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Annual Report 2013–2014 Annual Theatre National Report

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Annual Report 2013–2014 Annual Theatre National Report National Theatre Annual ReportAnnual 2013–2014 Annual Report 2013–2014 Annual Report For the 52 weeks ended 30 March 2014 2 Board and Advisers 4 Purpose, Vision and Objectives 6 John Makinson, Chairman 8 Nicholas Hytner, Director 12 Nick Starr, Executive Director 15 The National Theatre on tour 16 Plays and Artists 21 National Theatre Productions 25 Awards 26 National Theatre 50th Anniversary celebrations 30 Audiences 33 National Theatre Live, Digital Innovation and Broadcast 37 Learning 40 Public Engagement 42 National Theatre Future 44 NT Studio 46 Leadership 48 Finance and Sustainability 55 Fundraising 56 Supporters 64 Performers 68 NT Associates, Committee Membership and Heads of Departments 69 Photo captions In this document, The Royal National Theatre is referred to as If you would like to receive it in large print, “the NT”, “the National”, and “the National Theatre”. or you are visually impaired and would The full Financial Review and Financial Statements (and this like a member of staff to talk through the Annual Report) are available to download at www.nationaltheatre. org.uk/annualreport The Trustees’ Report comprises those items publication with you, please contact the on pages 2 – 5 and12 – 69 of the Annual Report and pages Board Secretary at the National Theatre. 1 – 20 of the Financial Statements. National Theatre Annual Report 2013–2014 1 Board and Advisers Board Members Executive Chairman John Makinson Director* Peter Bennett-Jones Nicholas Hytner Dame Ursula Brennan DCB Executive Director Dominic Casserley Nick Starr CBE Susan Chinn CBE Chief Operating Officer Lisa Burger Tim Clark Chief Executive Designate Howard Davies Tessa Ross Lloyd Dorfman CBE Director Designate Glenn Earle Rufus Norris Aminatta Forna Farah Ramzan Golant CBE Ros Haigh Associate Directors Neil MacGregor Sebastian Born Kate Mosse OBE Howard Davies James Purnell Marianne Elliott Clive Sherling Rufus Norris Ben Power Bijan Sheibani ‘A swirling, postmodern Bankers maelstrom of Coutts & Co 440 Strand, London a production, WC2R 0QS where modern dress and Auditors medieval PricewaterhouseCoopers LLP garb collide.’ 7 More London Riverside Andrzej Lukowski, Time Out London SE1 2RT *The term “Director” is a traditional title used at the National. Neither the Director, the Associate Directors, nor other members of the Executive are directors under the Companies Act, 2006 2 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 3 Our Purpose extensive learning and public Our Objectives — Broadcast. The NT broadcasts The National Theatre is dedicated engagement programmes, touring — The Artistic Programme and a selection of its repertoire to to the constant revitalisation of the and broadcasting in the UK and Artistic Development. The NT cinemas in the UK and great traditions of the British stage internationally, and creating presents a balanced artistic internationally. innovative digital content. and to expanding the horizons of programme, staging around 20 — Leadership. As a national theatre, audiences and artists alike. In its Our Vision productions a year from the the NT takes responsibility for three theatres on the South Bank whole of world drama, with a fostering the health of the wider The National Theatre strives to in London, it presents an eclectic specific responsibility for the British theatre. be a national centre of theatrical mix of new plays and classics from creation of new work and arts, central to the creative life — Sustainability. The NT operates in the world repertoire with seven or representing the widest range of the country and unmatched a financially and environmentally eight productions in repertory at of voices. in the world for scale, range of responsible manner, whilst any one time. The National Theatre repertoire and audience reach. It — Audiences. The NT is tireless in striving to increase self-generated aspires to reflect in its repertoire aspires to produce to the highest trying to reach more people, income. the diversity of the nation’s culture. standards by attracting the best broaden our audiences and give — Innovation. The NT actively With a commitment to openness, artists and staff and by providing them an unparalleled experience. considers the way in which it wide-reaching engagement and an environment which stimulates — Learning & Engagement. The operates, and strives to access for everyone, the National them to realise the fullest extent NT aims to be an inspirational, innovate in all areas of its activity. shares its resources, energy and of their talents. Education and internationally recognised creativity with audiences and public engagement are founding resource for lifelong learning theatre-makers around the globe; principles for the NT and are about and through theatre. using its Studio for research and central to our vision of the future. development of new work, offering 4 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 5 John Makinson ‘As irresistible Jesus music Chairman seems to be flying sky high, carrying us with it, a jazz riff in the background calls out for not following the flock but going your own way.’ The National Theatre’s Board The achievements of the year are documented October of this year and Nicholas Hytner in detail later in this report. In a nutshell, we will follow next March at the end of his final Susannah Clapp, The Observer had three challenging priorities presented more theatre to more people in more season. Anyone who cares about theatre, in during the 12 months covered places and formats than ever before. But it was a the UK and indeed elsewhere, owes the two of by this review. The first was birthday year to remember in so many other ways. them an enormous debt of gratitude. We wish One million people watched BBC Television’s them every success in their future enterprises. to ensure that the NT’s 50th transmission of Live from the National Planning the succession to the two of them was Theatre: 50 years on stage, an extraordinary birthday was celebrated with a of course the most challenging of the Board’s celebration of the NT’s first half-century creative and commercial flourish; three assignments. We were delighted, however, orchestrated and directed by Nicholas Hytner. the second was to guide NT that we were able to persuade Rufus Norris, a Throughout the year visitors to the NT will director whose ground-breaking work at the Future, our £80m redevelopment have seen (and occasionally heard) the physical NT and elsewhere needs little introduction programme, towards a successful evidence of our ambitious NT Future project. to regular theatre-goers, to become the next conclusion; and the third We have kept the Olivier and Lyttelton theatres Director of the National Theatre. Soon after, running at full throttle – and close to full we announced with some fanfare that Rufus was to provide a smooth and capacity – over this period of construction, while would be joined at the helm of the NT by Tessa compelling transition from the The Shed has offered new and often younger Ross, the current head of Film4, and one of the most successful executive team audiences a breathtaking mix of contemporary most respected and admired film and television theatre during the period of the Cottesloe’s executives in the world. In recognition of the in the theatre’s history to a new closure. By the time this annual report is scale and reach that the NT has grown to leadership possessing the skills published, the temporary construction walls over the last decade, the Board has decided to will be coming down and visitors will have embrace a joint leadership model. Tessa joins and experience to build on the the opportunity to experience a dramatically the NT in November, formally becoming Chief achievements of the past decade, enlarged and enhanced National Theatre. New Executive when she and Rufus pick up the as well as the confidence and restaurants and bars are preparing to receive reins next April. Both are already fully engaged customers, the Clore Learning Centre and Max in planning the future of the NT, working in vision to steer the NT in fresh Rayne Centre are approaching completion, and close partnership with the extraordinary Lisa and exciting new directions. the Cottesloe theatre will reopen as the Dorfman Burger, who has been promoted to the role of in September. There is more work to be done over Executive Director. These are early days but the the next 12 months but the project is on track for Board’s view is that the future leadership of the a successful completion, and all but £3m of the National Theatre could not be in stronger hands. £80m fund-raising target has been committed. I am also delighted to report that Kate Mosse, It is appropriate that I wind up this statement who has served as an NT Board member for three by paying tribute to Nicholas Hytner and Nick and a half years, has agreed to accept the role of Starr, respectively the Director and Executive Deputy Chair of the National Theatre. The NT Director of the National Theatre, because none has grown enormously in scale and complexity of the achievements that I have listed earlier over recent years and Kate’s appointment will in this narrative would have been possible help to ensure that, as a Board, we are keeping without their creativity, drive, intelligence and pace with that growth and development. determination. They have led the NT for over I know that I also speak for the executive teams a decade and in that time the NT’s creative of the NT present and future in paying tribute reputation, commercial income, international to all the exceptional people who work and reach, and commercial production capacity, perform at the National Theatre, and who help to on screens as well as on stages, have grown in make it the unique place that it undoubtedly is.
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