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Home , Chris New, David Jones (director), David Warner (actor), David Weston (actor), Desmond Barrit, Frances Barber

ANNUAL REPORT AND ACCOUNTS

Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon CV37 6BB

Tel: +44 1789 296655 Fax: +44 1789 294810

www.rsc.org.uk

2007/ 2008 132nd report of the Board Chairman’s report 03

To be submitted to the Annual General Meeting of the Governors convened for Monday Artistic Director’s report 05 22 September 2008. To the Governors of the Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given Executive Director’s report 07 that the Annual General Meeting of the Governors will be held in Facts and figures 08 – 09 The Courtyard Theatre, Stratford-upon-Avon on Monday 22 September 2008 commencing at 3.30pm, to consider the The Histories 10 – 17 report of the Board and the Statement of Financial Activities and the Balance Sheet of the Corporation at 31 March New work 18 – 21 2008, to elect the Board for the ensuing year, and to transact such Touring 22 – 25 business as may be transacted at the Annual General Meetings of the Royal Shakespeare Company. Transformation 26 – 29

By order of the Board Stand Up For Shakespeare 30 – 33 Vikki Heywood Secretary to the Governors Financial review of the year 34 – 37

Summary accounts 38 – 41

Supporting our work 42 – 43

Year in performance 44 – 47

Acting companies 48 – 49

The Company 50 – 51

Corporate governance 52 – 53

Associate artists/Advisors 54 – 55 ht:Ellie Kurttz Photo:

Constitution 56

Jonathan Slinger and Clive Wood in Henry IV part II Chairman’s report In 2007/8 we brought many of our ambitions to life.

We achieved a critically acclaimed staging of all eight History plays with a single company of actors. They were able to explore Shakespeare and deepen their craft over a period of years rather than weeks under Michael Boyd’s direction. We premiered five RSC commissions, reflecting our commitment to new work. We saw the development of self confidence and a new passion for Shakespeare in the thousands of children and teachers who have been involved in our Learning and Performance Network, now standing at over 250 schools across the country. And we toured for an astounding 47 weeks in the UK and across the world.

All this, whilst beginning our Transformation in earnest, closing the Swan Theatre with a powerful season of work in the summer of 2007 and operating for the remainder of the year from only one auditorium in Stratford-upon-Avon, The Courtyard Theatre, our temporary home and prototype for the new Royal Shakespeare Theatre.

I’d like to pay tribute to Michael Boyd, Vikki Heywood and all involved with the RSC in looking outward to the world for inspiration, in listening to young people, and in talking with new audiences about theatre and its power to ignite the imagination. I am particularly grateful to Susie Sainsbury, Deputy Chairman of the RSC, and her fellow Board members for their hard work and support.

The RSC is on an exciting journey and is forging many new partnerships along the way. I am very proud of the Company’s achievements and delighted that our Box Office and fund- raising continue to remain robust.

Photo: Hugo Glendinning Sir Christopher Bland Chairman

John Lithgow in /03/ Our desire to return to the founding principles Artistic Director’s report of the RSC and commit to ensemble theatre- making might be seen by some as rather anti-zeitgeist in a world where celebrity has top billing and the individual is king. But we have found the notion of collaboration – of investing in the long-term, learning from one another, developing trust over time – to be one which has excited audiences and inspired theatre artists.

For me, a highlight this year has been making a true connection with the audience through the staging of The Histories, creating ‘one-room theatre’ in which the actors and the audiences share the same air. The quality of the work that’s possible is the payoff for long rehearsals and training in voice, verse, rhetoric and movement which we put all our actors through, whoever they may be.

We have also used the experience of The Histories to maintain the creative tension line between Shakespeare and new work. Adriano Shaplin and Anthony Neilson have been embedded with the company, working with the actors in the rehearsal room to shape new plays. The new work we have premiered during the year has addressed the scale and range of Shakespeare’s achievement as a dramatist and we have taken work we’re proud of to audiences across the country and across the world.

We have had a very good year. We will be taking the lessons from our first long ensemble into the future to stretch our artists and challenge our audiences, and we will continue our campaign to change the way Shakespeare is taught in schools, giving teachers and children the chance to start Shakespeare early, see live performance and learn on their feet.

Michael Boyd Artistic Director Photo: Ellie Kurttz

John Mackay in /05/ Executive Director’s report During this year, we completed Phase 2 of the Transformation of our Theatres programme, with staff moving into new offices in Chapel Lane, refurbished rehearsal rooms, and an improved children’s nursery.

Phase 3, the Royal Shakespeare Theatre and the Swan Theatre, is now well underway. We closed these theatres in summer 2007 and conservation and demolition work began soon after. Construction began in summer 2008, on course for completion in 2010.

Behind our plans for the new theatre lies a wish to bring actors and audiences closer together with a thrust stage, improved public spaces, more events and exhibitions and better backstage resources. We’re enormously grateful to everyone who’s supported the project thus far and to our Stratford neighbours who have patiently borne the disruption.

We brought our epic Complete Works festival to a close with sell-out productions of and in Stratford-upon-Avon, and , before beginning a global tour. Partnership with the National Arts Centre of Canada saw performed in Stratford-upon-Avon and Ottawa, closing the Swan Theatre alongside productions of and Macbett. Closer to home, our Twelfth Night company played in The Courtyard Theatre and toured major regional theatres with a revival of . Noughts & Crosses toured to seven UK cities, following a world premiere in Stratford-upon-Avon.

We are continuing to broaden our audiences all the time, welcoming increasing numbers of younger and first time attenders to our theatres. I am also proud to report that we are extending the principles of collaboration and enquiry into everything we do, to make the way we work as effective and Photo: Ellie Kurttz inclusive as possible.

Audiences arrive at Hackney Empire Vikki Heywood Executive Director /07/ Facts and figures 90 more UK schools joined the Learning and Performance 6,277 Network which now has £5 tickets sold in 252 Stratford-upon-Avon member schools 858 for 16 – 25 year olds performances staged worldwide Over 30,000 schools tickets sold 5 new plays 11 premiered cities visited across the world and Over 535,000 Over 65,000 tickets sold globally children benefited from the 10 Learning and Performance in the UK Network 287,382 tickets sold in 87,000 people Stratford-upon-Avon saw performances on tour in the UK 34 actors 35 writers played commissioned to produce 264 parts new writing in The Histories

Over 32,000 adults 10,296 attending an RSC performance family tickets sold saw a live performance for the 47 in Stratford-upon-Avon first time weeks of touring /09/ Jonathan Slinger, actor

In rehearsals I thought, if we made a success of this project, there would be nothing that the acting profession could throw at me that I couldn’t take on. Nothing would ever be this challenging again.

I had to prepare much more than ever before. Luckily, my ‘big bits’ (Richard II and Richard III) came mid season. We’d Eight plays and one epic journey worked together for a while and had certain skills under our belts, but it got for the whole Company, through harder so I did extra training. With the one hundred years of bloody movement specialists I did gruelling English history. physical training on Clapham Common and then yoga on alternate mornings before rehearsals! It got me ‘fit for Our ensemble of 34 actors Richard’ and I’m grateful for that. I also worked together with Michael felt privileged to work with RSC legends Cis Berry and on voice and Boyd and the creative team, for text, soaking up their words of wisdom. two and a half years to stage all of Shakespeare’s History Without question it was the best and biggest experience of my career by a plays. Between them, they long way, with many different things played 264 parts to packed making it special. houses in Stratford-upon-Avon and a sell-out eight week season at London’s Roundhouse,

winning enormous critical The RSC Ensemble is generously supported by The Gatsby Charitable Foundation and

Photo: Ellie Kurttz acclaim. The Kovner Foundation

Henry V was supported by Mark Pigott OBE through a generous donation to RSC America Behind the scenes for The Histories /11/ Joss Carter, usher

It was such a unique experience and I recognised people who came back to see the shows. I met a man from Liverpool who had to plan everything for his trips meticulously – fitting it into his work schedule, the , his B&B, his travel. It made me realise that I could see Suzie and Bruce Kovner, these shows every night and this man RSC donors had gone to so much trouble to get here. The audience deserves the very, It was a once in a lifetime opportunity very best experience, and it’s my job to watch Shakespeare’s history plays to participate in that. in chronological order, performed by one company of actors. I’ll never forget the final when we staged all eight Spending over 25 hours at the productions. It was such an Roundhouse and watching each experience, everybody was there successive production made us feel as if together and I wouldn’t have been we were a part of this great ensemble. anywhere else. The atmosphere We felt as if we were all making history was electric. It really was a together. Glorious Moment. As supporters of the ensemble and the Artists’ Development Programme, we saw the visible results that the ongoing training and generosity of time have provided; actors who have thrived from the safety and encouragement of a long-term company. The rope work was impressive and daunting.

Michael Boyd views the ensemble as the future of theatre. Based on The Histories, we think he

Photo: Ellie Kurttz Ellie Photo: is right.

Maureen Beattie and Alexia Healy in Henry VI part I /12/ /13/ Zoë Donegan, stage manager

It was an amazing experience. Working with the same group of people for two years you developed a shorthand. You could start to read people’s minds from their facial expressions.

I knew it was a long term thing but could Peter Bailey, only look at it stage by stage, otherwise deputy technical director it was too big to compute. When we started on play one it was unbelievable Creating The Histories auditorium at to think that we would rehearse London’s Roundhouse was my another seven plays by the same biggest project in 38 years. We built a writer, with the same actors, creative theatre in ten days and staged eight team and on the same set. productions in six weeks. The logistics were immense with 28 trailer deliveries. I had to remember the first line of the It proved to me what extraordinary play before each performance. Once skills and depth we have in the Company I’d done that the whole production to produce something like that, and to would unravel itself and I could get overcome significant obstacles. on with the show. As a stage manager it was an honour and One of the biggest was that we wouldn’t a massive challenge to work on get a licence to perform in the venue until The Histories. Now it’s a bit like, the day before we opened the shows. It was ‘how do you follow that?’ Even if a rolling process to make sure the they were staged again it would licensing officer was happy with the work – never be the same as the first time. flying actors with swords over the We were the guinea pigs and it audience, pistols, guns, fights, blood, was a pretty good achievement. emergency procedures, access ramps, exit lights. Every tiny detail was discussed to make sure that when we asked the question, ‘can we open?’ they said ‘yes’. That was a great relief. It made 15 months of planning, preparation and work worthwhile. Ellie Kurttz Photo:

Backstage at The Histories /14/ David Collins, marketing manager

Opening the new Courtyard Theatre with The Histories was a big moment for the Company. It was an exciting tough few months during which different departments really pulled together to achieve the same goal.

We started selling the shows in September 2005. It was a lot to ask of our audience as we were essentially asking them to commit to seeing one nine hour play. However, once the productions opened people began to realise just how special they were.

Over the next two years the cycle really built up momentum. By the time we arrived in London it was a complete sell-out with returns queues every day. What made this so fantastic was that people weren’t booking to see one actor in a lead role, they were booking because they were inspired by the idea of ensemble theatre-making. One of the greatest Having worked on The Histories for events of modern theatre two years it was hugely satisfying to Guardian see them really take off in the public imagination. They became the thing we had always talked The best I’ve seen in 30 years about – event theatre, a once in a lifetime opportunity.

People queue for The Glorious Moment, the culmination of The Histories, at The Courtyard Theatre. /17/ Anthony Neilson, writer and director for God In Ruins, and newly appointed RSC Literary Associate

An illustrious history is a double-edged sword. The huge success of The Complete Works festival is a testament to the RSC’s popularity but those interested in contemporary writing could, until now, be New work forgiven for looking elsewhere. After working with them on God In Ruins,I am convinced that Artistic Director, Michael We continue our Boyd and Jeanie O’Hare, Dramaturg, are commitment to bold, genuinely committed to changing that perception and that’s why I’m proud to take ambitious new work, up the new position of Literary Associate. with 35 plays currently under commission, and It’s easy enough to commission new work. My hope is that we can also explore new five world premieres ways of working and new forms of during the year including narrative. We will have a commitment to new plays God In Ruins and young writers but I hope we can also encourage a few old dogs to try some new I'll Be The Devil, tricks. The aim is not only to attract new adaptations of The Penelopiad audiences but to create an honest and and Noughts & Crosses, and a supportive environment for the artists we employ; and to ensure that the RSC plays new translation of Ionesco’s its proper part in forging a theatre fit for the Macbett. 21st century.

The RSC’s Literary Department is generously supported by The Drue Heinz Trust

The RSC’s New Work is generously supported by Christopher Seton Abele on behalf of The Argosy Foundation

Photo: Mollière Pascal Jude Akuwudike in God In Ruins /19/ Dirk Campbell, musician in I’ll Be The Devil

I was asked by the director and composer to demonstrate my whole range of bagpipes for I’ll Be The Devil. In the end we used a Balkan gaida, Greek island tsabouna, North African mezoued, set of uilleann pipes, an Italian zampogna, a medieval European bagpipe and a dudy from central Europe. It was almost my entire collection. It’s quite unusual to use such a range of instruments all in one show.

One of the great things about the RSC is that rare musical skills are often called for. As well as all the different bagpipes, I also had to learn to play the wire-strung Irish harp. The Music Department had scoured the British Isles to find somebody who could play this instrument but with no joy. They rang me up and asked if I would learn to play it for the show. I thought, ‘Why not?’ We hired the instrument from a music shop in . They’d had it for 20 years but nobody had bought it. I dusted it off, tuned it and got it going. It was a lot of work, but it’s now another ‘string’ to my bow!

Eoin McCarthy and Samantha Young in I’ll Be The Devil /20/ 01 Davinia Anderson, actor in Noughts & Crosses

I was so excited to begin work with the RSC and I wasn’t disappointed.

Doing the play Noughts & Crosses was fantastic as many, many young people came to see it, already enthused by the story that we were about to tell. Having a predominantly young audience was great as they often interacted verbally with the performance! This was quite Touring funny but also encouraging as we could hear that they were following the story and totally In 2007/08, we toured absorbed. It was encouraging as a performer to hear for 47 weeks of the year afterwards how much we to 21 cities worldwide. touched the young audience Almost 200,000 people that the play was intended to reach. experienced our work on tour in one of the 258 performances across the world. Tours of Shakespeare and new work have drawn in new audiences everywhere, including 14,000 new attendees for the UK tours of Noughts &

Photo: Keith Pattison Crosses and The Comedy of Errors.

Davinia Anderson in Noughts & Crosses Photo: Ellie Kurttz Iain McKee and Jason Merrells in The Comedy of Errors /22/ /23/ Gaurav Kripalani, artistic director for Singapore Repertory Theatre

The first Shakespeare production I ever saw as a small child was at the RSC. It had a huge influence in shaping the direction my life took. I could never have imagined that many years later my theatre company would be hosting the RSC in Gary Beckner, senior director, Singapore. Global Event Marketing, Accenture

Being associated with the RSC and the On behalf of Accenture I would like to tour of King Lear and The Seagull say how proud we were to be the title definitely made people in the arts sponsor of the King Lear and The community around the world sit up Seagull International Tour. It enabled and take notice of the Singapore us to build on our existing relationship Repertory Theatre and Singapore. It’s with the RSC, to create an image and gone a long way to establishing our business development programme reputation as the leading arts capital around this unique series of in Asia, and will hopefully lead to new international shows. We are thrilled as partnerships between the Singapore it proved to be a very beneficial and British theatre scene. sponsorship for Accenture, enabling us to connect with Accenture clients and The audience loved the show and friends around the world and to enjoy with members of our audience are still them one of Sir Ian McKellen’s finest asking what we might be doing performances. with the RSC next.

It was a wonderful opportunity for us to learn. I would love our company to have an illustrious history as rich as the RSC’s one Manuel Harlan Photo: day, and for the kids who come Since 2003 Accenture has been involved in a unique relationship to watch our shows to leave with the RSC. As the RSC’s High Performance Business Partner, the theatre as inspired as I Accenture’s role is to provide financial support as well as consulting services to help the RSC achieve higher performance as a business, was when I first went to to complement their unparalleled artistic success. Stratford-upon-Avon. Ian McKellen and Sylvester McCoy in King Lear /24/ Transformation

Neil Sullivan, Phase 1 supervisor for demolition contractor, DSM

The temporary Courtyard I’ve worked in demolition for 47 years. Working on Theatre opened in 2006. the Royal Shakespeare Theatre was a fantastic job and very well organised. The people, the facilities, I felt part of one team, all there to achieve Phase 2 one outcome. New spaces for rehearsals and After we’d stripped out the old theatre we made intricate cut lines to separate the main theatre staff, plus a new home for our from the original Art Deco foyer. It became two children’s nursery completed independent buildings and for the major in 2007. demolition we used mainly small machinery to minimise damage.

I worked on the project for a year and spent a lot of time in that building. It felt alive with its history. You could feel the atmosphere, especially in the fly-tower; there was definitely something there Phase 3 which will inhabit the new theatre. We are now in Phase 3 of the It was a prestigious job and helped to showcase my industry. I spoke to people from all over the Transforming our Theatres world about what we were doing and how the programme. The new Royal building still has its character. I’ve only ever Shakespeare Theatre is due pulled theatres down before but now I want to get involved with the theatre more. I can’t wait to see for completion in 2010. a show there. I’m very passionate about it and it’s a thing that I’ll never forget.

/26/ /27/ Construction photos by Stewart Hemley

Claire Appleby, project architect, Bennetts Associates

I joined the Bennetts team to work on the RSC project. It’s a prestigious job and that’s what enticed me.

It’s been a very busy year – fast, furious and fun! It started with the removal of everything from the old theatre and then the demolition. Those guys were fantastic. It was careful Nigel and Rhona Empson, deconstruction rather than demolition, which is Take Your Seat donors why it took so long. Together with the structural engineers, we had to check the uncovered site The RSC has been an important part of our lives information against our current designs and for many years. We first visited Stratford react to any changes that were discovered together in 1961 when we were students and all during the demolition process. we could afford was a couple of mini-pork pies for our breakfast! Now that we are semi-retired, We’re also working on the designs for the we are able to visit fairly regularly and satisfy our interior. I’m focusing on the dressing rooms, the hunger a little more comfortably. back-of-house areas, and the toilets. In addition we’re making sure we get the access right for It must be an exciting time for the Company – we the theatre. For the first time people with feel privileged to be part of the project in this disabilities will be able to visit all levels of the small way and, I can assure you, your excitement building. That wasn’t the case in the old theatre. is shared by us also.

One of the best moments was seeing the demolition of the old auditorium and the hole left behind. That was when you could really see the beginnings of our design coming together. It’s really exciting to see the new building rising out of the ground.

/28/ /29/ Over 3000 people and organisations, including theatre companies, educational organisations, the DCSF and QCA, HRH the Prince of , students, teachers, actors, directors and politicians, have now signed up to support our Stand Up For Shakespeare manifesto, developed through our work with the 252 schools in our Learning and Performance Network.

Jude Graham, teacher of English and Drama, St Robert of Newminster School, Tyne and Wear

I’ve really enjoyed being involved in the Learning and Performance Network. It’s been fantastic for my professional development and I’ve completely changed the way I teach Shakespeare. It’s given me the confidence to get the young people up from behind their desks, to give them the freedom to come up with ideas and their own interpretations of Shakespeare.

I’ve taught over 60 students preparing for their SATS using all the RSC’s methods. The feedback’s been really, really positive. They’ve learnt a lot about Shakespeare and they’re very positive about his work.

We all wear our Stand Up For Shakespeare badges around school and we’ve even now got ‘Team Shakespeare’, a ht:Ellie Kurttz Photo: group which was put together by some of the young people. They’re getting awards for the work they have done at the end of term and they’ve even been in the Students perform in The Courtyard Theatre local paper. Everything has clicked into place! as part of the Regional Schools Celebration.

/30/ I wholeheartedly support Viv Ambery-Smith, deputy head teacher, Queen’s Park the RSC’s manifesto to Primary School, North London bring Shakespeare’s words and ideas and Working closely with the RSC ‘s Learning and Performance Network for two years stories to younger and has been exciting and inspiring throughout, younger children, in yet the performance project this year has the hope of breaking undoubtedly been the highlight. It has taken the children and staff to new heights by the stranglehold of demanding perseverance, creativity and word-based study discipline. and sharing with The children learned a great deal from them the freedom their experience of performing in the of 3-D play. regional festival we organised, and, for the , actor class that was chosen to come to Stratford to perform their version of in The Courtyard Theatre, it was one of the most memorable experiences of their lives.

As a result, almost all the children involved say that they love Shakespeare’s stories and language. They feel that they have grown in confidence and learned to co-operate with others and respect each other, as well as have great fun.

Maha, a ten year old who played Brutus said, ‘Going to Stratford was a once-in-a-

Photo: Ellie Kurttz lifetime experience. It was fantastic’.

32 actors and teachers graduated with Post Graduate Qualifications in the Teaching of Shakespeare through our partnership with the University of Warwick CAPITAL Centre.

The rural schools in the Learning and Performance Network are supported by NFU Mutual. Students perform in the Regional Schools Celebration /33/ Operational income and expenditure Financial review of the year 2007/08

Income £m % Summary across all funds

14.8 49.9% Grants The net inflow of £17.3m across all funds in 2007/08 was dominated by the £15.7m net inflow into the transformation project. Other significant elements were the £1.9m actuarial gain on the defined benefit pension 0.3 1.0% Education scheme, a £0.9m loss on investments, £1.0m in redundancy costs (as the company slimmed down from three theatres to one in Stratford) and an operating surplus of £0.6m. 1.2 4.0% Interest and other Statement of Financial Activity (SOFA) 0.9 3.1% Trading income from subsidiary Operating surplus – unrestricted fund Operating income and expenditure form part of the unrestricted fund and 1.9 6.5% Sponsorship are summarised in the ‘operations’ column of the SOFA. and donations

This was the first of the four ‘transition years’ with the company operating 10.5 35.5% Box Office and theatre operations from The Courtyard Theatre in Stratford-upon-Avon due to the transformation of the Royal Shakespeare Theatre. 29.6 2007/08 was a successful year operationally, generating a surplus of £0.6m. Income was strong and expenditure well controlled, so that the Company Expenditure £m % needed to draw down £1m less of the additional revenue subsidy from the transition project than originally anticipated. 19.6 65.3% Productions Box Office income, although significantly lower than in 2006/07 (as the company moved from The Complete Works festival to the slimmed down 0.8 2.8% Education transition operating model) was comfortably ahead of plan. The Stratford programme performed well, with The Histories contributing the lion’s share 0.9 3.0% Trading expenditure of the income. King Lear and The Seagull built on a successful season in by subsidiary Stratford with a very strong transfer to the New London Theatre, before embarking on a world tour. 4.7 15.7% Theatre operations As expected, income from the trading subsidiary, RSC Enterprise, fell during the year, reflecting the lower visitor numbers when compared to 2006/07, 0.1 0.3% Reorganisation costs but royalties income from Les Misèrables was boosted by a £0.2m profit distribution following the successful transfer of the show into the Queen’s Theatre in London. 0.7 2.2% Fundraising Overall operating expenditure was also significantly reduced when compared to 2006/07, and was well controlled across the board. Savings in direct show 0.1 0.3% Governance costs costs in Stratford were used to supplement the investment in the London Season, including three pieces of new work at the Tricycle Theatre and 3.1 10.4% Marketing .

Apart from the £0.3m loss on unrestricted investments in the year, the other 30.0 significant factor within the overall £2.8m inflow into unrestricted funds was /35/ the improvement in the defined benefit pension scheme. Overall, the FRS17 Balance Sheet valuation improved from a deficit of £1.8m last year to a surplus of £0.7m, as the impact of a high bond rate on liabilities more than offset the erosion The balance sheet’s net asset value strengthened by £17.3m in the year in in the value of the scheme’s assets. This overall improvement of £2.5m large part because of the inflow of funds into the transformation project and when adjusted for the £0.6m in company contributions into the scheme the improvement in the defined benefit pension scheme. during the year produces the £1.9m figure reported on the SOFA. Fixed assets Transfers into unrestricted funds were made up of £1.5m in additional Capital expenditure during the year was £15.4m of which £14.9m related revenue subsidy from the transformation project, and £0.4m from the to the transformation project. The focus of the expenditure was on the pension designated fund to cover the additional payments into the pension transformation of the Royal Shakespeare Theatre site (£11m), with scheme in the year, less £0.3m which was designated to cover anticipated additional spend on the Chapel Lane offices (£2.3m), project support (£1m), capital expenditure in 2008/09. and fixtures and fittings and finishing touches to The Courtyard Theatre.

Depreciation charges of £2.4m in the year related to The Courtyard Theatre, Designated funds Chapel Lane offices and the Arden Street rehearsal rooms. The £1.3m net outflow from designated funds in the year was made up of income of £0.2m under the management agreement with the Thistle Hotel, Stock £0.3m from sponsorship and donations and £0.1m in interest from surplus The £0.5m increase in stock is explained by The Histories Roundhouse project funds, offset by £0.7m in routine capital expenditure, refurbishment auditorium, which was held as work in progress across the year end. and depreciation, and the £1m cost of the redundancy programme as the company slimmed down from three theatres to one in Stratford-upon-Avon. Debtors In all, 49 posts were made redundant, of which 30 were voluntary. There was a significant (£3.7m) increase in debtors in the year. £2.8m of this related to an increase in accrued income into the transformation project from Restricted funds Arts Council and Advantage West Midlands (expected to be paid in The significant movements on restricted funds related to the receipt of the early months of 2008/09) and £0.4m related to monies outstanding from £0.5m in funding for the Artist Development Programme in equal measure the London and Newcastle Seasons. from The Gatsby Foundation and The Kovner Foundation, together with the related costs, and the activity on the transformation project. The project Creditors received £19.5m in the year, bringing cumulative receipts up to £47.8m. Short term creditors remained broadly constant, and the long term pension This is broken down as follows: liability of £1.8m improved to become an asset of £0.7m. The FRS17 valuation uses an AA rated corporate bond rate to calculate liabilities, and this stood 2007/08 Cumulative at 6.9% in March 2008. As a result pension fund liabilities reduced by £3.2m, £m £m more than offsetting the reduction in asset values. Arts Council England 9.3 21.1 Advantage West Midlands 3.9 5.6 Cash flow Gatsby Foundation 5.0 16.1 The £4.3m increase in cash held in the balance sheet during the year: Other 1.3 5.0 £m Total 19.5 47.8 Operating surplus 0.6 Transition project income 17.2 Capital expenditure -14.7 Expenditure against the fund in the year of £2.3m related predominantly to Redundancies -1.2 Working capital movements -1.7 depreciation of The Courtyard Theatre, the new Chapel Lane offices and the Additional payments into pension fund -0.4 Arden Street rehearsal rooms. Liquidated investments 5.0 Other -0.5 Endowment funds The movements on endowment funds during the year were the donation Net inflow 4.3 of 385,000 shares in Hansard Global plc from the Polonsky Foundation with a value of £0.7m, and a £0.5m loss on investments.

/36/ /37/ Chairman’s note Independent auditors’ statement to the Board of the Summary accounts These summarised accounts represent a summary of Royal Shakespeare Company information extracted from the Trustees’ report and the full statutory consolidated accounts of the Royal Shakespeare Company for the year ended 31 March 2008. They may not We have examined the summarised financial statements set out contain sufficient information to allow for a full understanding on pages 40 to 41. of the financial affairs of the Corporation. For further information, the full accounts, the auditors’ report on those Respective responsibilities of trustees and auditors accounts and the Trustees’ Annual Report should be consulted. The trustees are responsible for preparing the summarised Copies of these can be obtained from: financial statements in accordance with the recommendations of the charities SORP. Royal Shakespeare Company The Courtyard Theatre Our responsibility is to report to you our opinion on the Southern Lane consistency of the summarised financial statements within the Stratford-upon-Avon summarised Annual Report with the full annual financial Warwickshire statements and its compliance with the relevant requirements CV37 6BB of the charities SORP.

We also read the other information contained in the summarised Basis of preparation of summary accounts Annual Report and consider the implications for our report if The summary accounts have been prepared under the we become aware of any apparent misstatements or material historical cost convention as modified for the revaluation of inconsistencies with the summarised financial statements. certain investments and in accordance with the Charities Act, Accounting and Reporting by Charities: Statement of Basis of opinion Recommended Practice revised 2005, applicable UK Accounting We conducted our work in accordance with Bulletin 1999/6 “The Standards, and the Royal Charter of Incorporation on the auditors’ statement on the summary financial statement” issued basis of a going concern which assumes that sufficient funds by the Auditing Practices Board. Our report on the charity’s full will continue to be forthcoming from Arts Council England annual financial statements describes the basis of our audit to enable the Royal Shakespeare Company to continue opinion on those financial statements. as a financially viable concern. Opinion The full annual accounts were approved on 17 July 2008 and In our opinion the summarised financial statements are were delivered to the Charity Commission on 25 July 2008. consistent with the full financial statements of The Royal The accounts have been audited by a qualified auditor, Shakespeare Company for the year ended 31 March 2008 and Baker Tilly UK Audit LLP, who gave an audit opinion which complies with the recommendations of the charities SORP. We was unqualified. have not considered the effects of any events between the date on which we signed our report on the full annual financial The summarised accounts set out on pages 40 and 41 are statements (22 July 2008) and the date of this statement. the responsibility of the Board. Baker Tilly UK Audit LLP Chartered Accountants Sir Christopher Bland St Philips Point RSC Chairman of the Board Temple Row Birmingham B2 5AF 3 September 2008 3 September 2008

/38/ /39/ Consolidated statement of financial activities Consolidated balance sheet of the Corporation for the year ended 31 March 2008 Operations/ Unrestricted at 31 March 2008 unrestricted designated Restricted Endowment Total funds Total funds 2008 2007 funds funds funds funds 2008 2007 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 Incoming resources Incoming resources from charitable activities Fixed assets Grants receivable 14,781 - - - 14,781 13,897 Tangible fixed assets 34,480 22,109 Income from productions, tours Investments 7,426 7,486 and theatre operations 10,525 - - - 10,525 15,110 Education income 299 - - - 299 404 41,906 29,595 Current assets Incoming resources from generated funds Stock and work in progress 2,451 1,931 Voluntary income Debtors 5,248 1,552 Grants receivable - - 13,381 - 13,381 1,300 Investments: Income from sponsorship and donations 1,933 276 6,814 679 9,702 9,107 Amounts falling due within one year - 5,200 Activities for generating funds Cash at bank and in hand 12,823 8,528 Trading income from subsidiary 924 - - - 924 1,340 Licensing of rights 453 - - - 453 144 20,522 17,211 Non-investment property letting - 238 - - 238 236 Creditors: amounts falling due Investment income and interest receivable 741 93 65 - 899 912 within one year (7,763) (6,959) Total incoming resources 29,656 607 20,260 679 51,202 42,450 Net current assets 12,759 10,252

Resources expended Total assets less current liabilities Charitable activities representing net assets excluding Productions and theatre operations (27,450) (726) (576) - (28,752) (35,852) pension asset/(liability) 54,665 39,847 Education (825) - (59) - (884) (871) Redevelopment costs - - (2,339) - (2,339) (1,934) Defined benefit pension scheme asset/(liability) 697 (1,805) Reorganisation costs (124) (1,049) - - (1,173) (122) Net assets including pension asset/(liability) 55,362 38,042 Costs of generating funds Costs of generating voluntary income (670) - - - (670) (675) Trading expenditure of subsidiary (902) - - - (902) (1,004) Endowment funds 4,298 4,165

Governance costs (87) - - - (87) (96) Restricted funds 37,414 21,706

Unrestricted funds Total resources expended (30,058) (1,775) (2,974) - (34,807) (40,554) General operating fund 3,067 2,810 Defined benefit pension scheme asset/(deficit) 697 (1,805) Designated funds 9,886 11,164 Net incoming/(outgoing) resources Non charitable trading funds - 2 before transfers (402) (1,168) 17,286 679 16,395 1,896 Gross transfers between funds 1,607 (110) (1,497) - - - Total unrestricted funds 13,650 12,171

Net incoming/(outgoing) resources Total funds 55,362 38,042 before other recognised gains and losses 1,205 (1,278) 15,789 679 16,395 1,896

Other recognised gains/(losses) (Losses)/gains on investment assets (323) - (81) (546) (950) 172 Actuarial gains on defined benefit These accounts were approved by the Board on 17 July 2008, authorised for issue and signed on its behalf by: pension scheme 1,875 - - - 1,875 782

Net movement in funds 2,757 (1,278) 15,708 133 17,320 2,850 Sir Christopher Bland

Lady Sainsbury of Turville Reconciliation of funds Total funds brought forward 1,007 11,164 21,706 4,165 38,042 35,192

Total funds carried forward 3,764 9,886 37,414 4,298 55,362 38,042

The incoming resources and resulting The Corporation has no recognised gains net movement in funds arise from or losses other than those shown in the continuing operations. Statement of Financial Activities. /41/ Corporate Members Actors’ Circle Dr Anna Mann ACL UK Members Mike and Jill Mata Drivers Jonas Arlene Altman* Sharon McCullough Fraikin Limited George and Kirsty Anson Mr and Mrs Brian McGowan GIL Investments Ltd Neil and Ann Benson Anna and Nigel McNair Scott Honeywell Control Systems Limited Philip Bermingham* Barbara Minto HSBC Private Bank Professor Joel Kaplan Brian and Sheila Morris RSC International Council RSC Campaign Supporters’ Ensemble Innotech Advisers Limited and Dr Sheila Stowell* Genevieve Muinzer and Nick Segal Lansons Communications Dina and Stephen Lucas Mrs Gillian Nussey MBE Lazard The Honourable and Mrs Frank Newman* Gilbert Omenn and Martha Darling* In order to raise the profile of the RSC We are immensely grateful for all of the After ticket sales and financial support Lloyds TSB Bank Plc Sir Mark and Lady Weinberg Clare Parsons and Tony Langham and its transformation internationally, a donations we have received in support from Arts Council England, our most Man Group plc Charitable Trust Hilary and Stuart Williams Marie Prutton leading group of artists, philanthropists of the transformation of the Royal significant source of income is through National Grid Mr Clive Richards OBE and advocates has established the RSC Shakespeare Company’s theatres grants and donations. Individuals, trusts Needham & James Solicitors RSC Patrons Sally and Anthony Salz International Council. The Company is in Stratford-upon-Avon. and companies all have helped to develop NM Rothschild & Sons Ltd David and Elizabeth Acland Telfer Saywell delighted to recognise this important pieces of New Work, train artists in our Siemens Financial Services Limited Sir Eric and Lady Anderson Jon and NoraLee Sedmak* group. In particular, we would like to thank: Ensembles and introduce young people Smith and Williamson Robert Anthoine* Andrew and Edith Seth throughout the country to the work of Tesco Jeffrey Archer F William Shea Dame DBE Honorary Chair Shakespeare and live theatre. In short, UMECO plc Mr and Mrs Lawrence Banks Dominic Shorthouse Lady Sainsbury of Turville Chair Public funders they have all contributed to the work that David Beresford-Jones Francesca Stanfill* The National Lottery makes the RSC one of the foremost theatre Donations and Grants Lady Blyth Tangent Charitable Trust Christopher and Miriam Abele* through Arts Council England companies in the world. Christopher and Miriam Abele* Mrs Jill Davies-Bonnar The Porter Foundation Sir Eric and Lady Anderson Advantage West Midlands Argosy Foundation* Martin Bowley Q.C. Vincent Tchenguiz We would like to thank everyone who has Columbia Foundation Fund of the Dr and Mrs Douglas Bridgewater Mr Michael Thomas QC and Baroness Sir Christopher and Lady Bland donated to the RSC in 2007/8 including Capital Community Foundation Patricia Burbidge Lydia Dunn Lee C Bollinger Private funders all of our donors who wish to remain The John Ellerman Foundation Roger and Terry Cadbury Sir David and Lady Varney Michael Boyd Christopher and Miriam Abele* anonymous. The Gatsby Charitable Foundation The Hon Rupert Carington Robert and Felicity Waley-Cohen David and Sandra Burbidge Jeffrey and Mary Archer Drue Heinz Trust* Geraldine Caulfield Marianna Walker Michael and Licia Crystal Lord and Lady Bhattacharyya Partnerships The Kovner Foundation* Sir Tim Chessells Catherine and Simon Warne Sinead Cusack Christopher and Jennie Bland British Council John Lyon's Charity Irving David Lavinia A Wellicome David and Sandra Burbidge Davidson College, North Carolina, USA The Mercers’ Company Roger Davis Patricia Whitehead Elnora Ferguson CHK Charities Limited Stratford-on-Avon District Council The Polonsky Foundation Peter and Patricia Deeley Dr John Wollaston Mark and Sandy Foster Michael and Licia Crystal RSC Friends Felix Dennis Julia Woodhouse Tony and Linda Hales Jane and Howard Epstein* The University Musical Society Stratford-upon-Avon Town Trust Jane Drabble OBE Sue and John Zealley Sir CBE Allan and Nesta Ferguson Charitable and The University of Michigan, Warwickshire County Council Robyn Durie Charlotte Heber Percy Trust Ann Arbor, USA Garfield Weston Foundation Jane and Howard Epstein* We would also like to thank all of our Vikki Heywood Mark and Sandy Foster University of Warwick – CAPITAL Lydia and Manfred Gorvy * Shakespeare’s Circle members for their Michael and Mercedes Hoffman* The Foyle Foundation In memory of: Peter Gray ongoing support. The Rt Hon Lord and Lady Iliffe The Gatsby Charitable Foundation Cultural Leadership Partners Eleanor Hamilton Sir Ronald Grierson* Laurence Isaacson CBE* Tony and Linda Hales Cultural Leadership Programme Joan Noble Ros and Alan Haigh RSC America Inc Sir CBE Michael and Mercedes Hoffman* NESTA Caroline Whatham Mike Hammond Royal Shakespeare Company America is John and Tussi Kluge* The Iliffe Family Charitable Trust K Edmonds Gateley MBE Sarah and Joel L. Handelman proud to support the Royal Shakespeare Bruce and Suzie Kovner* Laurence Isaacson CBE* Corporate Partners Brenda Harding Company. United States taxpayers Nick and Alyssa Lovegrove Clive Jones and Vikki Heywood Accenture - Global High Performance Actors’ Circle David Harrison interested in supporting the unique work Jon and Lillian Lovelace* The John W Kluge Foundation* Business Partner Founding Members Rosalind and Alan Hearne of the RSC may contribute to Royal Sir Ian McKellen CBE LJC Fund Lady Alexander of Weedon Charlotte Heber Percy Shakespeare Company America, a tax- Doug and Julie McPherson* Nick and Alyssa Lovegrove London Season Party sponsored by Christopher and Jennie Bland Mrs Drue Heinz DBE exempt, 501(c)(3) designated organisation. Alexander Patrick DL and Jon and Lillian Lovelace* London David and Sandra Burbidge John Hemingway and Robyn Oliver Contributions to RSC America by US Valerie Patrick Doug and Julie McPherson* Sir Ronald Cohen and Ms Sharon Harel Lady Heseltine taxpayers are tax-deductible to the extent Mark Pigott OBE* PACCAR Foundation RSC Open Day supported by Mace Group Licia and Michael Crystal Leonard Hoffmann permitted by law. Ian Ritchie CBE RA and The Patrick Trust Brandon Fradd* Mr and Mrs Philip Holland Jocelyne van den Bossche The Rockefeller Foundation* Rural Schools in the Learning and Tony and Linda Hales Sir Robert and Lady Horton For further information Royal Shakespeare Theatre Trust RSC Friends Performance Network supported by William and Kate Hobhouse Mary Hunt, MA (Oxon) Telephone: 00 1 212-247-1705 Sir KBE The Shubert Organization* NFU Mutual Michael and Mercedes Hoffman* Sir Brian Jenkins GBE (International Call) Jonathan Slinger Raymond and Phyllis Smith* Mark and Sandy Foster James Joll [email protected] Raymond and Phyllis Smith* Stratford-upon-Avon Town Trust Production Partners Laurence Isaacson CBE* Mark Krueger Charitable Trust* OBE Peter and Nancy Thompson King Lear and The Seagull International Ian and Caroline Laing Sir Eddie Kulukundis OBE Christopher Seton Abele President Stratford-upon-Avon Town Trust Twenty-Ninth May 1961 Charitable Trust Tour and London Season sponsored by Nick and Alyssa Lovegrove Richard and Valerie Lapthorne Nick Lovegrove David Suchet OBE Sir Siegmund Warburg's Voluntary Accenture Doug and Julie McPherson* The Limoges Trust Dana G Mead Peter and Nancy Thompson Settlement Michael and Jilli Priest Joan and Philip Livesey Laurence Isaacson CBE Mary Weston CBE Garfield Weston Foundation Newcastle Season supported by the A Rosemary Said Sir Timothy and Lady Lloyd Dr Henry A McKinnell Leslie and Abigail Wexner* Leslie and Abigail Wexner* Northern Rock Foundation Lady Sainsbury of Turville Juliette and Miles Macnair Dr Douglas McPherson The Wolfson Foundation Peter and Nancy Thompson Mark Pigott OBE King Lear in Stratford-upon-Avon and Mary Weston CBE Lady Sainsbury of Turville Chairman Henry V supported by Mark Pigott OBE through a generous donation to RSC America *Supporters of RSC America Inc /42/ /43/ Year in performance

The Penelopiad by New Production in association with MOVEMENT BY Liz Ranken Canada’s National Arts Centre SOUND DESIGNED BY Andrea J Cox FIGHTS BY Terry King FIRST PERFORMANCE Macbett ASSISTANT DIRECTOR Donnacadh O’Briain Swan Theatre by Eugene Ionesco DIRECTOR OF ROPE WORK Matt Costain 27 July 2007 Engish version by Tanya Ronder PRODUCTION PHOTOS BY Ellie Kurttz 24 performances New Production Minneapolis, USA Northern Stage FIRST PERFORMANCE Henry IV parts I and II 5 October 2007 Newcastle upon Tyne Swan Theatre by King Lear 5 September 2007 25 May 2007 New Production by William Shakespeare 4 performances UCLA Live 24 performances Los Angeles, USA Macbeth The Seagull FIRST PERFORMANCE 20 October 2007 National Arts Centre, Ontario by William Shakespeare by Northern Stage The Courtyard Theatre Ottawa, Canada New Production Newcastle-upon-Tyne 17 July 2007 (part I) New London Theatre 19 September 2007 New Productions 11 September 25 July 2007 (part II) London 18 performances FIRST PERFORMANCE 4 performances 34 performances (part I) 22 November 2007 Swan Theatre FIRST PERFORMANCE 33 performances (part II) DIRECTED BY Josette Bushell-Mingo 11 April 2007 The Courtyard Theatre DIRECTED BY Silviu Purcarete DIRECTED BY DESIGNED BY Rosa Maggiora 45 performances 17 April 2007 SET AND LIGHTING DESIGNED BY Roundhouse DESIGNED BY LIGHTING DESIGNED BY Bonnie Beecher Helmut Stürmer London LIGHTING DESIGNED BY Neil Austin DRAMATURG Nicola Wilson Northern Stage Theatre Royal COSTUMES DESIGNED BY Lia Mantoc 3 April 2008 (part I) MUSIC COMPOSED BY Steven Edis MUSIC COMPOSED BY Warren Wills Newcastle upon Tyne Newcastle upon Tyne MUSIC COMPOSED BY Vasile Sirli 5 April 2008 (part II) SOUND DESIGNED BY Fergus O’Hare SOUND DESIGNED BY Martin Slavin 3 September 2007 29 June 2007 SOUND DESIGNED BY Mike Compton 7 performances (part I) PRODUCTION PHOTOS BY Manuel Harlan MOVEMENT BY Veronica Tennant 6 performances PRODUCTION PHOTOS BY Simon Annand 7 performances (part II) FIGHTS DIRECTED BY Alison de Burgh Singapore Repertory Theatre PRODUCTION PHOTOS BY Ellie Kurttz DIRECTED BY Conall Morrison at the Esplanade Henry IV Part I A Midsummer Night’s Dream SET DESIGNED BY Tom Piper Singapore Richard II DIRECTED BY Michael Boyd by William Shakespeare COSTUMES DESIGNED BY Joan O’Clery 19July 2007 by William Shakespeare Henry IV Part II Twelfth Night LIGHTING DESIGNED BY Ben Ormerod New Production DIRECTED BY Richard Twyman Swan Theatre by William Shakespeare MUSIC COMPOSED BY Conor Linehan The Arts Centre SET DESIGNED BY Tom Piper 25 April 2007 New Production SOUND DESIGNED BY Mike Compton Melbourne, FIRST PERFORMANCE COSTUMES DESIGNED BY Emma Williams 26 performances MOVEMENT BY Michael Ashcroft 28 July 2007 The Courtyard Theatre LIGHTING DESIGNED BY Heather Carson FIRST PERFORMANCE FIGHTS DIRECTED BY Malcolm Ranson 7 July 2007 MUSIC COMPOSED BY Theatre Royal The CourtyardTheatre PRODUCTION PHOTOS BY St James Theatre 27 performances James Jones and John Woolf Newcastle upon Tyne 30 August 2007 Hugo Glendinning and Stewart Hemley Wellington, New Zealand MOVEMENT BY Liz Ranken 2 October 2007 39 performances 11 August 2007 Roundhouse SOUND DESIGNED BY Andrea J Cox 7 performances London FIGHTS DIRECTED BY Terry King DIRECTED BY Neil Bartlett The Edge 1 April 2008 ASSISTANT DIRECTOR Donnacadh O’Briain DIRECTED BY Tim Supple DESIGNED BY Kandis Cook Auckland, New Zealand 7 performances DIRECTOR OF ROPE WORK Matt Costain DESIGNED BY Sumant Jayakrishnan LIGHTING DESIGNED BY Chris Davey 18 August 2007 PRODUCTION PHOTOS BY Ellie Kurttz LIGHTING DESIGNED BY Zuleikha Chaudhari MUSIC COMPOSED BY Simon Deacon DIRECTED BY Michael Boyd MUSIC DIRECTED BY Devissaro SOUND DESIGNED BY Jeremy Dunn BAM ASSOCIATE DIRECTOR Richard Twyman SOUND DESIGNED BY Nick Lidster/Autograph MOVEMENT BY Leah Hausman New , USA DESIGNED BY Tom Piper CHOREOGRAPHY LED BY FIGHTS DIRECTED BY Terry King 6 September 2007 LIGHTING DESIGNED BY Heather Carson PRODUCTION PHOTOS BY Hugo Glendinning D Padmakumar and M Palani MUSIC COMPOSED BY /44/ James Jones and John Woolf /45/ The Comedy of Errors by William Shakespeare Revival Tour Henry V by William Shakespeare The Lowry New Production Salford Noughts & Crosses 19 October 2007 FIRST PERFORMANCE Adapted by Dominic Cooke 10 performances The Courtyard Theatre from the novel by Malorie Blackman 25 October 2007 New Production Alhambra Theatre 40 performances Fantastic Mr Fox Bradford FIRST PERFORMANCE by Roald Dahl, 30 October 2007 Roundhouse Civic Hall adapted by Sarah Woods 7 performances London Stratford-upon-Avon Production by The Little Angel SOUND DESIGNED BY 8 April 2008 29 November 2007 Theatre in association with the RSC Andrea J Cox Theatre Royal 6 performances 69 performances FIGHTS DIRECTED BY Terry King ASSISTANT DIRECTOR FIRST PERFORMANCE Donnacadh O’Briain I’ll Be The Devil 6 November 2007 DIRECTED BY Michael Boyd Northern Stage Civic Hall DIRECTOR OF ROPE WORK Matt Costain by Leo Butler 7 performances ASSOCIATE DIRECTOR Richard Twyman Newcastle upon Tyne Stratford-upon-Avon PRODUCTION PHOTOS BY Ellie Kurttz New Production/RSC Commission SET DESIGNED BY Tom Piper 14 February 2008 19 December 2007 Grand Theatre COSTUMES DESIGNED BY 12 performances 17 performances FIRST PERFORMANCE Tom Piper and Emma Williams Richard III Tricycle Theatre, London 13 November 2007 LIGHTING DESIGNED BY Heather Carson Liverpool Playhouse DIRECTED BY Steve Tiplady by William Shakespeare 21 February 2008 7 performances MUSIC COMPOSED BY 26 February 2008 DESIGNED BY Peter O’Rourke 18 performances James Jones and John Woolf 7 performances LIGHTING DESIGNED BY Adam Crosthwaite The Courtyard Theatre New Theatre MOVEMENT BY Liz Ranken MUSIC COMPOSED BY Ben Glasstone 16 February 2008 DIRECTED BY Ramin Gray 5 performances DESIGNED BY Cardiff SOUND DESIGNED BY Andrea J Cox Lighthouse PRODUCTION PHOTOS BY Adam Crosthwaite Lizzie Clachan 20 November 2007 FIGHTS DIRECTED BY Terry King Poole LIGHTING DESIGNED BY Charles Balfour 7 performances ASSISTANT DIRECTOR Donnacadh O’Briain 4 March 2008 Roundhouse, London MUSIC COMPOSED BY Peter Cowdrey DIRECTOR OF ROPE WORK Matt Costain 7 performances Henry VI parts I, II and III 26 April 2008 SOUND DESIGNED BY Fergus O’Hare Theatre Royal PRODUCTION PHOTOS BY Ellie Kurttz by William Shakespeare 5 performances MOVEMENT BY Anna Morrisey Bath Sherman Theatre FIGHTS DIRECTED BY Philip D’Orleans 27 November 2007 Cardiff The Courtyard Theatre DIRECTED BY Michael Boyd PRODUCTION PHOTOS BY John Haynes 7 performances God In Ruins 18 March 2008 6 February 2008 (part I) DESIGNED BY Tom Piper by Anthony Neilson 6 performances 9 February 2008 (part II) LIGHTING DESIGNED BY Heather Carson Theatre Royal New Production/RSC Commission 13 February 2008 (part III) MUSIC COMPOSED BY Days Of Significance Norwich Nottingham Playhouse 5 performances each James Jones and John Woolf by Roy Williams 4 December 2007 FIRST PERFORMANCE 25 March 2008 ASSOCIATE DIRECTOR Richard Twyman New Production/RSC Commission 7 performances Soho Theatre 7 performances Roundhouse, London MOVEMENT BY Liz Ranken 29 November 2007 19 April 2008 (part I) SOUND DESIGNED BY Andrea J Cox FIRST PERFORMANCE FIGHTS DIRECTED BY DIRECTED BY Nancy Meckler 33 performances Hackney Empire 22 April 2008 (part II) Terry King Tricycle Theatre, London ASSISTANT DIRECTOR DESIGNED BY Katrina Lindsay 1 April 2008 24 April 2008 (part III) Donnacadh O’Briain 12 March 2008 DIRECTOR OF ROPE WORK LIGHTING DESIGNED BY Tim Mitchell DIRECTED BY Anthony Neilson 7 performances 5 performances each Matt Costain 19 performances PRODUCTION PHOTOS BY Ellie Kurttz MUSIC COMPOSED BY Ilona Sekacz DESIGNED BY Hayley Grindle SOUND DESIGNED BY Andrea J Cox LIGHTING DESIGNED BY Chahine Yavroyan DIRECTED BY Dominic Cooke DIRECTED BY Michael Boyd DIRECTED BY Aberg MOVEMENT BY Liz Ranken SOUND AND MUSIC BY Nick Powell DESIGNED BY Kandis Cook DESIGNED BY Tom Piper DESIGNED BY Lizzie Clachan DIRECTOR OF PUPPETRY Mervyn Millar PRODUCTION PHOTOS BY Pascal Mollière LIGHTING DESIGNED BY Wolfgang Göbbel LIGHTING DESIGNED BY Heather Carson LIGHTING DESIGNED BY David Holmes with Sarah Wright MUSIC COMPOSED BY Gary Yershon MUSIC COMPOSED BY SOUND DESIGNED BY Carolyn Downing FIGHTS CHOREOGRAPHED BY SOUND DESIGNED BY Christopher Shutt James Jones and John Woolf MOVEMENT BY Laila Diallo Michael Ashcroft MOVEMENT BY Liz Ranken ASSOCIATE DIRECTOR Richard Twyman FIGHTS DIRECTED BY Malcolm Ranson CHORUS WORK BY Clive Mendus FIGHTS DIRECTED BY Terry King MOVEMENT BY Liz Ranken PRODUCTION PHOTOS BY Keith Pattison PRODUCTION PHOTOS BY Ellie Kurttz /46/ PRODUCTION PHOTOS BY Keith Pattison /47/ Macbeth A Midsummer Night’s Dream Tom Hodgkins Twelfth Night Noughts & Crosses I’ll Be The Devil Macbett Michael Hood* The Comedy of Errors Joyraj Bhattacharya Chuk Iwuji Charles Abomeli Tom Burke Mojisola Adebayo Tapan Das Sianed Jones Tobias Beer Davinia Anderson Billy Carter Jude Akuwudike Kaushik Dutta musician John Mackay Matt Blair Doreene Blackstock Derbhle Crotty Frances Ashman Yuki Ellias Forbes Masson Tim Chipping Daniel Bowers Colm Gormley Richard Atwill Joy Fernandes Chris McGill James Clyde Michelle Butterly J D Kelleher Thane Bettany T Gopalakrishnan Toby Millward* Tom Davey Louise Callaghan Andrew Macklin Sam Cox Umesh Jagtap Alexander Morris* Daniel Francis Christopher Daley Edward Macliam Derbhle Crotty Faezeh Jalali Patrice Naiambana Stewart W. Fraser Tyrone Huggins Eoin McCarthy Brian Doherty J Jayakumar Luke Neal Joanne Howarth Tracy Ifeachor John McEnery Ryan Gage Ashwatthama JD Sandy Neilson Annabel Leventon Richard Madden Gerard Murphy Gus Gillespie* P R Jijoy Ann Ogbomo Jo Martin David Toole Asher Hardy* Ajay Kumar James Parris* Olivia Llewellyn Phil McKee Samantha Young Pauline Hutton Prasanna Mahagamage Oscar Powell* Ciaran McIntyre Jenny Ogilvie Emmanuel Ighodaro D Padmakumar Miles Richardson Iain McKee Clarence Smith Sean Kearns M Palani Alice Roberts* Jason Merrells Ony Uhiara Days Of Significance Sarah Malin Dharminder Pawar Sophie Samuda* Simon Merrells Freddy White Jason Nwoga Lakhan Pawar Lex Shrapnel Justine Mitchell Venetia Campbell Patrick O’Kane Ram Pawar Anthony Shuster Chris New Ricky Champ Olujumi Oluwole* D Prakash musician Jonathan Slinger Barnaby Power Fantastic Mr Fox James Clyde Josh de Souza* Shanaya Rafaat Jessica Smith* Claire-Louise Cordwell Mark Theodore Archana Ramaswamy Katy Stephens Kirris Riviere Sarah Burgess Danny Dalton Joel Trill Chandan Roy Sanyal Geoffrey Streatfeild Amy Rockson Sam Dutton Jamie Davis David Troughton Jitu Shastri Jamie Thomas* Rachael Spence Charlie Llewellyn-Smith Craig Gallivan *children N Tiken Singh musician James Tucker Marjorie Yates Mark Whitaker Simon Harrison David Warner Pippa Nixon Roger Watkins Luke Norris King Lear The Histories: Richard II, Clive Wood God In Ruins Beverly Rudd The Seagull Henry IV parts I and II, *children Lorraine Stanley Jude Akuwudike Mark Theodore Henry V, Henry VI parts I-III, Richard Atwill Ben Addis Richard III The Penelopiad Sam Cox Frances Barber Brian Doherty Adam Booth Nicholas Asbury Mojisola Adebayo Ryan Gage Zoe Boyle Hannah Barrie Jade Anouka Emmanuel Ighodaro Russell Byrne Keith Bartlett Lisa Karen Cox Sean Kearns Naomi Capron Maureen Beattie Derbhle Crotty Jason Nwoga Antony Bunsee Phillipa Domville Patrick O’Kane Rob Carroll Penny Downie Mark Theodore Richard Cordery Kate Hennig Joel Trill Richard Goulding Matt Costain Pauline Hutton Julian Harries Julius D’Silva Corrine Koslo John Heffernan Ralph Davis* Sarah Malin Peter Hinton Keith Dunphy Pamela Matthews Jack Fielding* Kelly McIntosh Melanie Jessop Wela Frasier Jenny Young Gerald Kyd Geoffrey Freshwater Seymour Matthews Charles Hamblett* Sylvester McCoy Paul Hamilton Ian McKellen Alexia Healy Ben Meyjes Kieran Hill David Weston Guy Williams Philip Winchester

/48/ /49/ Duty Managers Pat Collcutt Front of House Jessica Heys London Operations Nursery Production Office Sales and Ticketing Sound Nicky Cox Access Manager James Allen HR Officer Corinne Beaver Laura Cameron Peter Griffin Patricia Boycott Andrew Franks Suzanne Harris Grug Davies Nicola Anthony Darrell Mitchell London Manager Nursery Assistant Rebecca Watts Sales Supervisor Jonathan Ruddick James Kitto Estates Director Margaret Bidgood HR Manager Carl Allen Victoria Alcock Production Managers (Administration) Chris Vernon Sheelagh Saunders Suzanne Harris Hege Bleidvin- Elizabeth Nicholson Adrian King Ewelina Figlewska Simon Ash Christine Elliott First Sound Properties Manager Sandaker Temporary PA to HR Wendy Turnstill Dawn Francis Mark Graham Emma Fleming Technicians Advisory Director’s Commercial Lisa Marie Trump Education Christopher Oliver Kathleen Bradley Director Clapham Caretakers Josephine Hazell Senior Production Susan Gardner Mike Compton Office Sara Apsley Costume Department Amanda Carroll Fire Officer Jocelyn Carter Shirley Prenton-Jones Elizabeth Knowlton Managers Elizabeth Gill Martin Slavin John Barton Director of Co-ordinator Administrator, CAPITAL Audrey Spencer Lorraine Deller Occupational Health Maintenance June Prickett Peter Bailey Norma Henderson Senior Sound Advisory Director Commercial Services Margaret Wakelin Centre Post Graduate Estates Administrator Susan Harris Advisor Clive Bardell Delphine Saul Deputy Technical Margaret Jackson Technicians Sarah Wilkinson Chris Hill Senior Milliner Programmes Paul Tursner-Upcott Ann Kelly Maintenance Painter Nursery Practitioners Director David Mears Jeremy Dunn Personal Assistant to Director of Sales Fiona Clayton Senior Fire Officer Ben Luntley IT and Decorator Christine Green Becky Bridges Chris Morgan Head of RSC Sound the Advisory Director and Marketing Costume Hire Project Manager, Young Sally Luntley Hilary Lynch Robin Astle Bill Rostron Deputy Head Production Maria Mottram Julia Lister Louise Lyson People’s Programme Gemma Vowles Carol Morris Database Developer Maintenance Manager of Nursery Administrator Elizabeth Rawlinson Stage Artistic and Associate Assistant to Director of Stephanie Smith Rob Freeman Chapel Lane Reception Alan Robson Debby Bailey Yvonne Robbins Stacey Kennedy Ellen Reade Matt Aston Director’s Office Commercial Services Costume Hire Administrator, Young Officers (Daytime) Dennis Southall Administrator Maintenance Deputy Head Production Office Yolanda Richards Dom Chen Michael Boyd and Director of Sales Assistants People’s Programme Mary Taylor Matthew Bennett Wardrobe of Nursery Administrator Samantha Thompson- Tom Horton Artistic Director and Marketing Alison Mitchell Gregory Doran Head of Costume Hire Virginia Grainger Events and Fiona Tursner-Upcott IT Support Specialist Jennifer Binns Kate Robinson Geoff Locker Taylor Steve Keeley Professional Exhibitions Susan Whatmore Wayne Evans Deputy Wardrobe Head of Nursery Technical Director Jane Trotman Simon Packer Chief Associate Director Company and Stage Development Mark Ball Linda Wimperis Systems Manager Mistress Bobbie Schofield Alun Thomas Marilyn Walton Tom Watts Liza Frank Management Design Sonia Hyams Head of Events Ushers Lee Fear Carolyn Daniels Nursery Administrator Staff Scheduling Sales Operators Kevin Wimperis Assistant to the Michael Dembowicz Ingvill Fossheim Project Manager and Exhibitions Roy Holton Systems Developer Wardrobe Mistress Co-ordinator Kim Goodman Stage Technicians Artistic Director Jondon Michelle Smickle Young People’s Nicky Cox Claire Sparrow Jacqui Hamp Michelle Davies Paintshop Sales Supervisor John Bluck Anthony Neilson Company Managers Trainee Designers Programme Events Assistant David Wimperis Support Services Wardrobe Support Rebecca Ashley Project Office (Communication) Darren Guy Literary Associate Suzi Blakey Fiona Ingram David Howells Attendants Manager Yvonne Gilbert Head of Scenic Art Belinda Aird Steve Haworth Specialised Senior Tom Piper Amelia Ferrand-Rook Development Head of Young People’s Curator of RSC James Kitto Ruth Harris Josie Horton Kirsty Glover Project Co-ordinator Head of Sales and Technicians Associate Designer Katie Vine Julie Byczynski Programme Collection and Archive Front of House Tessitura Co-ordinator Michael Nolan Assistant Scenic Artist Simon Harper Ticketing Mark Collins Deborah Shaw Stage Managers Campaign Manager Tracy Irish Caroline Ray Manager and Development Linda Williams Alice Watkins Deputy Project Director Pauline Humphrey Alistair Pitts Roxana Silbert Alison Daniels Matthew Collins Project Manager, Curatorial Assistant Elizabeth Wainwright Manager Dressers Scenic Artist Katie Horwood Dolores Manteiga Senior Stage Technicians Associate Directors Alix Harvey-Thompson Development Professional Jo Whitford Head of Audience Care Alex Kirkwood Project Administrator Defente Roger Haymes Jane Tassell Klare Roger Information Officer Development Events and Exhibitions Web Developer Marketing Press and Flip Tanner Kerry-Sue Peplow Stage Supervisor Assistant to the Deputy Stage Managers Michele Cottiss Sarah Keevill Co-ordinator Gardener Chris O’Brien Lydia Cassidy Communications Technical Projects Sales Operators Associates Sarah Caselton-Smith Development Assistant to the Robert Holt Head of Information Acting Head of Dean Asker Co-ordinator (Support) Stage Door Sally Hughes Co-ordinator Director of Education Executive Director’s Head Gardener Technology Marketing Press and Harry Teale Gerry Martin Sue Allen Assistant Directors Katie Hutcheson Joe Foulsham Jacqueline O’Hanlon Office Matthew Reading Amy Clark Communications Decant Supervisor Sales Supervisor Patricia Carnell Cressida Brown Assistant Stage Individual Giving Director of Education Vikki Heywood Graphic Design Network Manager Marketing Officer Officer Peter Wilson (Systems) Denise Hagon Pia Furtado Managers Manager Beckie Mills Sheila O’Sullivan Executive Director Clare Booth (Corporate) Lucy Billiard Project Director Loraine Mitchell Sandra Holt Administrator, Lyndon Jones Graphic Designer Legal David Collins Communications Membership Assistant Barry Lytollis Costume Development Assistant Professional PA to the Executive Matthew Boss Caroline Barnett Marketing Manager Assistant Property Workshop Sally Nortcliffe Shirley Mitchell Automation Helen Baines Chris Johnson Development Office Artworker General Counsel (Productions) Clea Boorman Maggie Atkins Membership Secretary Stage Door Keepers Eric Dixon Head of Dye Development Officer Melanie Whitehead Michele Percy Sophie Clausen Elizabeth Nicholson Natasha Goodge Web Editor Malcolm Brain David E Jones Head of Automation Isabelle Comte (Research) Manager, Education Assistant to the Senior Graphic PA to General Counsel Marketing Officer Kathleen Bradley Carl Taylor Scenic Engineering Michael Truscott Rebecca Hardwick Head of Ladies Caroline Jones Department Executive Director Designer (Productions) Communications Mel West Darren Ainsworth Nightwatch Officers Ben Leefe Costume Development Director Kate Wostenholme and Clerk to the Gina Print Lighting Elin Joseph Assistant Prop Technicians Phil Malins Richard Sharp Helen Davenport Genevieve Kantoch Project Manager, Governors Administrator Caroline Burrell Assistant Marketing Fiona Cox John Evans Jacob Robbins Text and Voice Automation Technicians Katherine Fachmann Development Officer Young People’s Andy Williams Keith Cookson Officer (Corporate) Web Editorial Assistant Head of Property Martin Robinson Cicely Berry Richard Smith Deborah Jaunai- (Stewardship and Programme Finance Head of Graphics Simon Spencer Jo Litt Jane Ellis Workshop Scenic Engineers Director of Text Senior Automation Recardo Events) Suzanne Worthington Irina Gorbunowa Trevor Wallace Marketing Manager Communications Sharon Foley Kevin Neville and Voice Programmer Hannah McDermott Kirstin Peltonen Manager, Educational Chief Management Green Room Special Senior (Productions) Manager Props Supervisor Ian Rhind Alison Bomber Zarah Meherali Head of Development Materials Accountant Mariel Croft Lighting Technicians Jan McQuillan Philippa Harland Rufus McDermot Senior Engineers Senior Text and Voice Casting Veronika Weidenhiller (Revenue) Anna Anderson Sarah Furniss Jake Brain Marketing Assistant Head of Press Assistant Prop Lewis Pierpoint Coach Jim Arnold First Assistants Andrew Rye Engineering Project Finance Heather Humphreys Kevin Carson Lucien Riviere Technician Assistant Engineer Gigi Buffington Casting Assistant Ivan Douglas Development Officer Services Manager Veronica Treharne Matthew Peel Market Planning PA to Director of Tobias Robbins Text and Voice Hannah Miller Costume Department (Projects) Simon Bowler Ron Codrington Catering Assistants David Richardson Mary Butlin Communications Retail Deputy Scenic Placement Head of Casting Administrator Kathryn Thompson Head of Engineering Pensions and Sylvia Hall Craig Sheppard Head of Market Liz Thompson Ann Barnicoat Engineering Manager Lyn Darnley Helena Palmer Denise Edwards Development Manager Services Insurance Officer Green Room Supervisor First Lighting Planning Director of Lynne Dunningham David Tinson Head of Text, Voice Casting Director Cutter (Ladies) (Stewardship) Mark Farmer Esther Gillman Ruth Treharne Technicians Communications Jennifer Farmer Scenic Engineering and Artist Janine Snape Rebecca Edwards Lauren Thorpe Trevor Williams Linda Lloyd Catering Manager Lauren Watson Movement Nada Zakula Shops Sales Assistants Manager Development Assistant Casting Senior Dye Technician Campaign Maintenance Bev Milne Lighting Technician Lucy Cullingford Senior Press Officer Lucy Barriball Jane Hazell Director Kate Freshwater Administrator Electricians Joyce Natzler Health and Safety Tim Baxter Movement Placement Retail Stock Controller Scenic Workshop Manager Text, Voice Dye Technician Louise Turner Tim Oliver Accounts Officers Gail Miller Creative and Visual Anna Morrissey Producers Alan Chandler Richard Brain and Artist Honorary Chaplain Esther Hunter Development Manager Administrative Adrian Gelston Health and Safety Media Technician Company Movement Jeremy Adams Stores Senior Supervisor Julian Crang Development Revd Martin Gorick Yvette Manhood (Research) Assistant Payroll Officer Advisor Simon Bayliss Practitioner Producer Sheila Day David Dewhurst Sarah Plowright Angela Vellender Richard Power Becky Harris Karen Ward Assistant Head Rachael Barber Gwen Rogers David Watson Theatre Tours Cleaners and Skilled Costumiers Corporate Partnerships Senior Maintenance Payroll Manager Health and Safety of Lighting Music Touring Administrator Senior Sales Senior Scenic Rebecca Sweeney Porters Julian Gilbert Manager Electrician Chris Harris Assistant Vince Herbert Kate Andrew Gareth Collins Assistants Carpenters Tours Assistant David Allcock Head of Boots Naomi Waite Martin Simms Julie Robinson Jo Young Head of RSC Lighting Music Manager Assistant Producer Philippa Green Andrew Clark Rod Barnet and Armoury Development Manager Electrical Test Ben Waters Technical/Health and James Jones Tara Hull Retail Stock Controller Matthew Jacques Wigs and Make-Up Nanezda Cirule Brenda Gollnast Graeme Williamson Technician Beth Williams Safety Training Literary Department Kevin Pitt Producer (Maternity Cover) Ross Kitching Kimberley Boyce Elizabeth Clifford Jane Rogalski Head of Development Management Co-ordinator Pippa Ellis Ian Reynolds Victoria Picken Sarah Holt Gavin Reeves Laura Odom Lisa Cowley Senior Costumiers (Capital) Enterprise Accountants Literary Manager David Statham Planning Co-ordinator Mail Order Senior Carpenters Assistant Wig and Robert Holloway Emma Harrup Michelle Morton Sarah Hedgecock Human Resources Jeanie O’Hare Andrew Stone Fewings (Maternity cover) Supervisor Paul Collins Make-Up Artists Yvonne Hudman Head of Mens Drawing Office Publications Assistant Internal Auditor Libby Alexander Dramaturg Edward Watson Sue Skempton Justin Tose Assistant Machinist Sindy Cooper Lucy Payne Costume Alan Bartlett Kevin Wright Andrew Parker Training and Adriano Shaplin Musicians Rachel Wall Retail Manager Paul Hadland Fiona Keston Rosemary Payne Charlotte Hobbs Head of Construction Publications Manager Director of Finance Development Manager RSC/Capital Bruce O’Neil Planning Co-ordinators Biddy Wilson Scenic Workshop Wig and Make-Up Valerie Potts Dye Technician and Technical Design and Administration Rachel Barnes International Writer Music Director Denise Wood Shops Senior Supervisor Manager Artists Judyta Scibor Sally Locke Janet Gautrey Estates Mike White HR Administrator in Residence Richard Sandland Lead Producer James Hicks Charlotte Griffiths Joanna Skwara Stockroom Keeper Technical Design Sue Allen Financial Services Adele Cope Dan Usztan Music Co-ordinator Brian Robbins Fiona Matthews Mary Smart Alistair McArthur Administrator Nancy Cooper Manager Director of Human Literary Assistant Carys Williams Deputy Scenic Managers Rachel Seal Bill Taylor Head of Costume David Harris Chapel Lane Reception Andrew Woodward Resources Acting Music Manager Robert Hinton Senior Wig and Mark Usher Elaine Moore Design Engineer Officers (Evening) Accounts Services Melissa Heke John Woolf Logistics Manager Make-Up Artists Graham Wright Head of Hats David Jones Nanezda Cirule Manager Training and Head of Music Benjamin Morris Sandra Smith Cleaners and Jewellery Charles MacCall Ann Kelly Development Trainee Scenic Wig and Make-Up Douglas Hopkins Alan Smith Senior Draughtspeople Postal Assistants Assistant Carpenter Department Barry Maguire Senior Leatherworker Brett Weatherhead Roger South Supervisor Michael Truscott Jessica Smith Draughtsperson Storeman Porters First Assistant John Speakman Julian Lines Footwear Team Leader Scenic Assistant Gerald Wheeldon /50/ /51/ Senior Porter Patron Board of Governors Project Committee David Suchet OBE Corporate governance Her Majesty The Queen Sir Christopher Bland Lady Sainsbury of Turville Anthony K Wilson MA Chairman Chairman Michael Wood President Lady Sainsbury of Turville Sir Christopher Bland Sir David Wright GCMG LVO His Royal Highness Deputy Chairman Michael Boyd The Prince of Wales Professor Jonathan Bate Sir Geoffrey Cass Neil Benson OBE FBA FRSL Vikki Heywood retired December 2007 Deputy President Michael Boyd Jonathan S Lane MA FRICS Nick Lovegrove Sir Geoffrey Cass David Burbidge OBE Ian Laing CBE retired April 2007 from December 2007 Paul Morrell Prof Ronnie Mulryne Chairman of the Board Jane Drabble OBE Ian Ritchie CBE RA retired December 2007 Sir Christopher Bland Professor David VandeLinde from December 2007 Governors retired December 2007 Deputy Chairman Mark Foster Yasmin Alibhai-Brown Lady Sainsbury of Turville Gilla Harris Rodney P Baker-Bates Sara Harrity MBE Professor Jonathan Bate Honorary Emeritus Governors Vikki Heywood FBA FRSL Lady Anderson John Hornby Jana Bennett Charles Flower from December 2007 Sir Christopher Bland Lady Flower Laurence Isaacson CBE Chairman Drue Heinz DBE Jonathan Kestenbaum Lee C Bollinger Frederick R Koch from December 2007 from December 2007 Leonard Mathews OBE Paul Morrell Michael Boyd Professor Stanley Wells Tim Pigott-Smith David Burbidge OBE Neil Rami Stephen Carter CBE from December 2007 Honorary Life Governors Neil Benson OBE, FCA Sir Geoffrey Cass Sir William Dugdale Bt CBE retired December 2007 Sinead Cusack Muir Hunter QC MA Nick Lovegrove Elizabeth Dixon retired April 2007 Jane Drabble OBE David Oyelowo Noma Dumezweni Honorary Governors retired April 2007 from December 2007 Robert Anthoine Sir Brian Follett Philip Bermingham from December 2007 Michael Crystal QC Audit Committee Mark Foster Tony Hales John Hornby Chairman Janet M Gaymer CBE Martin Iredale Photo: Liza Frank Neil Benson OBE FCA Sally Greene OBE F S Law CBE Robert Clarke FCA Gilla Harris Stephen Pratt MA Sharnila Nebhrajani Sara Harrity MBE Roger Pringle MA from March 2008 Vikki Heywood Ian Rushton David Wolffe from March 2008 John Hornby J A T Saywell from December 2007 Donald R Seawell Anthony K Wilson MA Laurence Isaacson CBE Derek Webster retired February 2008 Jonathan Kestenbaum Mary Weston CBE from December 2007 Lord Willoughby de Broke Ian Laing CBE Professor Kate McCluskie, Nominations Committee Jonathan S Lane MA FRICS Director Shakespeare Institute Gilla Harris Chairman Sir Michael Lyons Dr Diana Owen, Director Yasmin Alibhai-Brown Paul Morrell Shakespeare Birthplace Trust Sir Christopher Bland David Oyelowo from October 2007 Michael Boyd Charlotte Heber Percy Chairman, Stratford District Stephen Carter CBE Tim Pigott-Smith Council from February 2008 Neil Rami Town Mayor Sir Geoffrey Cass Ian Ritchie CBE, RA Jane Drabble OBE from December 2007 P G Livesey Vikki Heywood Lisa Houghton Reade deceased July 2007 Lady Sainsbury of Turville Rosemary Said William Griffith Wafic Said retired December 2007 People waiting for returned Lady Sainsbury of Turville Simon E A Kimmins tickets for The Histories at Brockman Seawell retired December2007 the Roundhouse, London Alex Stephenson CBE Anthony R Pender retired December 2007 /52/ /53/ Associate Artists Honorary Associate Auditors Artists Baker Tilly UK Audit LLP Bill Alexander St Philips Point Temple Row Michael Attenborough Birmingham B2 5AF David Bradley John Barton David Calder Cicely Berry OBE Bankers John Carlisle David Brierley CBE Barclays Bank plc Peter Brook CBE Charities Team Sinead Cusack Floor 28 1 Churchill Place Penny Downie Bob Crowley London E14 5HP Ron Daniels Mike Gwilym Howard Davies Investment Management Dame Judi Dench BlackRock Investment Sir Derek Jacobi Chris Dyer Management (UK) Limited 33 King William Street London EC4R 9AS Estelle Kohler Sir Peter Hall Barbara Leigh-Hunt Terry Hands CBE Schroder & Co. Limited Anton Lesser Sir CBE 31 Gresham Street Richard McCabe CBE London EC2V 7QA Peter McEnery Barrie Ingham Richard Johnson Barclays Private Bank Limited Katie Mitchell David Jones 1 Churchill Place Gerard Murphy Sir London E14 5HP Joanne Pearce Ralph Koltai CBE Barry Kyle Solicitors Bates Wells & Braithwaite Dame 2-6 Cannon Street London EC4M 6YH Sir Antony Sher Christopher Morley John Napier Foot Anstey Sargent Malcolm Storry Richard Nelson 21 Derry’s Cross David Suchet OBE Adrian Noble Plymouth PL1 2SW David Troughton Sir Trevor Nunn Philip Voss Timothy O’Brien Linklaters One Silk Street Richard Pasco CBE London EC2Y 8HQ Sir Donald Sinden CBE Associate Producer Patrick Stewart OBE Pinsent Masons CBE Janet Suzman 3 Colmore Circus David Warner Birmingham B4 6BH Peter Whelan Wragge & Co John Wood CBE 55 Colmore Row Guy Woolfenden OBE Birmingham B3 2AS

Penny Downie in The Penelopiad

Photo: Ellie Kurttz produced in association with Canada’s National Arts Centre /54/ Design from The Drawing Room www.drawingroom.uk.com

The Royal Shakespeare Company is incorporated under Royal Charter as ‘The Royal Shakespeare Company, Stratford-upon-Avon’ and it is a registered charity.

The Company’s principal objectives laid down in the Royal Charter are to conserve, advance and disseminate the dramatic heritage of Shakespeare and to advance and improve the dramatic art, both in the and throughout the world. The Company (or Corporation) is charged with producing and presenting dramatic performances of all kinds and with teaching and training and other educational activities. These objectives are achieved by the production of plays by Shakespeare and by other classic playwrights and by the commissioning and production of new plays, which are presented in the Company’s theatres in Stratford-upon-Avon, in London, and on tour throughout the United Kingdom and the rest of the world; and by educational activities in schools, colleges and for the community at large.

The members of the Corporation consist of a President and the Governors. The management of the property and affairs of the Corporation is delegated to the Board whose members are drawn from and elected by the Governors. The Board has the power to appoint the officers and employees of the Corporation.

The Royal Charter gives authority for investment in property and securities of any description and for the appointment of an investment manager.

The Report and Accounts comply with current statutory requirements, the requirements of the Statement of Recommended Practice “Accounting and Reporting by Charities” (SORP 2005) and of the Royal Charter.

Principal Office Royal Shakespeare Theatre Waterside Stratford-upon-Avon Warwickshire CV37 6BB

Tel : +44 1789 296655 Fax : +44 1789 294810 [email protected] www.rsc.org.uk

Registered Charity no 212481

Photo: Simon Annand David Troughton in Macbett /56/