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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Love's Labour's Lost
CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. -
Read the 2015/2016 Financial Statement
ANNUAL REPORT 2015-16 National Theatre Page 1 of 87 PUBLIC BENEFIT STATEMENT In developing the objectives for the year, and in planning activities, the Trustees have considered the Charity Commission’s guidance on public benefit and fee charging. The repertoire is planned so that across a full year it will cover the widest range of world class theatre that entertains, inspires and challenges the broadest possible audience. Particular regard is given to ticket-pricing, affordability, access and audience development, both through the Travelex season and more generally in the provision of lower price tickets for all performances. Geographical reach is achieved through touring and NT Live broadcasts to cinemas in the UK and overseas. The NT’s Learning programme seeks to introduce children and young people to theatre and offers participation opportunities both on-site and across the country. Through a programme of talks, exhibitions, publishing and digital content the NT inspires and challenges audiences of all ages. The Annual Report is available to download at www.nationaltheatre.org.uk/annualreport 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 Board Secretary at the National Theatre. Registered Office & Principal Place of Business: The Royal National Theatre, Upper Ground, London. SE1 9PX +44 (0)20 7452 3333 Company registration number 749504. Registered charity number 224223. Registered in England. Page 2 of 87 CONTENTS Public Benefit Statement 2 Current Board Members 4 Structure, Governance and Management 5 Strategic Report 8 Trustees and Directors Report 36 Independent Auditors’ Report 45 Financial Statements 48 Notes to the Financial Statements 52 Reference and Administrative Details of the Charity, Trustees and Advisors 86 In this document The Royal National Theatre is referred to as “the NT”, “the National”, and “the National Theatre”. -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
Women in Theatre 2006 Survey
WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female). -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
Place, Tourism and Belonging
18 The National Theatre, London, as a theatrical/architectural object of fan imagination Matt Hills Introduction Stijn Reijnders has argued that “memory seems to play an important part in the way in which places of the imagination are experienced. In other words, one can identify a certain reciprocity between memory and imagination” ( 2011 : 113). This chapter builds on such a recognition by focusing on the “mnemonic imagination” ( Keightley & Pickering, 2012) within place-making affects. At the same time, I am responding to the question of whether it is “possible to be a fan of a destination?” ( Linden & Linden, 2017 : 110). As Rebecca Williams (2018: 104) has recently argued, we need a greater under- standing of what places can do to visitors who may not bring particular media or fan-specific imaginative expectations with them and yet may respond strongly to a particular place. What confluence of affective, emo- tional and experiential elements may cause them to become fans of that site . .? By focusing on the Royal National Theatre on the South Bank of London – usually referred to as the “National Theatre” or the “NT” – I am deliber- ately taking a case study which multiplies some of these questions, since the NT has acted as the site for both theatre fandom (Hills, 2017 ) and what has been termed “architectural enthusiasm” (Craggs et al., 2013 , 2016 ). Indeed, the National Theatre has been marked by a related doubling through- out its history (having opened in 1976 after a much-delayed construction process). For, as Daniel Rosenthal (2013 : 845) observes in The National Theatre Story , it represents “what [playwright] Tom Stoppard termed co- existent institutions: ‘One was the ideal of a national theatre; the other was the building’”. -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
WHAT the WOMEN DID Theatre Includes Lizzie Siddal (Arcola Theatre), Virgin (Watford Palace), Jack Off the Beanstalk (Above the Stag)
Southwark Playhouse Cafe/Bar FORGOTTEN VOICES FROM THE GREAT WAR: NOW OPEN ALL DAY WHAT THE Mon - Fri 9am - Midnight WOMEN DID Sat 12.30pm - Midnight A TRIPLE BILL OF PLAYS ABOUT THE FIRST WORLD WAR A fantastic menu of simple hot food A wide selection of Hot & Cold drinks Free Wi-Fi A friendly and welcoming atmosphere Experienced baristas Fairtrade, seasonal, locally sourced Great for meetings! For bookings call our Front of House Manager, Nathan, on 020 7407 0234 Enjoy a hot drink on us! Bring this voucher to the cafe between 9am-5pm Mon-Fri for a free hot drink of your choice.* * One voucher per person. Photocopies not accepted. Valid until Friday 14th March 2014 LINDA HAPGOOD | StageAs a protestManager against the US/ inShiverman 2005, which (Theatre503), showed Murder the incomradeship The Cathedral (Oxfordand Playhouse). Her next production is Trained at Royal CentralUK Schoolinvasion of Speech of Iraq and in Drama.2003, For Two’s Company: London Wall humour,Martine (Finborough fading to Theatre). disillusion, Emily of was a theplatoon winner of the Best Costume Designer award at the (Finborough and St James Theatres, and winner of the Stage Management Association Award 2011 OffWestEnd Awards. 2013). Other Theatre Two’sincludes Company Handbagged quickly (Tricycle Theatre), Khadija is 18 (Finborough Theatre), facing misery and death in the trenches. DUNCAN COOMBE | Lighting Designer Tosca (New Diorama),mounted Less Than a Kind production (Jermyn Streetof Miles and national tour), Play it Again Sam TheLighting last Designs rediscovery for Two’s was Company: Velona London Pilcher’s Wall (Finborough and St James Theatres), Ex (Soho (Upstairs at the Gatehouse), Bewitched, Bothered and Bewildered, The Art of Concealment, Mother Malleson’s Black ‘Ell at Soho Theatre), My Real War 1914-? (Trafalgar Studios and national tour). -
Film Slate 2019 / 2020
Film Slate 2019 / 2020 hutchinsonpictures.com We tell stories of truth and beauty, seeking to compel and move audiences. Based in London, Hutchinson Pictures Co. specialises in creating top quality film and television, rooted in theatrical imagination. David Hutchinson CEO David trained at the Liverpool Institute (West End); Ghosts (UK tour); Sincerely, Mr for Performing Arts. He also trained in Toad (UK tour); A Midsummer Night’s Dream writing at the Everyman Theatre, Liverpool. (UK tour); The History Boys (Greenwich David is Artistic Director of Sell A Door Theatre); Sealand (Arcola Theatre); Rainbow Theatre Company, Producer for Hutchinson (Edinburgh Fringe); Spring Awakening Rowntree Ltd and International Associate of (UK tour); A Taste of Honey (Buxton Opera Brooklyn Youth Company in New York. House); The Comedy of Errors (Greenwich Playhouse); Stitching (Edinburgh Fringe); Producing credits include: Fame (UK Tour), The Philanderer (Greenwich Playhouse); Madagascar A Musical Adventure (UK Tour), Where the Solitary Eagle Flies (Liverpool Kindertransport (UK Tour), Of Mice And Men Unity Theatre); Twelfth Night (Greenwich (UK Tour), The Producers (international tour); Playhouse); Six Ways (Edinburgh Fringe) Jersey Boys (international tour); Peter Pan and By Order of Ignorance (Greenwich (Blackpool Winter Gardens); Monty Python’s Playhouse). Spamalot (UK tour); Flashdance (UK tour); Footloose: The Musical (UK Tour 2017); Directing credits include: Jekyll & Hyde Guess How Much I Love You (UK Tour); The (UK Tour), Alice in Wonderland (Greenwich -
One Man, Two Guvnors by Richard Bean Based on the Servant of Two Masters by Carlo Goldoni, with Songs by Grant Olding Background Pack
One Man, Two Guvnors by Richard Bean based on The Servant of Two Masters by Carlo Goldoni, with songs by Grant Olding Background pack The National's production 2 Carlo Goldoni 3 Commedia dell'arte 4 One Man, Two Guvnors – a background 5 Lazzi – comic set pieces 7 Characters 9 Rehearsal overview 10 In production: from the Lyttelton to the Adelphi 13 In production: Theatre Royal Haymarket 14 Richard Bean interview 15 Grant Olding Interview 17 Further production detailsls: This background pack is Director Learning Workpack writer www.onemantwoguvnors.com published by and copyright Nicholas Hytner National Theatre Adam Penford The Royal National Theatre South Bank Board London SE1 9PX Editor Reg. No. 1247285 T 020 7452 3388 Ben Clare Registered Charity No. F 020 7452 3380 224223 E discover@ Views expressed in this nationaltheatre.org.uk Rehearsal and production workpack are not necessarily photographs those of the National Theatre Johan Persson National Theatre Learning Background Pack 1 The National’s production The production of One Man, Two Guvnors opened in the National’s Lyttelton Theatre on 24 May 2011, transferring to the Adelphi from 8 November 2011; and to the Theatre Royal Haymarket with a new cast from 2 March 2012. The production toured the UK in autumn 2011 and will tour again in autumn 2012. The original cast opened a Broadway production in May 2012. Original Cast (National Theatre and Adelphi) Current Cast (Theatre Royal Haymarket) Dolly SuzIE TOASE Dolly JODIE PRENGER Lloyd Boateng TREvOR LAIRD Lloyd Boateng DEREk ELROy Charlie -
Conservation Management Plan for the National Theatre Haworth Tompkins
Conservation Management Plan For The National Theatre Final Draft December 2008 Haworth Tompkins Conservation Management Plan for the National Theatre Final Draft - December 2008 Haworth Tompkins Ltd 19-20 Great Sutton Street London EC1V 0DR Front Cover: Haworth Tompkins Ltd 2008 Theatre Square entrance, winter - HTL 2008 Foreword When, in December 2007, Time Out magazine celebrated the National Theatre as one of the seven wonders of London, a significant moment in the rising popularity of the building had occurred. Over the decades since its opening in 1976, Denys Lasdun’s building, listed Grade II* in 1994. has come to be seen as a London landmark, and a favourite of theatre-goers. The building has served the NT company well. The innovations of its founders and architect – the ampleness of the foyers, the idea that theatre doesn’t start or finish with the rise and fall of the curtain – have been triumphantly borne out. With its Southbank neighbours to the west of Waterloo Bridge, the NT was an early inhabitant of an area that, thirty years later, has become one of the world’s major cultural quarters. The river walk from the Eye to the Design Museum now teems with life - and, as they pass the National, we do our best to encourage them in. The Travelex £10 seasons and now Sunday opening bear out the theatre’s 1976 slogan, “The New National Theatre is Yours”. Greatly helped by the Arts Council, the NT has looked after the building, with a major refurbishment in the nineties, and a yearly spend of some £2million on fabric, infrastructure and equipment.