauze. It captured perfectly our continuing determination to But the production happily returned in July 2008 for two performances and almost insist that we are nothing without an awareness of our history, and just as little as many people saw it in Greece as in London. In New York, Conor McPherson’s without a furious curiosity about our present and our future. The Seafarer was mounted on Broadway by Bob Boyett and Ostar Productions. In total, 920,000 people saw performances given by the NT during the year, 810,000 of them in London, where the NT was responsible for 28% of the total audience for plays. At on the South Bank, audiences were at 87% capacity.

8 National Theatre Annual Review 2007-08 9 Financial result The year ended with an unrestricted surplus of £93,000, a good result since it contained two productions more than originally budgeted. Revenue fundraising was just short of £5m, very positive for a year with no gala. The challenge for the NT in future will be to replace what has effectively been a boost in subsidy provided during the years of The History Boys, whose total contribution to the NT’s budget over four years, including its two Lyttelton runs, was £5million.

Development of audiences To continue The Travelex seasons continue to attract and retain first-time attenders. We digital launched Entry Pass, a membership scheme for 15-19 year-olds offering £5 developments tickets to encourage a habit for independent theatre-going. Across the NT’s audiences, 12% were under 18. The continuing growth of on-line sales, now over 50% of our bookings, is supported by increasingly sophisticated and creative in-house production of digital material. We continue to experiment with interactive experiences that deepen the engagement with the work on stage, particularly in the foyer with Big Wall, which is driven by technology invented by Accenture, our innovation partner.

To conclude Our constant theme is openness – trying to get the National in all sorts of ways to arrangements be as porous and accessible as possible. After several years of negotiation, and for a season thanks to strong relationships with Equity, Bectu and the Musicians’ Union, we will of Sunday launch Sunday performances on 21 September 2008. This is the pilot season; it is performances our intention to introduce year-round openings during 2009. The implications for the NT are large: we effectively become a seven-days-a-week operation.

To re-define Another side of openness is the encouragement of discovery of the National by NT Education audiences already familiar with theatre, and those new to it. During the last year, NT Education has been transforming itself into discover: National Theatre, using the NT and its repertoire as the basis of their work. An exciting development is the opening up of the backstage world and the processes of making theatre, whether for school audiences or, in the case of the adults taught scenic art in our paintframe around The Pitmen Painters, for life-long learners. The new programme will be launched in September 2008.

To re-establish At the NT Studio, which re-opened in November 2007 after a £6million the Studio , with refurbishment, our archive is now housed alongside the John Lyon education the NT Archive studio and – the main role for the building – our R&D, with now a second big space, and Education the Weston Studio, for the development of new work for our stages and beyond. studio under the same roof The NT building In April, we opened The Deck, a summer entertainment space perched on an unused roof with spectacular views down the river to St Paul’s. Denys Lasdun To continue the called the National’s position on the South Bank ‘probably the most beautiful development of site in London’. Thirty years after his building opened, much has changed. The the exterior riverside walk, now used by 15 million people a year, didn’t then exist – the spaces river curved instead around the NT’s goods-in yard. The National’s terraces were a blank canvas which, to some extent, and for all their wonderful position overlooking the Thames, they still are. To the rear of the building, the simple brick

10 National Theatre Annual Review 2007-08 11 box containing rehearsal rooms and the workshops for carpentry, metalwork, scenic painting and props, abuts an under-used piece of land which we hope might be the site for education and participation facilities that weren’t included in the original building.

To develop a design What this adds up to is the need for a rolling future strategy for the National strategy for the NT which reflects the development of our mission in judicious exploitation of the building as a whole natural advantages of the NT’s building and site. We began earlier this year by commissioning from Haworth Tompkins a Conservation Management Plan for our Grade II* listed building, and will follow in the autumn with the development of a future strategy for the building.

Sustainability To reduce further In October 2007 we launched a five-year partnership with Philips, using their skill the NT’s use of and low-energy LED lighting throughout the NT. This is key to meeting our self-set energy and water target to reduce our electricity and gas consumption by 20%, taking 2006 as the benchmark. At June 2008 we had achieved 18% reduction in gas and 10% in electricity. We also have targets for recycling of waste, scenery salvage and use of water, and will continue to pursue environmental sustainability.

People and organisation The NT is blessed with two institutional characteristics. It can take the long view, and it has critical mass. As well as the 800 people who work in the building, in an average week there are 130 actors rehearsing and performing and 20 or more directors and designers who have close, albeit freelance, relationships with the building. There is tremendous strength in having continuity alongside innovation: we increasingly recognise our role in keeping the traditional theatre-making skills alive while hosting the development of new technologies such as video. The NT is a hub which, unusually, does almost everything in-house. Opening that up yet further is an important part of our plans for the future.

Nick Starr Executive Director

12 National Theatre Annual Review 2007-08 13 productions 2007-08

LANDSCAPE WITH WEAPON THE FIVE WIVES OF MAURICE THE ENCHANTMENT by Joe Penhall PINDER by Victoria Benedictsson Director Roger Michell by Matt Charman In a new version by Clare Bayley Designer William Dudley Director Sarah Frankcom Director Paul Miller Lighting Designer Rick Fisher Designer Ti Green Designer Simon Daw Sound Designer Rich Walsh Lighting Designer Mick Hughes Lighting Designer Bruno Poet Company Voice Work Jeannette Nelson Music Olly Fox Music David Shrubsole Cottesloe 5 April Sound Designer Rich Walsh Sound Designer John Leonard Company Voice Work Kate Godfrey Company Voice Work Jeannette Nelson RAFTA, RAFTA… Cottesloe 20 June Cottesloe 1 August by Ayub Khan-Din Based on All in Good Time by SAINT JOAN THE EMPEROR JONES Bill Naughton by Bernard Shaw by Eugene O’Neill Director Nicholas Hytner Director Marianne Elliott Director Thea Sharrock Designer Designer Rae Smith Designer Robin Don Lighting Designer Hugh Vanstone Lighting Designer Paule Constable Lighting Designer Neil Austin Music Niraj Chag Music Jocelyn Pook Sound Designer Gregory Clarke Sound Designer Paul Groothuis Sound Designer Music Sister Bliss Company Voice Work Jeannette Nelson Choreographer Hofesh Schechter Music Director Matthew Scott Dialect Coach Kate Godfrey Music Director Harvey Brough Choreographer Fin Walker Lyttelton 26 April Company Voice Work Jeannette Nelson Company Voice Work Jeannette Nelson Sponsored by Accenture Textual Adviser Samuel Adamson Olivier 28 August Olivier 11 July Travelex £10 Tickets A MATTER OF LIFE AND DEATH Travelex £10 Tickets Based on the film by Michael Powell & CHATROOM Emeric Pressburger CONNECTIONS by Enda Walsh Adapted by Tom Morris & Emma Rice a celebration of youth theatre CITIZENSHIP Director Emma Rice Baby Girl by Roy Williams by Mark Ravenhill Set Designer Bill Mitchell DeoxyriboNucleicAcid by Dennis Kelly Director Costume Designer Vicki Mortimer A Year and a Day by Christina Reid Designer Jonathan Fensom Lighting Designer Mark Henderson Show and Tell by Laline Paull Lighting Designer Mark Henderson Choreographers The Black Remote by Glyn Maxwell Music Paddy Cunneen Debra Batton & Emma Rice Ruckus in the Garden by David Farr Sound Designer Christopher Shutt Music Stu Barker A Bridge to the Stars by Henning Associate Sound Designer Mike Winship Sound Designer Gareth Fry Mankell, adapted for the stage by Chatroom Video Director Ben Taylor Projection Designers Jon Driscoll & John Retallack Company Voice Work Kate Godfrey Gemma Carrington Scary Play by Judith Johnson Cottesloe 1 September Lighting Design Associate More Light by Bryony Lavery (revival from 2006 when they played with Malcolm Rippeth Red Sky by Bryony Lavery Burn by Deborah Gearing) Company Voice Work Cottesloe & Olivier, 12-17 July Kate Godfrey & Jeannette Nelson PRESENT LAUGHTER Olivier 10 May THE HOTHOUSE by Noël Coward in association with Kneehigh Theatre by Harold Pinter Director Howard Davies Travelex £10 Tickets Director Ian Rickson Set Designer Tim Hatley Designer Hildegard Bechtler Costume Designer Jenny Beavan PHILISTINES Lighting Designer Peter Mumford Lighting Designer Hugh Vanstone by Maxim Gorky Music Stephen Warbeck Music Dominic Muldowney In a new version by Andrew Upton Sound Designer Ian Dickinson Sound Designer Paul Groothuis Director Howard Davies Movement Directors Scott Graham & Company Voice Work Jeannette Nelson Designer Bunny Christie Steven Hoggett for Frantic Assembly Lyttelton 2 October Lighting Designer Neil Austin Dialect Coach Joan Washington Sponsored by KPMG Music Dominic Muldowney Company Voice Work Jeannette Nelson Sound Designer Christopher Shutt Lyttelton 18 July Company Voice Work Jeannette Nelson Lyttelton 30 May

14 National Theatre Annual Review 2007-08 15 WAR HORSE West End revival BABY GIRL by Roy Williams Based on a novel by Michael Morpurgo The History Boys DNA by Dennis Kelly Adapted by Nick Stafford by THE MIRACLE by Lin Coghlan tours, transfers and awards 2007-08 Directors Marianne Elliott & Tom Morris Originally directed by Nicholas Hytner Director Paul Miller Designer/Drawings Rae Smith Recreated by Paul Miller Set, Costume & Video Designer Puppet Design & Fabrication Designer Simon Daw Basil Jones & Adrian Kohler for Lighting Designer Mark Henderson Lighting Designer Paule Constable Tours and Transfers Enda Walsh’s AWARDS Handspring Puppet Company Music Richard Sisson Sound Designer Rich Walsh Chatroom 2006 New York Theatre World Lighting Designer Paule Constable Sound Designer Colin Pink Associate Video Designer Paul Kenah Samuel Beckett’s and Mark Ravenhill’s Awards (for Outstanding Director of Movement Toby Sedgwick Video Director Ben Taylor Company Voice Work Kate Godfrey Happy Days Citizenship Broadway or off-Broadway debut Music Adrian Sutton Wyndham’s Theatre 8 January 2008 Children’s Casting Jessica Ronane had an international tour after its had an 8-week UK tour after performances) Songmaker John Tams Cottesloe 28 February Music Director Harvey Brough HAPPY NOW? run in the Lyttelton, visiting playing in the Cottesloe, visiting Xanthe Elbrick for Coram Boy Video Designers by Lucinda Coxon MAJOR BARBARA the Ancient Theatre of Epidaurus, Clwyd Theatr Cymru; Courtyard, 2007 Evening Standard Awards Leo Warner & Mark Grimmer Director Thea Sharrock by Bernard Shaw Greece; Salle Vilar, Chaillot West Yorkshire Playhouse, Leeds; for Fifty Nine Productions Ltd Designer Jonathan Fensom Director Nicholas Hytner Best Actress Anne-Marie Duff for Theatre, Paris, France; Matadero, Quays Theatre, The Lowry, Salford Saint Joan Sound Designer Christopher Shutt Lighting Designer Oliver Fenwick Set Designer Tom Pye Festival de Otoño, Madrid, Spain; Quays; Warwick Arts Centre; Associate Mervyn Millar Sound Designer Paul Arditti Costume Designer Vicki Mortimer Best Design Rae Smith and Company Voice Work Fight Director Terry King Lighting Designer Paul Pyant and Terrace Theater, Kennedy Sherman Theatre, Cardiff, Wales; Handspring Puppet Company for Kate Godfrey & Jeannette Nelson Company Voice Work Kate Godfrey Music Matthew Scott Center, Washington, USA Playhouse; Brighton War Horse Olivier 17 October Cottesloe 24 January Sound Designer Mike Walker between 24 August and 29 Theatre Royal; and Cambridge Arts in association with Handspring Puppet Company Company Voice & Dialect Work November 2007; before Theatre between 25 September 2007 Critics’ Circle Awards Sponsored by Accenture THE HOUR WE KNEW NOTHING Jeannette Nelson Best Actress Anne-Marie Duff for OF EACH OTHER Olivier 4 March transferring to the Harvey and 17 November 2007; before STATEMENT OF REGRET by Peter Handke Travelex £10 Tickets Lichtenstein Theater, Brooklyn touring internationally to the Hong Saint Joan by Kwame Kwei-Armah from a new translation by Academy of Music, New York, from Kong Arts Festival from 13 to 16 Best Designer Rae Smith and Director Jeremy Herrin Meredith Oakes NEVER SO GOOD 7 January to 2 February 2008 February 2008 playing at the Lyric Handspring Puppet Company for Designer Mike Britton Director James Macdonald by Howard Brenton War Horse Lighting Designer Natasha Chivers Associate Director Jonathan Burrows Director Howard Davies Theatre, Hong Kong Academy for Sound Designer Yvonne Gilbert Set Designer Hildegard Bechtler Designer Vicki Mortimer Alan Bennett’s Performing Arts 2007 South Bank Show Award Company Voice Work Jeannette Nelson Costume Designer Moritz Junge Lighting Designer Mark Henderson The History Boys for Theatre Cottesloe 14 November Lighting Designer Jean Kalman Music Dominic Muldowney was revived for a third tour of the Ayub Khan-Din’s Saint Joan by Bernard Shaw, Composer Mel Mercier Choreographer Lynne Page UK and Ireland, visiting Rafta, Rafta… WOMEN OF TROY Sound Designer Christopher Shutt Sound Designer Paul Arditti directed by Marianne Elliott Plymouth Theatre Royal; Hall based on All in Good Time by by Euripides Lyttelton 13 February Company Voice Work Jeannette Nelson 2008 Whatsonstage for Cornwall, Truro; Cheltenham Bill Naughton, was revived for a In a version by Don Taylor Sponsored by Accenture Lyttelton 26 March Theatregoers’ Choice Awards Director Sponsored by Accenture Everyman Theatre; Bath Theatre 7-week UK tour, visiting Best Solo Performance Fiona Set Designer Bunny Christie NT education Royal; Olympia Theatre, Dublin, Birmingham Rep Theatre; Lyric Costume Designer Vicki Mortimer Shaw for Happy Days A Midsummer Night’s Dream Ireland; Blackpool Grand Theatre; Theatre, Lowry, Salford Quays; Lighting Designers by William Shakespeare Dates given are normally those of Paule Constable & Jon Clark in a version by Carl Heap press nights Leeds Grand; Cambridge Arts Milton Keynes Theatre; and 2008 Movement & Choreography Director Carl Heap Theatre; Congress Theatre, St. George’s Hall, Bradford Best Revival Saint Joan Struan Leslie Co-designers Mirian Nabarro Eastbourne; and Newcastle between 31 January and 14 March Best New Comedy Rafta, Rafta… Sound Designer Gareth Fry & Milo Sanders Theatre Royal between 6 2008 Best Performance in a Supporting Music Simon Allen Music Joe Townsend Company Voice Work Kate Godfrey Choreographer Sian WIlliams September and 17 November Role for The Man of Lyttelton 28 November 19 February – 1 March 2007; before transferring to Mode Supported by The Ingram Trust and Wyndham’s Theatre in the West Best Set Design Rae Smith and The Goldsmiths’ Company End of London from 20 December Handspring Puppet Company for by William Shakespeare War Horse Director Nicholas Hytner 2007 to 26 April 2008 Set Designer Vicki Mortimer Best Costume Design Vicki Costume Designer Dinah Collin Mortimer for The Man of Mode Lighting Designer Mark Henderson Best Sound Design Saint Joan, Music Rachel Portman sound design by Paul Arditti with Choreographer Struan Leslie Sound Designer John Leonard music by Jocelyn Pook Company Voice Work Jeannette Nelson Best Theatre Choreographer Olivier 18 December Toby Sedgwick for War Horse Sponsored by Shell

16 National Theatre Annual Review 2007-08 17 acting company 2007-08

Ben Addis Gregg Chillin Natalie Grady Claire Lams Mark Addy Fiona Chivers Joseph Greenslade * Pieter Lawman Mike Aherne Adrian Christopher Shiv Grewal Dominic Lawton Kal Aise Eke Chukwu Tamzin Griffin Craig Leo Arsher Ali Rachel Clarke Jessica Gunning Rachel Leonard James Alper Judith Coke Mark Hadfield Petra Letang Paul Anderson Olivette Cole-Wilson Colin Haigh Tim Lewis Tom Andrews Oluyemi Cole-Wilson * Amy Hall Candassaie Liburd Dorothy Atkinson Pandora Colin Daniel Harcourt Polly Lister Christopher Colquhoun Terrence Hardiman Brooks Livermore Jamie Ballard Rebecca Cooper Stephen Harper Henry Lloyd-Hughes Jaimi Barbakoff Angel Coulby Daniel Hawksford Robert Luckay Alice Barclay Alasdair Craig James Hayes Nicholas Lumley Stu Barker Sam Crane Pippa Haywood Tommy Luther Dwayne Barnaby Jonathan Cullen Sarah Head Helena Lymbery Jason Barnett Marcus Cunningham John Heffernan Finbar Lynch James Barriscale Niamh Cusack Carla Henry Rob Macpherson * Jonathan Battersby Sorcha Cusack Madeleine Herrington Nick Malinowski Simon Russell Beale Claire Daly * Rendah Heywood Apaiketuya Marchant * Hollie Beasley-Garrigan * Edward Davenport Tom Hickey Simon Markey Duncan Bell Clare Higgins John Marquez Sophie Benjamin Richard Dempsey Ruby Bentall Rudi Dharmalingam Anastasia Hille Henry Martin * Leo Bill Shereen Martineau Ian Bonar Callum Dixon Mark Holgate Sinead Matthews Mark Bonnar Kriss Dosanjh Esther McAuley * Lindsey Bourne * Patrick Drury Clare Holman Maggie McCarthy Jamie Bradley Kate Duchene Richard Hope Colin McFarlane Gary Brashier * Anne-Marie Duff Derek Howard Penelope McGhie Susan Brown Noma Dumezweni Sarah Hynds * Mairead McKinley Marcel Bruneau * Avril Elgar Stuart McLoughlin Jonathan Bryan Laura Elphinstone Stephanie Jacob Ian McNeice Simon Bubb Susan Engel Elizabeth James * Stuart McQuarrie Ian Burfield Steven Farah * Oscar James Charlotte Melia Katharine Burford Daniel Fearn Simone James Pamela Merrick John Burgess Meryl Fernandes Thusitha Jayasundera Louise Metcalfe * Clare Burt Jonathan Jaynes Mervyn Millar Jessie Burton Beth Fitzgerald Ronny Jhutti Michelle Miller * Saskia Butler Keiran Flynn Craig Johnson Justine Mitchell Gabriel Butler-Lewis * Peter Forbes Sioned Jones Stephen Moore Finn Caldwell Paterson Joseph Owen Morse * Anthony Calf Claire Foy Emily Joyce Emily Mytton Calum Callaghan Tim Frances Pete Judge Simon Nagra Michael Camp Clive Francis Anne Kavanagh Akemnji Ndifornyen Dan Canham Natalie Gardner * Stephen Kennedy Ray Newe Nancy Carroll Pooja Ghai Gareth Kennerley Anna Nightingale Pip Carter Rokhsaneh Ghawam- Shaheen Khan Danny Nutt Anna Carteret Shahidi Andrew Kingston * Rex Obano Ray Cezan * Adam Gillen Rory Kinnear Brendan O’Hea Martin Chamberlain Troy Glasgow Barbara Kirby Chike Okonkwo Anna Chancellor Debbie Korley Toby Olie Nicole Charles Yemi Goodman-Ajibade Max Krupski * Chu Omambala William R. Charlton * Thomas Goodridge Martina Laird William Osborne Paul Chequer Jack Gordon Trevor Laird Gisli Orn Gardarsson Paul Chesterton Michael Gould Larry Lamb Peter Pacey

18 National Theatre Annual Review 2006-072007-08 19 show musicians NT education and training

Sophie Parrott * Michelle Tate Oroh Angiama NT Education provides opportunities for children, February 2008 saw the culmination of a three- Harish Patel Jonathan Taylor Richard Ashton young people, adults and teachers to extend their year programme for young asylum-seekers in the Trevor Peacock Ashley Taylor-Rhys Neyire Ashworth Tessa Peake-Jones Giles Terera Stu Barker knowledge and understanding of the elements and production of Philip Ridley’s specially commissioned Gary Pillai Ellen Thomas Steve Bentley-Klein processes of making theatre and explore their own play Feathers in the Snow, which enabled participants Daniel Poyser Michael Thomas Thomas Bowles creativity at the same time. Projects, workshops, to explore issues of identity and acceptance while Javone Prince Rosie Thomson Penny Bradshaw performances and courses take place around the developing a creative and social network with other Charlotte Pyke Paul Thornley Harvey Brough country in various education and community settings young South Londoners. Harriette Quarrie Jason Thorpe Alan Brown George Rainsford Alex Tilouche * Rachel Brown in an effort to encourage a broad and diverse range We also collaborated with Bamboozle Theatre Lucy Randall * Harry Towb Andy Callard of people to access the amazing skills, resources and Company on several residencies in special schools in Paul Ready Stanley Townsend Fiona Clifton-Welker artistry of our organization. Anne Reid Susie Trayling Andy Cole London which took the themes and story of War Horse Alistair Reith * Susi Evans Highlights of our 2007-08 Primary Schools as a creative starting point for students’ own artistic Claudia Renton Tim Van Eyken Martin France programme included a successful Shakespeare tour development. Students were able to work and interact Julian Rhind-Tutt Alex Vann Gareth Hanson of A Midsummer Night’s Dream that went into 42 with the actors and puppets from the production on Jenne Rhys-Williams * Zubin Varla Simon Haram schools, reaching 6,700 children, as well as the Word the Olivier stage. Leroy Ricardo-Jones Michael Vince Timothy Harries Joy Richardson Julian Wadham Richard Hart Alive! annual storytelling project, with performances 2007-08 was a period of great change, both in the Roger Ringrose Ross Waiton Michael Haslam in the Olivier theatre and supporting workshops and re-defining of NT Education’s work and role within Paul Ritter Agatha Walcott * Andrea Hess INSET for teachers in schools. Charlotte Roach Zoe Wanamaker Paul Higgs the National Theatre, and in the re-structuring of the Carol Robb * Howard Ward Tracy Holloway Our Secondary Schools programme enables teachers department. The impact of this change and growth Ella Robson Guilfoyle * Niky Wardley Japjit Kaur and students to discover more about the repertoire, are due to be felt more strongly as the year 2008 Ashley Rolfe Don Warrington Irita Kutchmy the practitioners who create and produce it and the progresses when we celebrate these ideas as part of Dominic Rowan Jason Watkins Dominic Lawton skills they use, through high-quality creative learning our launch when we become Jonah Russell Steven Webb Monica McCarron Adrian Salmon * Mark Weinman * Kelly McCusker projects. These included our New Views project, Ryan Sampson Nicola Welburn * Magnus Mehta which explored Statement of Regret and Chatroom/ Clifford Samuel Julia West Rod Melvin Citizenship as well as a curriculum-focused look at Joe Sanders * Archie Whyld * Laura Moody Much Ado About Nothing. Winston Sarpong Alan Williams Edward Neuhauser Adrian Schiller Andy Williams Oginga Osaze Our work for young people included New Connections, Toby Sedgwick Melanie Pappenheim with 7,305 11-19-year-olds around the UK producing Amit Shah Lia Williams Colin Rae Pooja Shah Olivia Williams Sudeep Rao and performing original productions of specially Richard Shanks Ruth Wilson Manjeet Singh Rasiya commissioned plays from writers including Roy Naomi Sheldon * Simon Wilson Clara Sanabras Williams and Dennis Kelly. This year, thanks to the Mike Shepherd Terence Wilton David Shrubsole vision of Bank of America, we have begun work on a Steve John Shepherd Lizzie Winkler Belinda Sykes new strand within the project that encourages young Kellie Shirley Claire Winsper Shaun Thompson Marlene Sidaway Andrew Woodall Alex Vann people to develop and write their own 20-minute play Rebecca Skelton * Kirsty Woodward Michael Vince that will provoke a debate after each performance in Hugh Skinner Sarah Woodward Robert Workman our festival of youth theatre at the NT this summer. Corinne Skinner Carter Matthew Woodyatt Theatre of Debate is a partnership with The Prince’s Amy Smith * Henry Woolf Benjamin Smith Angus Wright Trust, Fairbridge and Barnardos. Janet Spencer-Turner Tristram Wymark Our digital Education site Stagework saw the Jessica Stanley * Rupert Young development of new content and features on Much Lorraine Stewart * = supernumeraries Sara Stewart Ado About Nothing, Women of Troy, Caucasian Chalk Hannah Stokely Circle and Rhinoceros (the last in association with the Tristan Sturrock Royal Court). Meera Syal

20 National Theatre Annual Review 2007-08 21 platforms watch this space

Platforms is an eclectic programme of events The National’s outdoor summer festival of theatre, taking place across the National’s three auditoriums music, film and spectacle began with a weekend before the main shows. In 2008, the series included of cycling events to celebrate the arrival of the Tour appearances by Alan Bennett, Jeanette Winterson, de France in London – The Bicycle Ballet featured a Lynne Truss, Sue Townsend, Peter Nichols at 80, John number of staff members on their bikes in the corps- Mortimer, Michael Billington, Miriam Karlin, Germaine de-ballet. A water and pyrotechnic finale provided Greer, on a decade of Closer, Oliver the climax of Storm Bringer, a truncated version of Ford Davies on Shakespeare, John Barrowman, by British company Avanti Display. The David Attenborough, Michael Holroyd on Shaw, Polish company Teatr Biuro Podróży premiered their Claire Tomalin, and Kathleen Turner. The phenomenal adaptation of Joseph Conrad’s Heart of Darkness. The success of War Horse was marked by six Platforms National hosted its first ever Bingo Night with retired including Michael Morpurgo (twice), Handspring music hall artiste Ida Barr calling the numbers and Puppet Company on the process of creating Joey, and leading the hokey-kokey. Ragroof Theatre delighted a First World War poetry reading. audiences with their lively history of social dance, Addictive TV whipped up a storm with their cool Michael Pennington gave us a personal perspective audiovisual VJ set on the flytower and the Bollywood on Shakespeare in his one-man show, Sweet William; Dream Dancers delighted the crowds in their spangled the Polish company Teatr Biuro Podróży reflected on bikinis. All-female acrobatic company Mimbre the premiere of their version of Heart of Darkness; performed their brand new show, The Bridge, in the Christopher Biggins celebrated the unique talent Square overlooked by the source of their inspiration, of Les Dawson; the cast of Present Laughter read a Waterloo Bridge aka the Ladies’ Bridge. The Whalley selection of Coward’s letters; Ian Hislop and friends Range All Stars enchanted with an animated compost shared An Evening with Private Eye; On Valentine’s heap and Periplum took the audience on a medieval Day, Celia Johnson’s daughter Lucy Fleming walkabout for their fire and stilt spectacular, Arquiem. discussed her mother’s most romantic role, in Brief Encounter – followed by a free screening of the film on Musical highlights included Cuban salsa from the the fly tower; and Simon Russell Beale performed a Sugar Kings, Ballroom night with The Jay Craig beautiful and moving selection from AE Housman’s Orchestra, veteran Egyptian rhythms from El Tanbura A Shropshire Lad. and the scintillating Sicilian Nakaira.

Playreadings included and Harriet The National co-commissioned new productions by Walter in Coward’s Still Life (complete with UK companies Mimbre, Periplum, The World Famous, Banbury cakes) and Jennings again in Coward’s Stickleback Plasticus and Bash Street Theatre. The Astonished Heart with Nancy Carroll and Kate Duchêne. Conflicts and Confrontations was a series Despite miserable weather, the festival soldiered on of five contemporary plays from Israel, presented in through a flooded Theatre Square to produce over 150 a collaboration with the Habimah National Theatre of events. Israel. Guests for the ‘In Conversation’ summer series were Zoë Wanamaker, Stephen Moore, Anne-Marie Watch This Space 2007 was supported by the Duff and Paterson Joseph. In the annual Theatre Quiz, European Commission Representation in the UK, the Present Laughter beat a team from War Horse, with Polish Cultural Institute, and The London Paper. Emma Freud asking the questions and some very ‘creative’ scoring by Kwame Kwei-Armah.

22 National Theatre Annual Review 2007-08 23 exhibitions foyer music publications

This year’s free exhibitions, in the NT’s foyers and There were 320 free concerts, of which 43 were given Publications support and add background to the NT outside, were: Reality and dreams: The Unilever by new bands and soloists. As in recent years, a host and the productions in its repertoire. Programmes International Schools Art Project; RFK Funeral Train – of new and established talent from the UK and around for the 23 new and visiting productions this year Photographs by Paul Fusco; AS SEEN ON….Recent the world appeared on Concert Pitch. included specially commissioned articles from Works by Huntley Muir; The World Can’t Wait (an historians Robert Service, Christopher Lee, John exhibition held in Theatre Square by Oxfam); The Press To name but a few… 20-something English folk duo Stokes and Hew Strachan; dramatists Joe Penhall, Photographer’s Year; Time and Mr Wolf: Stories and The Askew Sisters highlighted the resurgence of this Matt Charman, Andew Upton, and Samuel Adamson; Paintings by Jones; Safari: Photographs by Gabriele genre among the young, with country folk singer- social commentators Lisa Appignanesi, Joy Leary, Stabile; Unfamiliar Thames: Photographs by Ianthe songwriter Callaghan, pop-folk Cara Winter and all- Philip Hensher and Gary Younge; biographers Victoria Ruthven; Take A View – Landscape Photographer of female Welsh group Forestbrook. Clara Sanabras Glendinning and Christopher Bigsby; film writer David the Year; Deutsche Bank Pyramid Awards Exhibition; (who also appeared in Much Ado About Nothing) Thomson; and other experts, including Oliver Taplin, Dazzle; The Linbury Biennial prize for Theatre brought her Catalan-tinged music and band; The Peter Holland, and Roy Hattersley. Design Exhibition 2007; Arts Spaces of the Future Germaniaxx stunned the audience with saucy-but- (an architectural exhibition organised by RIBA); fun fully costumed German cabaret songs; and the The National’s programmes for The History Boys Star Quality – Aspects of Noel Coward; and Island: Witches of Elswick amused with twisted tales from the and Rafta, Rafta… were sold on tour. In collaboration paintings by Ian Humphreys, Monica Boyle, and John English Traditional songbook. Brixtonian Errol Linton with NT Education, the magazine StageWrite and Simpson. brought his brand of South London Blues and Reggae; background packs and on-line material were produced Irish Lily Neill beautifully played her funky harp to support most of the productions in the repertoire. In May, the Lyttelton fly tower was the site for an music; Mediva from Switzerland and Italy re-enacted installation by Dan Harvey and Heather Ackroyd, Medieval music on period instruments; and Taeko Two new books were published this year with Oberon entitled FlyTower. Grass was seeded on the north and Kunishima on piano with Clive Bell on shakuhachi Books: The Horse’s Mouth by Mervyn Millar and western faces and grew to create a seamless covering intrigued with a blend of jazz and meditative sounds Actors Speaking. As a puppeteer and member of of vertical lawn. At the same time, two Antony Gormley of Japanese Buddhism. Cuban Leo Duany Y Su the cast of War Horse, Millar was able to provide a figures were placed on the higher terraces of the Cuarteto charmed with salsa and son; the Ensemble unique insight into the production. Actors Speaking Olivier as part of the Event Horizon installation around Criollo from Venezuela and Colombia entranced with comprises transcripts of conversations recorded from the South Bank. South-American folk rhythms played on harp, cuatro the NT Studio in the 1980s with leading actors of the guitar and percussion; Jandira Silva was admired for day, introduced by . A new complete history her authentic Brazilian repertoire; and Matices Latinos of the National Theatre, by Daniel Rosenthal, is being made them all dance to salsa, lambada and merengue prepared for publication in 2009 by Oberon. at the New Year’s Eve Party. All NT Publications are on sale at the NT Bookshop.

24 National Theatre Annual Review 2007-08 25 NT studio

As anyone who has ever moved into a new home Oswald, Drew Pautz, Michael Punter, Dan Rebellato, knows, the moment you are given the keys is Ali Taylor, Toby Satterthwaite and Antony Weigh. The tremendously exciting – it’s literally opening a door recipient of the Cohen Bursary for a Trainee Director to the future. Just so for the Studio, which moved was Suba Das, and the Bullodog Prinsep Theatrical back into its newly-refurbished building on The Cut Fund Bursary was shared by Amelia Sears and in November 2007. Haworth Tompkins’ sensitive Cressida Brown. Matt Charman was the Studio’s re-imagining of the building preserves all the best- Writer in Residence, supported by the Pearson loved elements of the Studio’s heritage, and yet the Playwrights’ Scheme, sponsored by Pearson plc. building now offers three modern workshop spaces for project development, and a greatly extended capacity The new Studio is dedicated to the memory of Max to house artists who are working on new ideas. Rayne, NT Chairman from 1971 to 1988. Shortly after the re-opening, the Studio appointed an Associate, who has taken on responsibility for the selection and management of the National’s Staff Directors, and whose role finally brings all the strands of the NT’s work with emerging directors together under one roof.

The Studio both supports the repertoire of the NT and seeks to bring on the theatre talent of the future. This year, the Studio contributed to the realisation of The Revenger’s Tragedy directed by Melly Still, Statement of Regret by Kwame Kwei-Armah, Katie Mitchell’s productions of Women of Troy and Some Trace of Her, and Happy Now? by Lucinda Coxon, and is continuing to develop a number of new plays and musical projects that will be announced in the coming year. At the same time, the Studio was able to support projects outside the work of the NT, including England (Tim Crouch), Ravenhill for Breakfast (Traverse Theatre & Paines Plough), 2000 Feet Away by Antony Weigh (), Stockholm by Bryony Lavery (Frantic Assembly), and new and ongoing projects by Jasmin Vardimon Dance Company, Toby Clarke, Deborah Hay, Jonathan Munby, Joy Wilkinson, Helen Eastman, James Kerr and others.

During 2007-08 the following artists joined the Studio on attachment: Lydia Adetunji, Gurpreet Bhatti, Serdar Bilis, Toby Clarke, Adam Cross, John Donnelly, Ben Ellis, Elizabeth Freestone, George Gotts, Meng Jing Hui, Elfyn Jones, Shon Dale Jones, Kirsty Housley, Charlotte Keatley, Oni Faida Lampley, Deborah McAndrew, Kirsty Mackay, Dan Muirden, Peter

26 National Theatre Annual Review 2007-08 27 NT archive development and fundraising

The archive exists to provide access to materials Education work The National Theatre’s income from ticket sales, who, in addition to funding, give us their expertise and/ documenting the history of the National Theatre for The incorporation of education and accessible trading and public funding covers only a portion of the or their product in kind. The long term partnerships staff, academics and the public. The collection covers archive facilities within the Studio has created new annual expenditure associated with the range of the we have been fortunate to have forged continue to the period from the inception of the company in 1963 opportunities for the archive to feed into the Theatre’s National’s activities. Our work can only be fulfilled with prove highly successful, notably with Travelex, for the to the present day but our collections also stretch back educational programming. We are keen to promote additional support from individuals, companies, trusts Travelex £10 season; with Accenture, as our partners to the late 19th century to document the movement the collection as a source of creative stimulus: every and foundations. for innovation; and with Shell, for our Classic Series to found a national theatre. The Archive staff conduct day, theatre practitioners developing new work at the of plays. In sponsoring Present Laughter, KPMG have cataloguing and preservation work, provide a Studio explore and reflect on material in the collection. In 2007-08 the Development team raised just under supported five productions over a period of eight public enquiry and photographic library service, run The continued success of our teaching the archive- £5m in annual income. In real terms, without the years. the Archive research room, the National’s filming based module for Theatre Production students at income from the fundraising gala held every second programme and podcast service. South Bank University has led us to develop new year, this was a modest increase on the previous This year Philips, in phase one of our new partnership, university links and formal programmes for university twelve months. have generously helped us to replace our exterior Major Projects and school students. We expect to develop new lighting with low-energy lamps. This has both During 2007-08 two major projects dominated the research partnerships with a number of universities In addition, a grant of £50,000 was received from the enhanced the lighting of our building and significantly work of the archive: moving the collection to its new throughout 2008. City Bridge Trust towards disabled access at the NT reduced our energy costs. Also, home at the NT Studio and developing an innovative Studio, which successfully completed the capital newspaper and the Sky Arts channel became media digital archive service. Working closely with the The Collection campaign to refurbish this building. The NT Studio and broadcast sponsors respectively for the Travelex architects Haworth Tomkins over three years we Video recordings continue to be the most requested re-opened its doors in November 2007, on time and on season. In support of NT Education, Bank of America have gained, in the refurbishment of the NT Studio, items in the collection; the growing demand is budget. have generously become our partner for New attractive research and screening areas and a state-of- satisfied by the high quality recording of our 3-camera Connections, our largest programme with national the-art home for our historic and growing collections. filming system and the ease of access allowed by Trusts and Foundations again supported a very wide reach; JPMorgan sponsored New Views; and BT have The second of these projects was the development of the NTDA carrels. We plan to add to this growing range of projects at the National Theatre with grants for a second year supported Stagework. the National Theatre Digital Archive (NTDA), a gateway resource of video and audio (productions and of £600,000. The PACCAR Foundation supported the to access the National’s rich archive collections in Platforms) by reaching further back into the archive, refurbishment of a rehearsal room; The Ingram Trust The encouragement and financial support received digitised form. Available to the public since opening with new digitisation programmes covering our huge continued their support of our education work through this year have been vitally important to the NT and we in January, this on-demand service is available to photographic archive, manuscript collections and a tour of A Midsummer Night’s Dream to primary would like to express our gratitude to the many people everyone, free of charge, for both scholarly research more design and textual material. Following our schools; and the Jack Petchey Foundation supported and organisations that have helped us by recognising and entertainment. The public can sit at workstation discussions with designers we have vastly increased our work with special needs students around War them in the following pages. Their aid is invaluable terminals in the archive and watch and listen to any our collection of set models. Horse. The John S Cohen Foundation reached its and we are immensely grateful for their continuing one (or more) of hundreds of different NT production thirteenth year of support for directors’ bursaries at the commitment and the way in which they enable and and Platform recordings. Grateful thanks to The Foyle Foundation and to all the NT Studio. enrich our work. Archive’s funders and volunteers. Archive Visitors Support from individuals totalled close to £2m, which Moving a large archive collection en bloc is a careful, is due both to a number of significant leadership gifts slow business and entailed a necessary disruption and to increasing memberships at all levels. We are to our public services; despite a closure period, we delighted for instance, that Priority membership (£65 received over 1,000 visitors throughout 2007-08. per year) is now at a five-year high of 5,856 members, Since opening our new facilities we have run regular thanks to strong programming and a growth in new The NT is a member of public screenings of NT shows, debates, conferences, acquisition, with 370 new members. At the same time courses and tours. The NT Archive is also now home to we have welcomed 22 members to the new Olivier a number of theatre societies, including the Society for Circle membership level (£10,000 per year). Theatre Research and the Henry Irving Society. This year corporate financial support amounted to £2.4m and increasingly we are working with partners

28 National Theatre Annual Review 2007-08 29 development supporters

SUPPORTING CAST Dr David Cohen CBE Mr and Mrs Jack Keenan Sir Ronald and Lady Cohen Mathilda and Terence Kennedy Olivier Circle Veronica Cohen Charitable Trust Anonymous Ian and Caroline Cormack Gillian and Vimal Khosla Jeffrey Archer Sidney and Elizabeth Corob Mark J. and Elizabeth L. Kogan Tony and Gisela Bloom Lin and Ken Craig and the Aloisia Charitable Fund Keith and Helen Bolderson Hofmann Charitable Trust Bruce and Suzie Kovner Mrs Judith Bollinger Mr Peter Cundill The Kreitman Foundation Neil and Sarah Brener Lord Dalmeny The Mark Krueger Charitable Fund James and Debby Brice David Day Jon and Mary Leadbetter Russ and Linda Carr Jose and David Dent Kenneth and Melissa Leet Sir Trevor and Lady Chinn Sir Harry and Lady Djanogly Mr A Lenson Sir Ronald and Lady Cohen Edward Dolan-Abrahams Lady Lever Ian and Caroline Cormack Justin and Emma Dowley Sir Stuart and Lady Lipton Sarah and Lloyd Dorfman James and Elizabeth Downing Thomas Lynch Glenn and Phyllida Earle Dame Vivien Duffield DBE Justin and Jill Manson Jane M and Howard D Epstein Robyn Durie Selina and David Marks Mr and Mrs Jack Keenan David Dutton Judy Marshall Edward McKinley and Kathleen Lavidge Glenn and Phyllida Earle Edward McKinley and Kathleen Lavidge Jon and NoraLee Sedmak Mrs T S Eliot Patrick Mears Clive and Sally Sherling Ambassador and Mrs Edward E. Elson Mirisch and Lebenheim Edgar and Judith Wallner Jane M and Howard D Epstein Charitable Foundation Guy and Charlotte Weston Mr Joey Esfandi Carol Mitchell John and Jill Fairchild Mr Miles Morland Major Individual Supporters John and Tawna Farmer Debbie Morris The Estate of Andre Deutsch Maureen and Allan Fisher Mr and Mrs George Newell Sir Harry and Lady Djanogly Lawton W Fitt and James I McLaren Mr and Mrs Jim Nicol John and Jill Fairchild Foundation Robert and Jane Norbury Dr and Mrs Alan J Horan Emily and Alex Fletcher Georgia Oetker Ruth and Stuart Lipton Daniel and Joanna Friel Gregory and Susan Palm The Estate of Miss Irene Worth CBE Jacqueline and Michael Gee Simon and Carolyn Parker Bowles Charitable Trust Barrie and Catherine Pearson Life Benefactors Jill and Jack Gerber Elizabeth and Daniel Peltz Anonymous Mrs Juliet Gibbs Mark Pigott OBE Eric Abraham and Sigrid Rausing Beth and Gary Glynn The David and Elaine Potter Access Industries Michael Godbee Charitable Foundation Irwin and Mary Ackerman Lydia and Manfred Gorvy Nyda and Oliver Prenn Jonathan and Marie-Claire Agnew Nick and Julie Gould Quercus Trust Basil Alkazzi Michael Grade CBE Sue and David Ramsbotham Jeffrey Archer Mrs Catherine Graham Mr H K Rausing Celia and Edward Atkin David R Graham Stephen and Monica Richardson Royce and Rotha Bell Evelyn and David Green Mr and Mrs Simon Robertson Ron Beller and Jennifer Moses Gabrielle, Lady Greenbury Ruth Robinson Jody Locker Berger Jill Hackel and Andrzej Zarzycki Mr Gordon and Dame Anita Roddick Tony and Gisela Bloom Katherine Hallgarten Samantha and Justine Roddick Keith and Helen Bolderson Dr Martin Halusa Bianca and Stuart Roden Benjamin Bonas The Philip and Pauline Harris Jeffrey A and Marjorie G Rosen Ms Katie Bradford Charitable Trust Michael Rose and Roz Rosenblatt Ivor Braka Ltd Susan and Richard Hayden The Audrey Sacher Charitable Trust Neil and Sarah Brener Morven and Michael Heller Dr Mortimer and Theresa Sackler James and Debby Brice The Hintze Family Charitable Foundation Anya and John Sainsbury Jonathan and Clare Brooks David Hobbs The Hon Simon Sainsbury Russ and Linda Carr Dr and Mrs Alan J Horan Yusuf and Fawzia Samad Camilla Cazalet Clare and Bernard Horn Jon and NoraLee Sedmak Terri and Timothy Childs Nita Jackson Mrs Carol Sellars Sir Trevor and Lady Chinn Lord and Lady Jacobs Sir Patrick Sergeant Janet M Christensen Joseph and Jill Karaviotis Miss Dasha Shenkman

30 National Theatre Annual Review 2007-08 31 Mr and Mrs William Shenkman Meg Addison and Irwin Charles Ferry Hilary and Rupert Evenett Patricia and Jerome Karet Mrs Katherine Palmer The Swan Trust Clive and Sally Sherling James Andrew International Mr and Mrs Thomas J. Eyerman David Kaskel and Christopher Teano Tim Parker Robert and Patricia Swannell The Shubert Organization Edward and Elissa Annunziato Mr Nicholas Ferguson John and Jenny Kelly Michael and Mary Parkinson Annie Sweetbaum Lois Sieff OBE James Astor Mr Joseph A Field David Killick Carolyn and David Pascall CBE Carl and Martha Tack Rita and Paul Skinner John Atanaskovic Ralph Fields John Kinder Nick Perry Lady Juliet Tadgell Jay and Deanie Stein Attias Family Foundation Mrs Joyce Fine Thomas and Alice King Sara and Paul Phillips Bernard and Nadine Taylor Joan Steinberg John Ayton Mrs Hilary Finer Philip Kingsley Mr David Pike Ms Britt Tidelius Hugh and Catherine Stevenson Mrs V Balfour-Lynn Ms Susan Fischgrund Mrs Frances Kirsh Pauline Pinder Henry Timnick Leila and Mickey Straus R Derek and Bonnie Bandeen Claire Fisher Bill and Stephanie Knight Anne and Barry Pinson Thomas Tuft Mr John J Studzinski Mr and Mrs Lawrence Banks Tony Fisher The Kowitz Family Foundation Peggy and John Pirovano Christopher and Julia Tugendhat Mr Ian Taylor John Barker Mr and Mrs Mortimer Fleishhacker Herbert Kretzmer Mr Graham Pitcher Gareth & Elisabeth Turner Mr Eric Tomsett Anne J Barsh Mr Paul Fletcher Mr and Mrs T Krumland William Plapinger and Cassie Murray Mrs Margaret KB Turner Jan and Michael Topham Stephen Bartlett Susan Fletcher Elliott F. Kulick The Porter Foundation Marina Vaizey Jonathan Tyler Peter Bazalgette The Gerald Fogel Charitable Trust Steven Larcombe and Sonya Leyd Pat and John Porter Mrs Diana Venison Mr and Mrs Max Ulfane Mrs Arlene Beare Mr Roger M Formby Mr D M Lass Simone Prendergast Charity Trust Ed & Carol Victor The Ury Trust Mr Ernest G Beaumont Tim Fosberry Abby & Mitch Leigh Mrs Marie Prutton Christopher Wade Edgar and Judith Wallner James & Caroline Beery The Edwin Fox Foundation J Leon and Co Ltd Mr Michael Rangos Eric and Katharina Walters Ian and Victoria Watson J. & A. Bénard Claire and William Frankel Mr and Mrs B Lesslie George and Karen Rathman Simon and Charlotte Warshaw Jeffrey and Susan Weingarten Phil and Lisa Bennett Ron and Helen Freeman Colette and Peter Levy Anthony & Ann Regan Denie and Frank Weil Mrs Mary Weston Peter Bennett-Jones Adam and Victoria Freudenheim Roger and Vivien Lewis Gail, Robert and Ian Reichert Mary Willett Peter Wiegand Sam and Rosie Berwick Robert and Pirjo Gardiner Sir Gavin and Dr Naomi Lightman Mr Charles Rifkind Ann Williams Rachel and Anthony Williams Dr and Mrs R David Bloomberg Jacqueline and Jonathan Gestetner Jeanne Linnes Caroline Roboh Peter Williams The Stuart and Hilary Williams John & Jean Botts The Hon PN Gibson’s Charity Trust Sam and Pam Lipfriend Mr David Rocklin Marilyn & Geoffrey Wilson Foundation Lady Brown Hon William and Lori Gibson Jane E Livesey Mr and Mrs Roeder Henry & Louise Windeler Cohen Sir Robert and Lady Wilson Mr and Mrs L.L. Browning, Jr Hon Clive and Mrs Gibson Miss Sophie Lobel Mr and Mrs Kenneth Rokison Winckworth Sherwood Peter Wolff Robert & Kathleen Burke Mrs M C Godwin Graham and Eileen Lockwood Sue & Tony Rosner Wendy Wolstoncroft Monica G-S and Ali E. Wambold John and Susan Burns Mr Richard Goldbach Victor and Marilyn Lownes Mr P M Roth David & Vivienne Woolf Dr and Mrs Gerald Woolfson Mr Philip Buscombe Mr Bruce Golden and Ms Michell Mercer John and Celine Lowrey Mr and Mrs P G Rous Della Worms & Fred S Worms, OBE Caroline Butt Margaret & Arthur Grandy Mrs Felicity Lyons Mr David Royds David Wynne Benefactors Martin Byman and Margaret Samson Mr & Mrs Edward Greene Alistair Mackinnon-Musson Kenneth and Angela Rubens Tim Yetman Anonymous Sandra Carlisle Mrs Celia Greig Sally & Donald Main Anthony Rudd Jonathan Yudkin William G Bardel Douglas and Joan Carter John and Ann Grieves Dr John H. Makin and Ms Gwendolyn Jill and Paul Ruddock Stephen and Laura Zimmerman Mr and Mrs Michael Bienes Sir Peter and Lady Cazalet Richard and Odile Grogan van Paasschen Mr William Russell Alison and David Blood Jason and Belinda Chaffer Byron Grote and Susan Miller Ms Claudine B Malone William and Julie Ryan The National Theatre is also grateful Christopher and Jane Carter Jim and Sue Cielinski Don and Sue Guiney Dr Anna Mann John & Jeremy Sacher Charitable Trust for the support of our Supporting Cast Christine Collins Mrs Denise Cohen Mrs Christina Gyllenhammar Paula & Paul Marber Anthony & Sally Salz and Priority Members Carl and Nancy Cooper Geoffrey Collens Mr Alexander Hackel Marina and William Marcoux Enid Sandelson Douglas S. Cramer Mr and Mrs Paul Collins Andrew and Alex Haining David M Marks Ruth & Brian Sandelson New Drama Circle Ralph I Goldenberg Mr and Mrs G L Collins Mrs Themy Victoria Mather Victor and Bernice Sandelson Debby and James Brice Ramy & Smadar Goldstein Ms V I Comba Mark and Moira Hamlin Deryck & Va Maughan Mr Robert Sansom and Ms Edith Eligator Neil and Sarah Brener Richard and Marcia Grand Carole and Neville Conrad Susan & Rex Harbour Nancy McHugh Dr Joseph Sassoon Russ and Linda Carr Mrs Sue Hammerson OBE Kay Ellen Consolver Richard Hardman Brenda Meldrum David and Marilyn Sayell Camilla Cazalet Richard H Harding Mary Cronson Dean Hargrove David and Wendy Meller Michael Sayers, QC Ian and Caroline Cormack Madeleine Hodgkin Ricki and Robert Conway Pamela, Lady Harlech David and Elizabeth Miles Mr and Mrs Richard J Schwartz David Dutton Carlo Kapp Stephen & Marion Cox Mr Samuel A Haubold Mr Ian Mill Rod & Sarah Selkirk Clare and Bernard Horn Mr and Mrs Adrian Knight Dr Neil Cross Malcolm Herring Barbara Minto Louisa Service Mr and Mrs Jack Keenan Doris Lessing Sheila Cross The Lady Heseltine Mark and Carolyn Mishon Ellen and Dan Shapiro Edward McKinley and Kathleen Lavidge Kathy and David Maister Mr T A R Curran Mrs D P Hiddleston Derek Mitchell Mr Robert A Silver Mr and Mrs George Newell Stephanie and Carter McClelland Deborah David and Norman Kurla Barbara and Gerald Hines The Lowy Mitchell Foundation Caroline and Gordon Sim Oliver Prenn Lord Browne of Madingley Mr & Mrs Jonathan Davie Mr A Michael Hoffman G Modiano Mr & Mrs S Simpson Leopold de Rothschild Mrs Sylvia Scheuer The de Laszlo Foundation David R Hogg Dr Donald Moir David and Alison Slade Dasha Shenkman Patricia and David Smalley Mrs Anne De Pinna Professor and Mrs Hollis Barbara Morgan Mrs Kate Sloane Clive and Sally Sherling Helen and Anthony Spiro Conrad Dehn, QC Angela Howard and David Gestetner Mr and Mrs M D Moross Mr & Mrs David T. Smith Rita Skinner Mr & Mrs Charles Stonehill Beth Rudin DeWoody Liz & Peter Huhne Sarah Morris F G B Smith Edgar and Judith Wallner Deryck L Thornley Cynthia Diacre John D Hyatt Pat Morton Tessa Smith Jeffrey and Susan Weingarten Mary Wallach Prof C John Dickinson Robin and Inge Hyman Gerald Moss Janna Spark and Iko Meshoulam Peter Wolff Steven & Bonnie Ward Cory and Bob Donnalley C.FDN Derek and Anne Jenkins Dr and Mrs Julian Muir Mr and Mrs Don Starr George and Patricia White Mr Glen Donovan Harold and Valerie Joels Michael and Mimi Naughton Fred Stein Mr David Malcolm Eagar Maxine Isaacs and James A John Stanley Newman Judy and David Stewart Patrons Arnold and Greta Edward Robert and Sherry Johnson Andrew and Sue Nichols Oliver & Sally Stocken Anonymous Peter and Barbara Elliston Don and Kay Jones Philip Noel Olive and Michael Stone Mr and Mrs G Aaronson Don Ellwood and Sandra Johnigan Nicholas Josefowitz Ian Norrie Mrs Su Stone Brian Abbs Sarah & Louis Elson Annette Atkins and Thomas Joyce Maria O’Donoghue Sue and Stuart Stradling Barbara and Joe Abensur Mrs Maureen Elton Paul Kafka Mrs L Orge Andrew and Laura Sukawaty Mark and Amanda Otway Sir John and Lady Sunderland Midge and Simon Palley Mrs David Susman

32 National Theatre Annual Review 2007-08 33 CORPORATE MEMBERS Investec The Sobell Foundation ITV plc The Topinambour Trust Partners The John S Cohen Foundation The Vandervell Foundation Accenture KPMG The Harold Hyam Wingate Foundation Bank of America Lazard Philips Man Group plc NT Studio Refurbishment Shell UK Ltd Markson Pianos Campaign Travelex Memery Crystal LLP Moore Stephens LLP Leadership Capital Gifts Media Partners Nyman Lisbon Paul Anonymous The Independent O’Melveny & Myers LLP Arts Council England Sky Arts Pentland Group PLC Deborah Loeb Brice Foundation Reed Elsevier plc The Foyle Foundation Sponsors Reed Smith Richards Butler LLP John Lyon’s Charity Corbis Rio Tinto plc Royal National Theatre Foundation KPMG The Rose Foundation The Weston Family Schroders Premium Members David and Sophie Shalit Major Capital Gifts BP Slaughter & May Keith & Helen Bolderson Credit Suisse Smith & Williamson Heritage Lottery Fund GlaxoSmithKline Smiths Group plc The Rothschild Foundation Tesco plc Foundation for Sport and the Arts Platinum Members UBS Wealth Management American Airlines Unilever plc Capital Gifts Bloomberg Withers LLP Anonymous Bramdean Asset Management Tony & Gisela Bloom British American Tobacco Russ & Linda Carr Centrica TRUSTS AND FOUNDATIONS The City Bridge Trust CQS John S. Cohen Foundation Daily Mail & General Trust plc Major Trust & Foundation Support Sir Ronald & Lady Cohen Deutsche Bank Anonymous Ian & Caroline Cormack The Garfield Weston Foundation The Bulldog Prinsep Theatrical Fund Sir Harry & Lady Djanogly Goldman Sachs International Camelot Foundation The Gatsby Charitable Foundation Hemsley Fraser John S Cohen Foundation The Michael & Jacqueline Gee Lloyds TSB Private Banking Ltd The Foundation Charitable Trust Merck Sharp & Dohme Limited The Ingram Trust Mrs Juliet Gibbs NDS Ltd The Leverhulme Trust Evelyn & David Green Norton Rose Lloyd’s Community Programme The Doughty Hanson Pearson plc The Mulberry Trust Charitable Foundation Royal Mail Group The PACCAR Foundation The Philip and Pauline Harris SG Asset Management The Laura Pels Foundation Charitable Trust Standard Chartered Bank The Rose Foundation The Jacobs Charitable Trust Unisys Archie Sherman Family Trusts Edward McKinley & Kathleen Lavidge The Wates Foundation The Mercers’ Company Team Builder Members The Dr. Mortimer & Theresa Sackler Catlin Group Ltd Trust and Foundation Support Foundation Diageo plc Anonymous The Sherling Charitable Trust Hutton Collins Abbey Charitable Trust E & L Sieff Charitable Trust The Royal Bank of Scotland plc Ananda Trust Edgar & Judith Wallner The Behrens Foundation Gold Members The Stephen Clark 1965 Charitable Trust Abbey National plc Mr and Mrs G L Collins AMERICAN ASSOCIATES OF THE Addleshaw Goddard The Sidney and Elizabeth Corob ROYAL NATIONAL THEATRE Beachcroft LLP Charitable Trust The National is grateful too for the BlackRock The Noel Coward Foundation support of the American Associates of Cantate The Craps Charitable Trust the Royal National Theatre CMS Cameron McKenna The D’Oyly Carte Charitable Trust Corbis The E Dennis Armstrong Trust AARNT Board list is on page 71 Sir Harry & Lady Djanogly The Gilbert and Eileen Edgar Foundation Edward Jones Ltd The Goldsmiths’ Company Charity Financial Dynamics Boris Karloff Charitable Foundation Fishburn Hedges Jill and David Leuw Hanson Westhouse Jack Petchey Foundation Ms Sue Howes The Schneer Foundation

34 National Theatre Annual Review 2007-08 35 The Finance and Audit Committee also sits as the Day to day management structure, governance and management Remuneration Committee. At its annual meeting in The review of activities shows that the National has February it considered the general principles affecting many facets. Each area has a Head of Department who the remuneration packages of the senior management reports to a member of the Executive. In addition to a Board and Executive Associate Directors* and NT Associates team immediately below the Executive, and the details weekly meeting with the Executive and all the Heads Nicholas Hytner is supported in making repertoire of the remuneration packages of the Director and the of Department, efficient cross-departmental working The Board decisions by the National’s Associate Directors (listed Executive. is managed through a series of groups meeting on a The Board is the non-executive and unpaid governing on page 1), and NT Associates comprising actors, regular basis. The key decision-making groups include body of the National. Board members are both directors, designers, writers and producers (listed on The Nominations Committee repertoire planning, capital projects, digital projects, directors of the company and charity trustees and page 71). The Nominations Committee is appointed by and enterprises, diversity, environment, and health and under company and charity law are responsible from the Board and reviews the structure, size and safety. Two new groups have been set up to steer for policy, administration and general control. The The Board in Detail composition of the Board and, in the light of that Master Planning and programme development for the Board works with the Executive to ensure that the Board members are generally appointed for three review, makes recommendations to the Board with new participation centre. National’s remit is fulfilled, its work remains of the years (maximum four). They may be appointed for regard to the appointment of new members. During the highest quality, and it is managed efficiently and up to two terms, but any further re-appointments are year it was active in the recruitment of new trustees. Communication within the National cost-effectively. During 2007-08 the Board met six made only in exceptional circumstances. Communication is key and the National aims to times, with the Executive present, to ensure it was Development Council engage all its employees and others working at the maintaining effective control over strategic, financial, Induction and Training of Board Members The Development Council assists in fundraising for National in its activities and achievements. All staff are organisational and compliance issues. Practically All new Board members receive a comprehensive the National both generally from year to year and for invited to a weekly company meeting led by Nicholas this took the form of considering written reports, induction pack of information about the National and special projects. Its members, who are mainly co- Hytner or Nick Starr and information from these receiving a regular oral report from the Director and guidance on their responsibilities as charity trustees opted onto the Council, are appointed by the Board for meetings and other new developments and policies is Executive Director on the National’s repertoire and and company directors. Individual Board members a specified term. It meets at least four times a year and available on the National’s intranet. other activities, and working through an agenda cycle are given appropriate induction and training at the reports regularly to the Board through its chairman. intended to cover the key areas. National, including meetings with the Executive and BECTU, Equity and the Musicians Union are all Heads of Department and tours of the building. Education Committee represented at the National. During the year there was The Board delegates to the Director the selection and The Education Committee comprises a blend of Board regular consultation with unions and staff as plans and staging of all productions and does not interfere in Board Committees members and co-opted members who are experts changes to terms and conditions for Sunday opening repertoire decisions. Following its normal practice The Committees are listed on page 71. During the year in the field and who meet with the Head of Education were negotiated. an annual review of the year’s artistic output was the terms of reference for each were reviewed by the and the Executive Director. The Committee provides held in June 2007, with the Director, to reflect on the Board. guidance on the development of NT Education Diversity effectiveness of the artistic programme as against the policy, and makes recommendations on policy to the The National has been developing its diversity National’s remit. Finance and Audit Committee Board. It advises on, and develops with management, action plan. All staff are required to cooperate with Members of the Finance and Audit Committee are strategies for implementing the National’s Education the National’s policies and procedures to promote At the Board’s annual self-appraisal held in May 2008 it appointed by and from the Board. Key responsibilities policy through its programmes, and monitors and inclusivity and diversity but particular focus has been considered how it operated as a group, how well it had are for Finance and Control, Audit and Risk. The reviews those programmes. given to understanding why the National’s work force fulfilled its legal and other responsibilities, and in what Committee met five times during the year. On each is not more representative of the UK population, what way it added value to the operation of the National. occasion it received information enabling it to review Royal National Theatre Enterprises Limited barriers if any there might be, and what measures financial performance and in December and February is a wholly owned trading subsidiary responsible for might be taken. Step-Change, a project to give staff The Executive it gave detailed consideration to the annual budget. the National’s trading activities. The National’s Board the opportunity to develop across the performing arts, The Director*, Nicholas Hytner, is formally responsible Through regular reports from the Internal Auditor, appoints the directors of RNTE which comprises has completed a successful first year. for furthering the artistic reputation of the National and and the consideration of the risk register and reports Board members, external experts and senior members ensuring its efficient and effective management. He from the National’s Compliance Group, it was able of staff responsible for the trading areas. Access works closely with the Executive Director, Nick Starr, to monitor and review material internal controls and Twenty productions at the National Theatre on the * The term “Director” is a traditional title in delivering this and they are supported by Finance risk management systems. At its meeting in June it South Bank were audio-described this year for used at the National. Director Lisa Burger. conducted its annual review of matters relating to the blind and visually impaired people, at a total of 33 Neither the Director, the preparation and production of the annual financial performances. Nineteen productions were captioned Associate Directors, nor The Board appoints the Director and is directly statements including accounting policies and reserves for deaf and partially hearing people. In addition both other members of the The History Boys and Rafta, Rafta... on tour were also Executive, are directors involved in the appointment of the Executive. policies. under the Companies On 1 April 2008 Nicholas Hytner was re-appointed captioned (11 performances) and audio-described Act. for a further term of five years. (10 performances).

36 National Theatre Annual Review 2007-08 37 Health and Safety OTHER STAKEHOLDERS The Health and Safety policy was reissued in January 2008, following a comprehensive review, Arts Council England and refresher training was delivered. The Health and The National receives approximately 40% of its Safety team is closely involved in the key risk areas of funding from Arts Council England. The conditions of the organisation and advises and assists with health funding are set out in a funding agreement (the current and safety aspects of productions, special events, agreement covers the three-year period to 2011), and accident investigations and training. Training on safe senior representatives from the Arts Council meet with working at height has been completed and a review of the Executive annually to review activity and discuss noise levels undertaken. future strategy. An Arts Council representative may attend any Board meetings. Reduction of Environmental Impact The National has been actively involved in seeking Connected Charities ways to reduce its environmental impact and has set The Royal National Theatre Foundation has objects itself four targets: to reduce use of electricity and gas related to those of the National and makes grants to by 20% over two years; to reduce CO2 emissions by the NT from time to time. It has 11 trustees, of whom 60% by 2025; to reduce non-recyclable waste; and to two have a direct connection with the National. It gave reduce its use of water. A partnership with Philips has £75,000 in 2007-08 for the construction of the Big provided new energy-saving fittings which, together Wall, in addition to benevolent grants to members and with engineering solutions, support from the Carbon former members of the staff and company. Trust and practical measures, has delivered savings of 18% gas and 10% electricity at the end of year one. The American Associates of the Royal National Theatre is an independent s.501c3 not-for-profit charity registered in New York. It gave $622,818 in 2007-08 to the National.

A collaboration with Bamboozle Theatre Company allowed children with learning difficulties access toWar Horse, and regular touch- tours of sets and props were given for blind and partially sighted people

38 National Theatre Annual Review 2007-08 39 financial review

The National achieved a surplus of £93,000 on unrestricted funds for 2007-08 financial year against a budgeted break-even result for the year. This was a good result reflecting strong box office demand at the National Theatre and ticket income sufficiently ahead of budget to fund the costs of bringing forward the opening dates of two new productions into the financial year.

The National started accounting for the impact of cultural exemption on VAT during the financial year. Box office ticket income no longer attracts VAT but the National’s ability to recover VAT on its costs is also restricted. This results in an increase of approximately £2m in income and costs and a broadly neutral impact on the results for 2007-08. Discussions continue with HMRC regarding the impact on 2006-07 and earlier years and no adjustments have been made to anticipate any potential repayment.

Set out below is a summary statement of income and expenditure. It combines the National’s unrestricted income and expenditure (excluding capital) with restricted short- term project funds. This gives a picture of the National’s activity undertaken in the year. The full accounts are set out in SORP 2005 format from page 50 onwards, including longer-term capital project funding and expenditure.

2008 2007 Income £’000 £’000 Box office 15,360 31% 14,817 32% Impact of cultural exemption 2,056 4% 0 0% Trading and other income 8,306 17% 8,210 18% Fundraising 4,891 10% 5,050 11% ACE grants 18,362 38% 18,029 39% 48,975 100% 46,106 100%

Expenditure Production costs 33,789 72% 32,235 74% Impact of cultural exemption 2,042 4% 0 0% Education 1,906 4% 2,073 5% Research 1,147 2% 1,459 3% Amplification 1,519 3% 964 2% Trading 5,856 13% 5,582 13% Fundraising 1,111 2% 1,286 3% Governance 169 0% 190 0% 47,539 100% 43,789 100%

Transfers Use of restricted project funds 7 245 Capital and maintenance fund (1,350) (2,375) Net surplus on unrestricted operations fund 93 187

40 National Theatre Annual Review 2007-08 41 Principal Funding Sources Arts Council England Funding Revenue Expenditure The revenue grant for 2007-08 was £18,223,400, a The National maintains a balance between 2.75% increase on the prior year. In Autumn 2007 the Production Costs self-generated income – box office, fundraising, 38% 31% National received notification of its new three-year ACE grants Box Office The number and scale of new productions (see table trading income, exploitation of National Theatre funding settlement which confirmed annual grant below) was comparable with recent years and good productions and public subsidy from Arts Council increases of 2.7% pa for 2008-09 and 2009-10. control of costs ensured spend came in on budget. England (ACE). 17% 4% Fundraising In addition to the new productions built and staged 10% Trading Impact of The development department again hit their target of at the National there were 25 weeks of UK touring (27 Fund- and other cultural raising £5m for revenue purposes, and a further £2.7m weeks in 2006-07) and 15 weeks of The History Boys in raising exemption income was received in addition to this sum for the Studio the West End. Total production spend can be analysed refurbishment and other capital projects. The total as follows: received net of fundraising expenditure was £6.5m, a year-on-year increase of £1.5m. 7% The History Boys Box Office Income West End Trading and Other Income The National uses attendances and number of productions as key performance indicators. 9% The table below shows the five-year results. Trading operations including catering, bookshop, Touring programmes, car-park and costume hire are 5% conducted through the National’s wholly owned 27% Planning and Paid attendances (thousands) 2003-04 2004-05 2005-06 2006-07 2007-08 subsidiary Royal National Theatre Enterprises Limited. Performance Direction 000s 000s 000s 000s 000s Sales of £6.5m were relatively static year on year, running Olivier 356 375 302 378 391 although in line with attendances, but cost savings 7% Lyttelton 268 304 268 248 246 achieved by catering were a major contributor in the Directors, Designers and Cottesloe 107 96 93 96 93 23% growth in net profit to £1.3m. Writers 21% Total 731 775 663 722 730 24% The History Boys again toured in the UK and Actors and Production Musicians build Attendance as % of capacity 91% 94% 84% 85% 87% transferred to the West End under National Theatre management. The income from these tours is included in box office consistent with last year. Unlike 2006-07, Number of performances: 2003-04 2004-05 2005-06 2006-07 2007-08 there was no overseas tour or Broadway transfer which Olivier 340 360 335 358 364 contributed an exceptional receipt in that year. As a Education Lyttelton (Main House) 349 373 355 359 339 result, other non-trading income is down £0.4m year Total education spend was £1.9m of which £0.8m was Cottesloe 369 361 347 357 360 on year. covered by fundraising, £0.6m raised through ticket Total 1,058 1,094 1,037 1,074 1,063 and fee income and the remainder covered by core funding. Year-on-year spend showed a small decline explained by two multi-year projects which had ended The Travelex £10 Season in the Olivier was again very successful, drawing in an audience of 90% in the preceding year. capacity. The biggest earner for the year though was War Horse which took £2.3m at the box office, played to an audience of over 100,000 and achieved 99% occupancy. There was very strong demand from under-18s for this production in particular but also across the repertoire. 85,500 Number of productions (new in brackets): 2003-04 2004-05 2005-06 2006-07 2007-08 under-18s attended, representing 12% of total audiences but only 8% of total revenue, reflecting the Olivier 7 (6) 6 (4) 7 (7) 7 (5) 8 (6) impact of concessionary prices offered to this age group. Lyttelton 7 (5) 7 (4) 8 (3) 8 (6) 9 (7) Cottesloe 7 (6) 10 (7) 8 (7) 9 (8) 9 (6) The number of performances in the Lyttelton was lower year on year resulting from a closure of that theatre for two weeks for planned maintenance. Total 21 (17) 23 (15) 23 (17) 24 (19) 26 (19)

42 National Theatre Annual Review 2007-08 43 Research and Development 2006-07 (the prior year transfer having been boosted deficit, this will be covered by future restricted income. its customers is low, as payment for ticket sales and The refurbishment of the National Theatre Studio was by receipts from The History Boys). A target of £2m pa The balance on the long-term capital funds represents operations through the trading subsidiary are mostly completed in October 2007 and it was reoccupied in has been set in order to meet the National’s short term funds received from donors to purchase fixed assets settled at point of purchase. November. The refurbishment cost £6m and was fully capital expenditure plans. This is explained in some less the depreciation charged on an annual basis. Liquidity risk: The National has no long-term funded from a blend of individual gifts, foundations and more detail below in the policy for the buildings and Over time these reserves will reduce to zero as the borrowings. closing campaign gifts of £0.5m each from the Royal equipment designated fund. assets are fully depreciated. Interest rate cash flow risks: The National places National Theatre Foundation and the Arts Council. The surplus funds on short-term deposit split between two cost of refurbishment has been capitalised in fixed Reserves and Other Financial Policies Investment Policy major clearing banks. Interest rates available on longer assets and the funding is held in a separate restricted The policy is to hold investments in liquid funds so term deposits are kept under review but longer term reserve which will be released to match future Unrestricted Operations Fund they are available to meet predicted cash-flow needs. deposits will only be made for specific major project depreciation. Research activity continued throughout The policy for budgeting annual income and In selecting suitable cash deposits the policy is to funds where the term of the deposit matches the the refurbishment period but there was a short lull expenditure is, taking account of the level of grant maximise the return and maintain low transaction anticipated cash flow requirement. during the period of reoccupation of the Studio receivable from the Arts Council, to seek each year costs whilst ensuring high levels of capital security by resulting in a year-on-year reduction in cost. to match income and expenditure, and to avoid minimising credit risk, and minimising interest rate risk. Property Interests accumulating a deficit, so that the National is able to Deposits and interest rates are reviewed each time the The National has a lease of its building on the South Amplification continue successfully its present quantum and quality Finance and Audit Committee meets and at 30 March Bank site from Arts Council England for a term expiring Spend in this area increased to £1.5m. In addition to of operations. 2008 the cash deposits were spread equally between in March 2138. The Building is Grade 2* listed. The the annual outdoor theatre programme, Watch This two major clearing banks. The bank interest earned for freehold of the Old Vic Annexe (the Studio), The Cut, Space, the National has increased spend on web Unrestricted reserves have now reached their target the year was £492,000 (2006-07: £457,000). The policy London SE1 is owned by the National and this building and digital work which was supported with pro bono level of £1m. This sum has been determined by the is reviewed on an annual basis. was listed in March 2006. consultancy valued at £100,000, and has received free Trustees as the target level of unrestricted reserves energy-efficient light fittings to a value of £265,000 required to maintain financial stability on an on- Creditor Payment Policy used to replace those lighting the exterior of the going basis. It is recognized that there is particular It is the National’s policy to pay creditors in accordance building. uncertainty around box office receipts and £0.5m is with terms of payment agreed at the start of business held to recognise the volatility in box office revenue with each supplier. Support Costs as between budget and actual out-turn and £0.5m Lisa Burger Support costs cover expenditure on front-of-house reflects the impact that the unexpected and therefore Financial Risk Management Finance Director staff responsible for the audience; marketing, box unplanned replacement of a major piece of capital The following statements summarise the Board’s office and press; management and maintenance of equipment would have on the charity. policy in managing identified forms of financial risk. the building including insurance and energy costs; and Price risk: The National endeavours to limit ticket finance, personnel and IT. These costs are allocated Buildings and Equipment Designated Fund price increases to no more than inflation and hold its against the activities listed above. Year-on-year The policy is to ensure that sufficient money is set lowest ticket price at £10. This has been found to be costs grew by just under 5% to £10.7m, the above aside in the reserve so that over a three-year period the the best way of maximising revenue and increasing inflation increase arising in building maintenance costs National is able to maintain and renew the building in access. Funding from the Arts Council for April 2007 including spend on utilities. accordance with its rolling capital plan. The plan is in increased by 2.75%, which was less than inflation, and balance for 2008-09 but capital expenditure for 2009- the increase from 2008 onwards of 2.7% is also below Capital Expenditure 10 and 2010-11 is currently in excess of the sum which current levels of inflation. Payments to employees Total capital expenditure for the year was £6.6m. Of could be reasonably anticipated to be covered from or individuals represent 65% of total expenditure this, £3.3m was spent on the refurbishment of the normal profit and loss and fundraising sources. Work is and Arts Council grants and ticket income represent National Theatre Studio, £2.3m was funded from underway to tackle this issue and consider longer-term approximately 70% of income. The pay award in the National’s designated buildings and equipment capital needs as part of a masterplanning process. 2007-08 of 3.5%, whilst in excess of the Arts Council fund and a further capital expenditure of £0.8m was grant increase, was manageable within the National’s funded from the remaining balance of the National’s Restricted Funds annual budget contingency. Over time, a disparity 1996 lottery award. Spend through the designated These are funds which have been earmarked by the between inflation and the increase in Arts Council grant maintenance fund included £0.7m on technical donor for specific purposes within the overall aims settlement would expose the National to price risk equipment for the theatres, £0.6m on improvements of the organisation. The funds are analysed between although this is manageable at present levels. front-of-house and £1m backstage expenditure. long term and short term; long term being mostly for Credit risk: Risk on amounts owed to the charity by capital purposes and short term for project activity, as The annual transfer from the operations fund to the set out in note 20 to the accounts. Short term will be designated fund was £1.35m compared with £2.4m in spent in full in the next 18 months and, where there is a

44 National Theatre Annual Review 2007-08 45 report of the board

Trustees’ Transactions The Trustees confirm that they have complied with the above From time to time, members of the Board or persons requirements in preparing the financial statements. connected with them enter into transactions with the National in the normal course of business of both parties. The Trustees are responsible for keeping proper accounting Such transactions are conducted on an arm’s length basis, records that disclose with reasonable accuracy at any on normal commercial terms, and are in accordance with time the financial position of the company and the group the specific provisions of clause 5 of the Memorandum and enable them to ensure that the financial statements of Association. It is the Board’s policy that they should be comply with the Companies Act 1985, the Statement of disclosed to and approved by the Board. Recommended Practice ‘Accounting and Reporting by Charities 2005’ and the governing document. They are also Board members responsible for safeguarding the assets of the company Board members at the date of this Report are listed on the and the group and hence for taking reasonable steps for the opening page. All Board members who served during the prevention and detection of fraud and other irregularities. year under review were: Anjali Arya (until 28 January 2008), Sir Hayden Phillips GCB DL, Susan Chinn, Lloyd Dorfman The Trustees are responsible for the maintenance and CBE (appointed 20 April 2007), Nicola Horlick (retired 23 integrity of the corporate and financial information included July 2007), Rachel Lomax, Neil MacGregor, Caragh Merrick, on the charity’s website. Legislation in the UK governing the Caro Newling (sabbatical 1 January 2008 to 1 January 2009), preparation and dissemination of financial statements may André Ptaszynski, Philip Pullman, Rt Hon Lord Smith of differ from legislation in other jurisdictions. Finsbury, Edward Walker-Arnott, and Nicholas Wright. Company Secretary: Lisa Burger (until 23 July 2007), Kay Each Trustee confirms that: Hunter Johnston (from 23 July 2007). • In so far as the Trustee is aware, there is no relevant audit information of which the National’s auditors are unaware; Statement of Trustees’ Responsibilities in Respect of the • The Trustee has taken all the steps he/she ought to have Annual Report and the Financial Statements taken as a Trustee in order to make himself/herself aware The Trustees are responsible for preparing the Annual Report of any relevant audit information and to establish that the and the financial statements in accordance with applicable National’s auditors are aware of that information. law and Accounting Standards (United Kingdom Generally Accepted Accounting Practice). Auditors PricewaterhouseCoopers LLP will continue in office as The Trustees are responsible for preparing financial auditors of the Charity for the next financial year. statements for each financial year which give a true and fair view, in accordance with United Kingdom Generally The information set out in the preceding pages forms the Accepted Accounting Practice, of the state of affairs of the Directors’ report for the Royal National Theatre for the 52 company and group and of the profit or loss of the charity weeks ended 30 March 2008. and group for that period. In preparing those financial statements, the Trustees are required to: By order of the Board • Select suitable accounting policies and then apply them consistently; • Make judgments and estimates that are reasonable and prudent; • State whether applicable accounting standards have been followed, subject to any material departures disclosed Sir Hayden Phillips, Chairman and explained in the financial statements; and prepare the 28 August 2008 financial statements on the going concern basis unless it is inappropriate to presume that the company will continue in business.

46 National Theatre Annual Review 2007-08 47 independent auditors’ report to the members of the Royal National Theatre

We have audited the group and parent charity financial Basis of Audit Opinion statements (“the financial statements”) of the Royal National We conducted our audit in accordance with International Theatre for the year ended 30 March 2008 which comprise Standards on Auditing (UK and Ireland) issued by the the Group Statement of Financial Activities, the Group and Auditing Practices Board. An audit includes examination, Charity Balance Sheets, the Group Cash Flow Statement on a test basis, of evidence relevant to the amounts and and the related notes. These financial statements have been disclosures in the financial statements. It also includes an prepared under the accounting policies set out therein. assessment of the significant estimates and judgments made by the trustees in the preparation of the financial Respective Responsibilities of Trustees and Auditors statements, and of whether the accounting policies The responsibilities of the trustees (who are also the are appropriate to the group and charitable company’s directors of the Royal National Theatre for the purposes circumstances, consistently applied and adequately of company law) for preparing the financial statements disclosed. in accordance with applicable law and United Kingdom We planned and performed our audit so as to obtain all Accounting Standards (United Kingdom Generally Accepted the information and explanations which we considered Accounting Practice) are set out in the Statement of Trustees’ necessary in order to provide us with sufficient evidence Responsibilities. to give reasonable assurance that the financial statements Our responsibility is to audit the financial statements in are free from material misstatement, whether caused by accordance with relevant legal and regulatory requirements fraud or other irregularity or error. In forming our opinion we and International Standards on Auditing (UK and Ireland). also evaluated the overall adequacy of the presentation of This report, including the opinion, has been prepared for information in the financial statements. and only for the charitable company’s members as a body Opinion in accordance with Section 235 of the Companies Act 1985 In our opinion: and for no other purpose. We do not, in giving this opinion, • the financial statements give a true and fair view, accept or assume responsibility for any other purpose or to in accordance with United Kingdom Generally any other person to whom this report is shown or into whose Accepted Accounting Practice, of the state of the hands it may come save where expressly agreed by our prior group’s and the parent charitable company’s affairs consent in writing. as at 30 March 2008 and of the group’s incoming We report to you our opinion as to whether the financial resources and application of resources, including statements give a true and fair view and are properly the group’s income and expenditure and cash prepared in accordance with the Companies Act 1985. We flows, for the year then ended; also report to you whether in our opinion the information • the financial statements have been properly given in the Trustees’ Report is consistent with the financial prepared in accordance with the Companies Act statements. In addition we report to you if, in our opinion, the 1985; and charitable company has not kept proper accounting records, • the information given in the Trustees’ Report is if we have not received all the information and explanations consistent with the financial statements. we require for our audit, or if information specified by law regarding trustees’ remuneration and other transactions is PricewaterhouseCoopers LLP not disclosed. Chartered Accountants and Registered Auditors We read other information contained in the Annual Report, London and consider whether it is consistent with the audited 28 August 2008 financial statements. This other information comprises only the Trustees’ Report, the Chairman’s Statement and the Operating and Financial Review. We consider the implications for our report if we become aware of any apparent misstatements within it or material inconsistencies with the financial statements. Our responsibilities do not extend to any other information.

48 National Theatre Annual Review 2007-08 49 BALANCE SHEET financial statements at 30 March 2008

Group Company Group Company STATEMENT OF FINANCIAL ACTIVITIES As at As at As at As at for the 52 weeks ended 30 March 2008 30 March 30 March 1 April 1 April 2008 2008 2007 2007 Note £’000 £’000 £’000 £’000 Unrestricted Funds Restricted Funds 52 Weeks 52 Weeks to 30 March to 1 April Fixed assets 2008 2007 Tangible fixed assets 15 14,999 14,999 12,521 12,521 Investments 16 200 200 0 0 Operations Designated Project Long Term Total Total Total fixed assets 15,199 15,199 12,521 12,521 Note £’000 £’000 £’000 £’000 £’000 £’000 Incoming resources Current assets Incoming resources from generated funds: Stocks 17 287 63 283 56 Voluntary income 2, 3 21,774 116 1,479 3,613 26,982 25,175 Cost of productions not yet opened 322 322 220 220 Trading operations 26 6,543 0 0 0 6,543 6,130 Debtors 18 2,285 2,945 2,677 3,622 Investment income 329 45 0 118 492 457 Short term deposits 886 0 800 0 Incoming resources from charitable activities 4 18,850 0 0 0 18,850 16,673 Cash at bank and in hand 7,714 7,708 7,842 7,757 Total incoming resources 47,496 161 1,479 3,731 52,867 48,435 Total current assets 11,494 11,038 11,822 11,655 Resources expended Creditors: amounts falling due within one year 19 (7,825) (7,364) (6,571) (6,399) Costs of generating funds: Costs of generating voluntary income 1,111 0 0 0 1,111 1,286 Net current assets 3,669 3,674 5,251 5,256 Cost of trading operations 26 5,856 0 0 0 5,856 5,582 Charitable activities 5 39,003 1,766 1,400 2,466 44,635 42,087 Total net assets 18,868 18,873 17,772 17,777 Governance costs 5 169 0 0 0 169 190 Total resources expended 46,139 1,766 1,400 2,466 51,771 49,145 Represented by: Operations fund 20 998 1,003 905 910 Net incoming/(outgoing) resources before transfers 1,357 (1,605) 79 1,265 1,096 (710) Designated funds 20 4,860 4,860 5,115 5,115

Gross transfers between funds: Total unrestricted funds 5,858 5,863 6,020 6,025 Capital & maintenance reserve (1,350) 1,350 0 0 0 0 Other 86 0 (86) 0 0 0 Restricted funds 20 13,010 13,010 11,752 11,752 Net movement in funds 93 (255) (7) 1,265 1,096 (710) Total funds 18,868 18,873 17,772 17,777 Reconciliation of funds Total funds brought forward 20 905 5,115 343 11,409 17,772 18,482 Total funds carried forward 998 4,860 336 12,674 18,868 17,772 The financial statements were approved by the Board of Directors on 28 August 2008 and signed on its behalf by:

All incoming resources and resources expended are derived from continuing activities. The statement of financial activities incorporates an income and expenditure account. There are no recognised gains and losses other than those noted above and therefore no separate statement of total recognised gains and losses has been presented. Sir Hayden Phillips Edward Walker-Arnott Chairman Director

50 National Theatre Annual Review 2007-08 51 Consolidated Cash Flow Statement ii Analysis of Net Cash Resources As at 1 As at 30 Group Group April 2007 Cashflow March 2008 52 Weeks 52 Weeks £’000 £’000 £’000 to 30 March to 1 April 2008 2007 Cash in hand 7,842 (128) 7,714 Note £’000 £’000 Short term deposits 800 86 886 Total 8,642 (42) 8,600 Net cash inflow from operating activities i 6,355 4,671 Returns on investment: interest received 438 466 Included within cash are amounts held in instant access high-interest deposit accounts with different banking institutions.

Capital expenditure and financial investment Payments to acquire fixed assets (6,635) (4,886) Payments to acquire fixed asset investments (200) 0 iii Reconciliation of Net Cashflow to Movement in Net Funds

TOTAL capital expenditure and financial investment (6,835) (4,866) 2008 2007 £’000 £’000 Management of liquid resources Increase in short term deposits (86) (800) Decrease in cash in the year (128) (549) Decrease in cash in the year ii (128) (549) Cash outflow from increase in liquid resources 86 800 Movement in net funds in the year (42) 251 i Net Cash Inflow From Operating Activities Net funds at 1 April 2007 8,642 8,391 2008 2007 £’000 £’000 Net funds at 30 March 2008 8,600 8,642

Net incoming/(outgoing) resources before transfers 1,096 (710) Interest receivable (492) (457) Increase in stock (4) (6) (Increase)/decrease in work in progress (102) 25 Decrease/(increase) in debtors 446 (818) Increase in creditors and provisions 1,254 1,281 Depreciation charge 4,157 5,356 Net cash inflow from operating activities 6,355 4,671

52 National Theatre Annual Review 2007-08 53 notes to the financial statements

1. principal accounting policies the lease, the National is responsible for maintaining G COST OF NEW PRODUCTIONS NOT Limited from trading activities. Income is recognised the fabric of the building and its mechanical YET OPENED on a receivable basis. A Basis of Preparation and electrical equipment. In order to meet this The materials cost of new productions and The financial statements have been prepared obligation, funds are being transferred from the associated creative team fees are carried forward Incoming Resources from Charitable Activities under the historical cost convention and in National’s own resources, namely the operations on the balance sheet until they are expensed on Incoming resources from charitable activities accordance with applicable United Kingdom fund, to a buildings and equipment reserve (see the date of the first performance to a paying public comprises: accounting standards, the Companies Act 1985, note 20, page 65). audience. Internal labour and rehearsal costs are and the recommendations of the Statement expensed as incurred. Box office income: of Recommended Practice “Accounting and E FIXED ASSETS AND DEPRECIATION • income from performances at the South Bank Reporting by Charities” (“the SORP”) issued in Fixed assets are held at cost less accumulated H INCOMING RESOURCES • income from touring activities (excluding March 2005. The principle accounting policies depreciation within the relevant fund. Only assets All incoming resources are included in the grants) adopted in the preparation of the financial over £1,000 are capitalised. Depreciation is Statement of Financial Activities when the Charity • ticket sales for productions which have statements are set out below. provided on a straight line basis to write off the has legal entitlement, there is reasonable certainty transferred to the West End under direct NT assets over their anticipated useful economic lives over receipt and the amount of income can be management B CONVENTION and is charged to the relevant fund as follows: quantified with reasonable accuracy. The financial statements are presented in Sterling All other income: rounded to the nearest thousand. • Freehold property – 50 years (excluding land, Voluntary Income • income from NT Education projects which is not depreciated) Voluntary income comprises all incoming resources • exploitations and rights, mailing list subscription C GROUP FINANCIAL STATEMENTS • Leasehold improvements – 10 years from sponsorships, donations, legacies, grants and and other sundry income The Group financial statements consolidate those • Equipment – 3 years membership subscriptions. Voluntary income is of the Royal National Theatre (“the National” or “the recognised in the appropriate fund on a receivable Box office income and income generated by NT NT”) and its non-charitable trading subsidiary, Royal Donated assets are stated at the value to the basis and when any conditions for receipt are met. Education projects is recognised in the Statement of National Theatre Enterprises Limited (see note National Theatre. Financial Activities on maturity of the performance 26, page 69). The results of the trading subsidiary Where donor imposed conditions require that the or event. Income from exploitations and rights, and have been incorporated on a line by line basis. The carrying values of tangible fixed assets are resource is expended in a future accounting period, other income, is recognised on a receivable basis. Transactions and balances outstanding between reviewed for impairment when events or changes in income is recorded as deferred income at the Income from the mailing list is recognised on a the entities are eliminated on consolidation. circumstances indicate the carrying value may not balance sheet date. straight line basis over the period of subscription. be recoverable. A separate statement of financial activities and Income from individual membership schemes Investment Income income and expenditure account are not presented F STOCKS eligible for Gift Aid is recognised in full on receipt. Investment income comprises interest receivable for the Charity itself as permitted by Section 230 of Stock held by the National’s trading subsidiary Corporate and Advance Membership income is on cash balances and short-term deposits. Interest the Companies Act 1985 and paragraph 397 of the comprises catering, bookshop and programme apportioned over the period of the subscription and receivable is credited to funds in proportion to cash SORP. The net expenditure of the company for the supplies for resale. Other stock (“production stock”) the element relating to a future period is recorded as holdings. year was £150,000 (2007: £1,722,000). comprises consumables for use in the making of deferred income at the balance sheet date. sets and costumes. I resources expended The National has also taken advantage of the Gift aid is included in the accounts based on All expenditure is accounted for on an accruals exemption not to disclose any transactions or All stock is valued at the lower of cost and net amounts recoverable at the balance sheet date. basis and is classified under the relevant activity balances outstanding between group entities that realisable value. Cost is based on the latest within the Statement of Financial Activities. have been eliminated on consolidation. purchase price for catering, bookshop and Goods and services received in kind are included programme stock, and on average cost for within the financial statements where material. Resources expended which relate directly to the D LEASE OF THE NATIONal production stock. National’s charitable objectives are analysed The National holds a lease on its building from its Activities for Generating Funds between: freeholder, Arts Council England, at a peppercorn Activities for generating funds comprises income • Performances at the South Bank or elsewhere . This lease expires in 2138. Under the terms of generated by Royal National Theatre Enterprises under direct management

54 National Theatre Annual Review 2007-08 55 • Performances on tour which it was incurred. Irrecoverable VAT on capital 2. Voluntary Income - Analysis by Fund Type • Education expenditure arising from the operation of cultural • Research and development (including the NT exemption for the 2007-08 financial year has been 2008 2008 2008 2008 2008 2007 Studio and commissioning costs) written off in the period and included within costs of £’000 £’000 £’000 £’000 £’000 £’000 • Amplification of the NT’s objectives (including charitable activity as set out in note 24. Unrestricted Restricted Designated Restricted Archive, Outside Events, Platforms and projects long term long term Total Total Foyer Music) M FOREIGN CURRENCIES Monetary assets and liabilities in foreign currencies Arts Council England: Resources expended which form part of the are retranslated at rates of exchange ruling at Revenue grant 17,708 0 0 0 17,708 17,222 Group’s trading activities are separately disclosed the balance sheet date. Transactions in foreign Touring grants 515 60 0 0 575 668 in costs of trading operations. currencies undertaken during the year have been Capital and other grants 0 79 0 992 1,071 986 translated at the rate ruling at the date of the 18,223 139 0 992 19,354 18,876 The costs of generating voluntary income represent transaction. Translation differences are recorded in Other voluntary income: the costs of securing sponsorship and donations the Statement of Financial Activities. Performances 877 152 0 0 1,029 632 including the costs of providing membership Education 0 849 0 0 849 619 benefits. Research & development 0 85 0 0 85 78 Amplification 0 254 0 0 254 12 Governance costs include the costs of the company Long-term projects 0 0 116 2,621 2,737 1,249 secretary, board expenses, internal audit and General activity 2,674 0 0 0 2,674 3,709 external audit fees. 3,551 1,340 116 2,621 7,628 6,299 Support costs relating to a single activity are Total voluntary income 21,774 1,479 116 3,613 26,982 25,175 allocated directly to that activity. Where support costs relate to several activities, they have been apportioned as set out in note 6 on page 59. Staff 3. Voluntary Income - Analysis by Income Type canteen costs are shown net of contributions. 2008 2008 2008 2008 2007 Provision has been made, where appropriate, £’000 £’000 £’000 £’000 £’000 for expenses where a present obligation exists Sponsorship Donations, Grants at the balance sheet date in accordance with the subscriptions Total Total requirements of FRS 12. & legacies J OPERATING LEASES Arts Council England 0 0 19,354 19,354 18,876 Rentals payable under operating leases are charged to the Statement of Financial Activities on a straight Performances 864 165 0 1,029 632 line basis over the term of the lease. Education 388 215 246 849 619 K PENSIONS Research & development 0 44 41 85 78 The National offers a stakeholder scheme to its Amplification 206 10 38 254 12 employees and contributes to defined contribution Long-term projects 264 2,193 280 2,737 1,249 schemes for certain of its other employees (see General activity 78 2,596 0 2,674 3,709 note 13, page 62). These costs are expensed in the 1,800 5,223 605 7,628 6,299 Statement of Financial Activities as they become Total voluntary income 1,800 5,223 19,959 26,982 25,175 payable.

L VAT All resources expended are classified under activity headings that aggregate all costs related to the category. Irrecoverable VAT is charged against the category of resources expended for

56 National Theatre Annual Review 2007-08 57 4. Total Incoming Resources from Charitable Activities 6. Analysis of Support Costs 2008 2008 2007 £’000 £’000 £’000 2008 2008 2008 2008 2007 Unrestricted Total Total £’000 £’000 £’000 £’000 £’000 Theatre Support National Theatre box office Promotion operations services Total Total Olivier* 5,944 5,944 5,238 Lyttelton* 4,387 4,387 4,463 Cottesloe* 1,416 1,416 1,490 Trading operations 0 229 410 639 570 Impact of VAT exemption 2,056 2,056 0 Charitable activities: 13,803 13,803 11,191 Performances – NT 2,674 4,368 2,448 9,490 9,119 Touring - England & Wales 1,101 1,101 1,272 Performances – touring 98 0 79 177 69 Touring - other countries 553 553 100 Education 117 121 100 338 372 Other box office 1,959 1,959 2,254 Research & development 39 182 58 279 392 Amplification 122 303 58 483 330 3,613 3,613 3,626 3,050 4,974 2,743 10,767 10,282 Exploitation and rights 332 332 967 Education 587 587 439 Governance 0 36 12 48 67 Other 515 515 450 Total incoming resources from charitable activities 18,850 18,850 16,673 Total support costs 3,050 5,239 3,165 11,454 10,919

*Box office income in 2007 is shown net of output VAT charged on ticket sales. Under cultural exemption, in 2008, box office income is accounted Allocated costs include: for gross. The benefit is reported as a separate line above to assist comparison with prior years. The impact on recovery of input tax is reported as an 2008 2007 additional cost under charitable activity (see note 5). Further details are given in note 24. £’000 £’000 Touring income includes co-production & touring fees where appropriate. Operating lease rentals: Plant and machinery 49 38 5. Costs of Charitable Activity Land and buildings 220 219 269 257 2008 2008 2008 2008 2008 2008 2007 £’000 £’000 £’000 £’000 £’000 £’000 £’000 2008 2007 Unrestricted Unrestricted Unrestricted Restricted Designated £’000 £’000 direct costs support total costs direct costs direct costs Total Total Auditors’ remuneration: costs Group audit fee 48 46 Tax and other fees 10 2 Performances - NT 21,991 9,490 31,481 113 0 31,594 30,636 58 48 Performances - touring 1,918 177 2,095 100 0 2,195 1,599 Education 862 338 1,200 706 0 1,906 2,073 Included within the group audit fee is £5,900 (2007: £5,700) in respect of Royal National Theatre Enterprises Limited. Research & development 750 279 1,029 193 0 1,222 1,459 Amplification 673 483 1,156 363 0 1,519 964 Promotion comprises Marketing and Press. Theatre Operations comprises Front of House, Building Services, Insurance, Cleaning and 26,194 10,767 36,961 1,475 0 38,436 36,731 Security. Support Services comprises Finance, IT, Personnel, Pensions, and Staff Canteen net of cost recoveries of £466,000 (2007: £485,000). Depreciation and related costs 0 0 0 2,391 1,766 4,157 5,356 Non recoverable VAT and related costs 2,042 0 2,042 0 0 2,042 0 Support costs are allocated using the following bases: Total costs of charitable activity 28,236 10,767 39,003 3,866 1,766 44,635 42,087 For Marketing, Front of House, Finance, and IT – Management review of estimated usage Personnel – Headcount Building Services – Management review of estimated space usage Governance 121 48 169 0 0 169 190 Under cultural exemption, the National is not able to fully recover input VAT. The impact on the current year is reported as a separate line above to assist comparison with prior years. Further details are given in note 24.

58 National Theatre Annual Review 2007-08 59 7. Analysis of expenditure on performances by fund type 8. Education (continued)

2008 2008 2008 2007 Total expenditure on Education projects was funded by: £’000 £’000 £’000 £’000 2008 2008 2008 2007 Unrestricted Restricted £’000 £’000 £’000 £’000 projects Total Total Unrestricted Restricted projects Total Total National Theatre: Capitalisation & running costs 15,459 113 15,572 15,223 Voluntary income: Workshops & stages 10,313 0 10,313 9,931 Sponsorship 0 388 388 100 Producing & direction 5,709 0 5,709 5,482 Donations 0 215 215 152 31,481 113 31,594 30,636 Grants 0 246 246 461 ACE grants 0 43 43 0 Touring - England & Wales 1,765 100 1,865 1,291 Attendance fees 587 0 587 439 Touring - other countries 330 0 330 308 Core funds 613 0 613 883 2,095 100 2,195 1,599 Charged/(credited) to accumulated restricted funds 0 (186) (186) 38 Total 1,200 706 1,906 2,073 Total expenditure on performances 33,576 213 33,789 32,235

9. Research & Development 8. Education 2008 2008 2008 2008 2007 2008 2008 2008 2007 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 Unrestricted Restricted Restricted Unrestricted Restricted projects long term Total Total projects Total Total NT Studio 518 118 75 711 856 New Connections 212 249 461 520 Commissioning new scripts 331 0 0 331 354 Digital 71 4 75 203 Associates and other research & development 180 0 0 180 249 Secondary & further education 24 73 97 36 Total expenditure on R&D 1,029 118 75 1,222 1,459 Interact 26 117 143 162 Primary 123 158 281 185 City Ambassadors 19 90 109 40 Head for Business 0 0 0 105 10. Amplification Innovation & new audiences 0 0 0 19 2008 2008 2008 2007 Training & development 293 12 305 257 £’000 £’000 £’000 £’000 Regeneration 0 0 0 70 Unrestricted Restricted Other 432 3 435 476 projects Total Total Total expenditure on education projects 1,200 706 1,906 2,073 Outdoor events & exteriors programme 403 104 507 400 Platforms & foyer music 287 0 287 277 Archive 203 0 203 161 Access 65 30 95 92 Digital & other initiatives 198 229 427 34 Total amplification expenditure 1,156 363 1,519 964

60 National Theatre Annual Review 2007-08 61 11. Staff Costs and Numbers 14. TAXATION 2008 2007 The National’s charitable activities fall within the exemptions afforded by section 505 of the Income Corporation £’000 £’000 Taxes Act 1988. The trading subsidiary, Royal National Theatre Enterprises Limited, passes profits on which tax Wages and salaries 24,412 22,447 would be payable to the National under a Gift Aid arrangement. Accordingly, there is no corporation tax charge Social security costs 2,413 2,268 in these accounts. Similarly, because of the Gift Aid, there is no difference in the net movement in funds for the Other pension costs 554 499 National and the Group as a whole. Total 27,379 25,214 15. TANGIBLE FIXED ASSETS - Group and company Average numbers employed in the year: * 2008 2007 Number Number Freehold Leasehold Equipment Work in Total land & improve- progress Actors and musicians 203 170 buildings ments Technical and production 305 277 £’000 £’000 £’000 £’000 £’000 Trading and front of house 216 223 Cost Education, touring, NT Studio and other projects 54 50 As at 1 April 2007 1,100 33,386 14,823 2,975 52,284 Marketing and box office 52 47 Additions 3,138 260 2,569 668 6,635 Support services 51 46 Disposals (197) 0 0 0 (197) Engineering 26 26 Transfers from work in progress 2,606 113 69 (2,788) 0 Fundraising 18 15 As at 30 March 2008 6,647 33,759 17,461 855 58,722 Total 925 854 Depreciation 2008 2007 As at 1 April 2007 197 26,824 12,742 0 39,763 Number Number Charge for year 115 1,704 2,338 0 4,157 £60,001-£70,000 5 4 Disposals (197) 0 0 0 (197) £70,001-£80,000 1 3 As at 30 March 2008 115 28,528 15,080 0 43,723 £80,001-£90,000 0 0 £90,001-£100,000 1 1 Net book value £100,001-£110,000 0 0 As at 30 March 2008 6,532 5,231 2,381 855 14,999 £110,001-£120,000 0 1 As at 1 April 2007 903 6,562 2,081 2,975 12,521 £120,001-£130,000 1 0 £130,001-£140,000 0 1 In addition to these fixed assets, the NT holds a collection of paintings and manuscripts bequeathed by Somerset Maugham to the £140,001-£150,000 1 0 NT. No value has been ascribed to the collection in these financial statements. The collection is not held by the National in pursuit of Total 9 10 preservation or conservation objectives and accordingly the Directors do not consider that it represents a heritage asset, as defined by the SORP 2005. Accordingly, it is not considered appropriate to recognise any value relating to the collection at this time. The As at 30 March 2008, the National employed 484 (2007: 453) staff on permanent full-time contracts and 131 (2007:118) on part-time contracts. In addition, collection is insured for a value of £2,595,700. consistent with the National’s activities as a repertory theatre, 1,115 (2007: 1,110) people were employed on short-term contracts, including actors and musicians during the year. Pension contributions of £42,984 (2007: £43,236) were made to defined contribution schemes for the above members of staff during the year. 16. INVESTMENTS * All staff are employed by the National Theatre and recharged to Royal National Theatre Enterprises Limited where relevant. Group Company Group Company 12. DIRECTORS’ EMOLUMENTS 2008 2008 2007 2007 No directors of the company or its operational subsidiary received any remuneration during the year or in the previous year. £’000 £’000 £’000 £’000 Expenses for travel and entertainment totalling £740 (2007: £246) were incurred by one director wholly and necessarily on the National’s business and were reimbursed during the year. 20-year gilt 200 200 0 0 TOTAL 200 200 0 0 13. PENSION CONTRIBITIONS During the year, the Charity invested £200,000 into a 20-year gilt in accordance with the terms of a donation received from a long-term The National makes payments to defined contribution schemes which are available to all permanent employees on completion benefactor. At the end of the 20-year term, the capital sum will become available for use by the National Theatre, and interest on the gilt of their probationary period. The charge for the period was £554,000 (2007: £493,000) with £53,000 (2007: accrues to the National. £64,000) payable at balance date.

62 National Theatre Annual Review 2007-08 63 17. Stock 20. Funds Balance at Balance at 1 April 2007 Income Expenditure Transfer 30 March 2008 Group Company Group Company £’000 £’000 £’000 £’000 £’000 2008 2008 2007 2007 Unrestricted: £’000 £’000 £’000 £’000 Operations fund * 905 47,496 (46,139) (1,264) 998

Goods for resale 224 0 227 0 Designated: Consumable items 63 63 56 56 Building and equipment fund 4,660 161 (1,721) 1,350 4,450 Front of house capital 455 0 (45) 0 410 TOTAL 287 63 283 56 Total designated funds 5,115 161 (1,766) 1,350 4,860

18. Debtors Restricted: long-term funds ACE Lottery Fund 8,318 710 (2,119) 0 6,909 Group Company Group Company Studio refurbishment fund 2,903 2,403 (165) 0 5,141 2008 2008 2007 2007 Musical fund 188 9 (75) 0 122 £’000 £’000 £’000 £’000 Other restricted funds 0 609 (107) 0 502 Total long-term funds 11,409 3,731 (2,466) 0 12,674 Trade debtors 901 830 1,132 975 Due from subsidiary 0 840 0 1,114 Restricted: project funds Arts Council revenue grants 21 21 0 0 Education Arts Council Lottery grants 0 0 309 309 New Connections 40 414 (249) 0 205 Other debtors 484 484 95 95 Digital 42 4 (4) 0 42 Prepayments and accrued income 879 770 1,141 1,129 Secondary & further education 0 73 (73) 0 0 TOTAL 2,285 2,945 2,677 3,622 Interact 151 54 (117) 0 88 Primary 46 112 (158) 0 0 19. Creditors: Amounts Falling Due Within One Year City Ambassadors 46 45 (90) (1) 0 Head for Business (70) 106 0 (36) 0 Group Company Group Company Innovation & new audiences 17 0 0 0 17 2008 2008 2007 2007 Training & development 0 12 (12) 0 0 £’000 £’000 £’000 £’000 Regeneration 7 48 0 (55) 0 Other 1 24 (3) 0 22 Trade creditors 2,101 1,752 2,186 2,126 Performance Taxation and social security 1,068 1,068 650 650 NT 0 113 (113) 0 0 Advance bookings 1,761 1,761 1,358 1,358 Touring 0 100 (100) 0 0 Other creditors and accruals 1,880 1,768 1,497 1,433 Research & Development Studio projects 33 85 (118) 0 0 Provisions 203 203 254 254 Amplification Deferred income 812 812 626 578 Master planning 0 0 (57) 0 (57) TOTAL 7,825 7,364 6,571 6,399 Step-Change 30 34 (45) 0 19 Other amplification 0 255 (261) 6 0 Movement on deferred income Total project funds 343 1,479 (1,400) (86) 336 Group Company Group Company 2008 2008 2007 2007 Deferred income relates to membership Total funds 17,772 52,867 (51,771) 0 18,868 £’000 £’000 £’000 £’000 subscriptions and other income Deferred income brought forward 626 578 520 466 recognised over more * Analysis of unrestricted funds held between parent and subsidiary: Released in the year (626) (578) (520) (466) than one financial year Unrestricted retained surplus held by parent 1,003 Deferred in the year 812 812 626 578 in accordance with Unrestricted retained deficit held by subsidiary (5) the accounting policy Group unrestricted operations fund 998 Deferred income carried forward 812 812 626 578 stated in note 1H.

64 National Theatre Annual Review 2007-08 65 20. Funds (continued) Musical Fund 21. Analysis of Net Assets between Funds This reserve reflects an obligation under a Deed Fixed assets Cash Other net Total net Designated Funds: of Covenant with the Mackintosh Foundation to assets/ assets at Buildings and Equipment Fund set aside a proportion of income received from exploitation of productions originally funded by a gift liabilities 30 March2008 The buildings and equipment fund is a designated £’000 £’000 £’000 £’000 fund set aside by the Board in order to enable monies from the Mackintosh Foundation for the development Unrestricted: to be available over the long term for the renewal of the art of the musical and for future musical Operations fund 0 5,929 (4,931) 998 and maintenance of the National’s buildings and productions by the National. mechanical and electrical equipment in accordance Designated: with its lease and obligations under Lottery funding. In 2008, £75,000 was drawn down from the Musical Fund as a contribution towards work at the NT Building and equipment fund 3,378 1,072 0 4,450 £1,350,000 (2007: £2,250,000) was transferred from Studio (2007: £300,000 towards the NT production Front-of-house capital 360 50 0 410 the operations fund into the buildings and equipment of Caroline or Change). Total designated funds 3,738 1,122 0 4,860 fund during the year. The expenditure for the current period represents depreciation on assets acquired Other long-term funds Restricted: long-term funds through this fund. Other long-term funds represent funds used for ACE Lottery Fund 5,422 1,487 0 6,909 capital or where there is an expectation that the fund Studio refurbishment fund 5,663 (522) 0 5,141 Front-of-house Capital will be used over the longer term. Musical fund 0 122 0 122 £500,000 was transferred from the operations fund in Other restricted funds 176 126 200 502 2005 to continue the enhancement of the National’s Project Funds Total long-term funds 11,261 1,213 200 12,674 external spaces. During 2006, £51,000 was spent on These represent restricted funds made available for the illumination of the building and public spaces and projects generally completed within two years or Restricted: project funds in 2007, £437,000 was spent on the refurbishment of activities funded on an annual basis. Project funds are Education the Lyttelton Café. The fund is now fully drawn down, classified betweeen Education, NT Studio projects New Connections 0 205 0 205 the remaining balance representing depreciation. and Amplification, representing the charitable expenditure categories of the NT. Digital 0 42 0 42 Secondary & further education 0 0 0 0 Restricted Funds: Interact 0 88 0 88 Long-term Funds: Primary 0 0 0 0 City Ambassadors 0 0 0 0 ACE Lottery Fund Head for Business 0 0 0 0 In accordance with the recommendations of the Arts Innovation & New audiences 0 17 0 17 Council England, monies received by way of capital Training & development 0 0 0 0 funding are credited to the modernisation fund. Regeneration 0 0 0 0 During the year ended 30 March 2008, Lottery grants Other 0 22 0 22 of £710,000 (2007: £840,000) were credited to the Performance fund in this respect. NT 0 0 0 0 The annual depreciation charge for fixed assets Touring 0 0 0 0 acquired through the modernisation fund is charged Research & Development to the fund. The effect of the policy will be to reduce Studio projects 0 0 0 0 the balance of the modernisation fund to zero over the Amplification useful economic lives of the fixed assets concerned. Master planning 0 (57) 0 (57) Step Change 0 19 0 19 Studio Refurbishment Fund Other amplification 0 0 0 0 This fund has been created to support a major Total project funds 0 336 0 336 refurbishment of the NT Studio. Within this fund, a donation from The City Bridge Trust was regarded as Total restricted funds 11,261 1,549 200 13,010 Restricted Income towards disabled access. Total funds 14,999 8,600 (4,731) 18,868

66 National Theatre Annual Review 2007-08 67 22. Capital Commitments: Group and Company 26. COMMERCIAL TRADING OPERATIONS AND INVESTMENT IN TRADING SUBSIDIARY The National has two wholly-owned subsidiaries incorporated in the United Kingdom: 2008 2007 £’000 £’000 i) Royal National Theatre Enterprises Limited (“RNTE”) Approved and contracted 402 2,632 The company’s main activities are the provision of catering services, the sale of books and publications, the hiring out of costumes/props and the receipt of car park revenue. Studio 0 2,400 Lighting dimmers 0 232 Issued share capital: 2 ordinary shares of £1 each The Deck 306 0 Sound Desk 56 0 No value is ascribed to this subsidiary within the Charity financial statements because it has net liabilities and gift Web 40 0 aids all its profits back to the Charity. A summary of RNTE’s trading results is shown below: 402 2,632 The amount payable within one year is £402,000 (2007: £2,632,000). Subsidiary Subsidiary 2008 2007 23. RELATED PARTY TRANSACTIONS £’000 £’000 Nicholas Wright, a member of the Board, is a playwright. During the year, he was paid royalties of £17,996 (2007: £66,428) in his capacity as writer of the play The Reporter and commissioning fees of £5,296 in consideration for writing a new Turnover 7,063 6,610 play for the NT Education New Connections project. £nil (2007: £nil) was payable at balance date. These amounts were Cost of sales (5,192) (5,012) consistent with those for a playwright of his standing. Administrative expenses (639) (607) The National has a limited power to enter into transactions with its Trustees. This power is in its governing document, the Profit on ordinary activities before interest 1,232 991 Memorandum of Association, and it is limited by conditions which protect the interests of the National as a charity. Interest receivable 40 21 Information regarding connected charities can be found on page 39 of this report. Net result 1,272 1,012 24. VAT Gift aid due to parent company (1,272) (1,012) The National is a culturally exempt organisation under Schedule 9 of the VAT Act 1994 and during the year VAT returns have been submitted on a culturally exempt basis. NT box office income presented in 2008 includes the benefit of Retained in the subsidiary 0 0 cultural exemption relating to ticket sales (£2,056,000), whilst the irrecoverable input VAT and related costs of £2,042,000 As at the balance sheet date the aggregate amount of RNTE’s assets, liabilities, share capital and reserve was: (including £639,000 irrecoverable VAT on capital expenditure) is included within expenditure on charitable activities. Comparative figures do not reflect the impact of cultural exemption due to the fact that the NT was not operating cultural 2008 2007 exemption prior to 2008. The National Theatre is in discussions with HMRC as to the quantum of the benefit attributable to £’000 £’000 prior periods. There are some areas of contention. If those areas are ignored, the quantum is approximately £1m and the NT will shortly be putting in an interim claim to recover this amount. It is hoped that the contentious points will be resolved Fixed assets 0 0 in early 2008/09. Current assets 1,296 1,280 Creditors: amounts falling due within one year (1,301) (1,285) 25. Operating Lease Commitments: Group and Company TOTAL net assets (5) (5) At 30 March 2008 the National was committed to making the following payments during the next year in respect of operating leases: Represented by: 2008 2007 Share capital and reserves (5) (5) £’000 £’000 Retained deficit (5) (5)

Equipment leases which expire within one year 11 10 Equipment leases which expire within two to five years 9 9 Property leases which expire within one year 0 1 Property leases which expire in over five years 218 218 TOTAL 238 238 Property lease commitments relate to lease contracts for the rental of properties at Kennington Park, London SW9.

68 National Theatre Annual Review 2007-08 69 26. COMMERCIAL TRADING OPERATIONS AND INVESTMENT IN TRADING SUBSIDIARY (continued) NT associates, committee membership, The results of RNTE are consolidated into the group financial statements on a line by line basis as follows: and heads of department 2008 2007 £’000 £’000

NT Associates Finance & Audit Committee Heads of Department Activities for generating funds: trading operations 6,543 6,130 Alison Chitty Rachel Lomax Associate Producer Investment Income: interest receivable 40 21 Bob Crowley Caragh Merrick Pádraig Cusack Declan Donnellan Caro Newling Casting Wendy Spon 6,583 6,151 Jonathan Dove Sir Hayden Phillips GCB DL Catering Robyn Lines Edward Hall Rt Hon Lord Smith of Finsbury Development John Rodgers Less: costs of goods sold (5,856) (5,582) Mark Henderson Edward Walker-Arnott, Chairman Education Stephanie Hutchinson Net trading surplus reported in group financial statements 727 569 Alex Jennings Engineering John Moffat Kwame Kwei-Armah Nominations Committee Finance Chris Walker Rachel Lomax Front of House John Langley Consolidation adjustments 545 443 Caro Newling Information Technology Net surplus for the year reported in RNTE 1,272 1,012 Patrick Marber André Ptaszynski, Chairman Joe McFadden Marketing Sarah Hunt Katie Mitchell Remuneration Committee Music Matthew Scott Mark Ravenhill Rachel Lomax Personnel Tony Peers Simon Russell Beale Caragh Merrick Platforms & WTS Angus MacKechnie Zoë Wanamaker Caro Newling Press Lucinda Morrison ii) National Theatre Productions Limited Sir Hayden Phillips GCB DL Print & Publications Lyn Haill COMMITTEE MEMBERSHIP Rt Hon Lord Smith of Finsbury Production Mark Dakin AT 30 MARCH 2008 Edward Walker-Arnott, Chairman Studio Purni Morell Issued share capital: 2 ordinary shares of £1 each Technical David Roberts Development Council Voice Jeannette Nelson This company is dormant and has not been consolidated. Susan Chinn, Chairman ROYAL NATIONAL THEATRE Edgar Wallner, Vice Chairman ENTERPRISES LIMITED Associate NT Future Nicola Thorold Royce Bell Directors Tony Bloom Lisa Burger Dr Neil Brener Sarah Hunt Board of the American Sarah Brener Karen Jones Associates OF THE ROYAL Russ Carr John Langley NATIONAL THEATRE Caroline Cormack Robyn Lines Leila Maw Straus, Chairman Ian Cormack Justin Manson William G Bardel, Treasurer Glenn Earle Geoffrey Matthews Debra Black Michael J Gee Caragh Merrick Terri Childs Gabrielle, Lady Greenbury Nick Starr Suzanne Elson David Hall Edward Walker-Arnott, Chairman Suzie Fairchild Kovner Kwame Kwei-Armah Elliott F Kulick Celine Lowrey Jeanne Linnes Edward McKinley Honorary Council Stafford Matthews Sir Hayden Phillips GCB DL Sir David Bell Sir Deryck Maughan Simon Russell Beale CBE André Bénard Stephanie McLelland Clive Sherling Dr David Cohen CBE Laura Pels Rita Skinner Iain Davidson Dr Charles Ryskamp Tony Thompson Justin Dowley David Smalley Susan Weingarten David Dutton Joan Steinberg Charlotte Weston Michael Grade CBE Monica Wambold Sir Christopher Hogg Peter Wolff Education Committee Robert Norbury Peter Housden Oliver Prenn Tom Morris Lois Sieff OBE Sir Hayden Phillips GCB DL, Chairman Peter Wiegand Philip Pullman Max Ulfane Jenny Waldman

70 National Theatre Annual Review 2007-08 71 photograph captions

Page 2 war Horse Page 34 Clockwise from top: Topthorn, with Thomas Goodridge, Tim Lewis, Baby Girl and Craig Leo Petra Letang and Candassaie Liiburd Photo Simon Annand Photo Robert Workman Citizenship Page 6 MUCH ADO ABOUT NOTHING Michelle Tait Simon Russell Beale and Zoë Wanamaker Photo Johan Persson Photo Catherine Ashmore The Emperor Jones Paterson Joseph Page 10 PHILISTINES Photo Stephen Cummiskey Rory Kinnear and Ruth Wilson The Miracle Photo Catherine Ashmore Ruby Bentall and Rebecca Cooper Photo Robert Workman Page 12 Celebrating the new partnership with DNA Philips to reduce energy consumption Jack Gordon, Ruby Bentall and Sam Crane Photo Mimi Mollica Photo Robert Workman

Page 15 Clockwise from top left: Page 38 The Hour We Knew Nothing of Each Other landscape with weapon Jason Thorpe (left) and Adrian Schiller (right) Tom Hollander and Julian Rhind-Tutt Photo Neil Libbert Photo Catherine Ashmore never So Good THE FIVE WIVES OF MAURICE PINDER Jeremy Irons (centre) Adam Gillen, Sorcha Cusack, Larry Lamb, Photo Catherine Ashmore Carla Henry and Martina Laird Photo Manuel Harlan Page 39 Bamboozle making WAR HORSE accessible, with Statement of Regret stage manager Jane Suffling (seated on floor) Don Warrington Photo Gemma Mount Photo Keith Pattison Present Laughter Page 40 Rafta, Rafta… Sara Stewart and Alex Jennings Ronny Jhutti, Meera Syal, Shaheen Khan, Simon Photo Catherine Ashmore Nagra, Natalie Grady, Rudi Dharmalingham, Arsher Ali and Harish Patel Page 18 Women of Troy Photo: Catherine Ashmore Penelope McGhie, Charlotte Roach, Beth Fitzgerald, Helena Lymbery, and Pandora Colin Page 46 A Matter of Life and Death Photo Stephen Cummiskey Tristan Sturrock Photo Steve Tanner Page 21 New Views discussion held in the John Lyon education studio at the refurbished Studio Page 48 Clockwise from top Photo Mauricio Arzayus Chatroom George Rainsford, Jaimi Barbakoff, Jade Williams, Page 22 Watch This Space 2007, with Antony Gormley Steven Webb and Akemni Ndifornyen statue on the Olivier fly tower in the background Photo Johan Persson Photo Ludovic des Cognets Happy Days at Epidaurus Page 24 Dan Harvey & Heather Ackroyd’s FlyTower Photo Kokkinias + Polychronakis The Hothouse Page 26 The refurbished Studio Stephen Moore and Paul Ritter Photos Philip Vile Photo Catherine Ashmore MAJOR BARBARA Page 30 SAINT JOAN Simon Russell Beale and Hayley Attwell Anne-Marie Duff Photo Catherine Ashmore Photo Kevin Cummins

72 National Theatre Annual Review 2007-08