09/10annual review

Cover Image: The Simón Bolívar Youth Orchestra at the Royal Festival Hall annual review 09/10 3 CHAIRMAN’s FOREWORD 4 CHIEF EXECUTIVE’S REPORT 6 arTISTIC DIRECTOR’S REPORT 9 TH E WORLD’S MOST INSPIRING CENTRE FOR THE ARTS 15 HAYWARD GALLERY 16 CLASSICAL MUSIC 18 arTISTS IN RESIDENCE 19 saisON POETRY LIBRARY 20 artistic HIGHLIGHTS 26 DONORS AND SUPPORTERS 31 COMMERCIAL UPDATE 35 FINANCIAL UPDATE 36 sTAFF AND BOARD ‘We are determined to continue at the high levels we have achieved both creatively and commercially’

2 Chairman’s Foreword RICK HAYTHORNTHWAITE

Of course Southbank Centre’s pre-eminence as a standard bearer for classical music would not be possible without our Resident Orchestras. Par- ticular highlights were the London Philharmonic Orchestra’s magnificent celebrations of the works of Sibelius and Schnittke whilst the Philharmo- nia Orchestra’s intense Viennese exploration, City of Dreams, culminated in a breathtaking perfor- mance of Berg’s Wozzeck. We are very grateful to our neighbours Shell for their continuing sponsorship and indeed, we much appreciate the commitment of all our donors and supporters. Without their involvement so much of our work would not be possible. We are now three years on from the successful re-opening of the Royal Festival Hall in June 2007, Rick Haythornthwaite, which formed the first phase of our development Chairman of the site. This year we have focussed our atten- tion on investing in the rest of Southbank Centre’s I am delighted that, despite the financial challeng- historic buildings and spaces across our 21 acres. es of the past year, Southbank Centre is continu- We are delighted to be working with London Eye, ing to flourish both artistically and operationally Shell, Lambeth Council and the local community under the stewardship of our new Chief Executive, on the landscaping of Jubilee Gardens, which will Alan Bishop, and our Artistic Director, Jude Kelly. be transformed into a haven of trees and gently un- The past year has seen 3.3 million people using dulating lawns ahead of the London 2012 Olympics. the Royal Festival Hall and 21.5 million visitors to We are closely examining how we can continue our site, and increasing numbers of those that vis- to improve the Hayward Gallery and the Queen it our site to socialise and shop go on to buy tickets Elizabeth Hall, which have been a central part of to our events. this site’s artistic life since their construction in the Southbank Centre aims to be the world’s most 1960s. We are particularly grateful to Arts Council inspiring centre for the arts. Given the vitality of the England for a vital grant which allowed us to carry artistic programme, the way we nurture our artists out essential repair and renewal work to the Hay- and the quality of experience for visitors and audi- ward Gallery in the early part of 2010. ences, it seems clear that we are well on our way to I work with a number of remarkable people here succeeding in our mission. at Southbank Centre. Following the streamlining of The phenomenal success of the week-long Board process and structures, we welcomed three residency of conductor Gustavo Dudamel and the new members to our Board of Governors: Julian Simón Bolívar Youth Orchestra of Venezuela in April Lloyd Webber, Cornelius Medvei and Jamie Ritb- 2009 was proof of this. As I wrote in last year’s re- lat. All three bring exceptional talent and skills, and port, two of their Shell Classic International shows strengthen our Board immensely. I would also like had sold out over 10 months in advance. This was to thank Baroness Young of Hornsey, Mark Ball and a clear indication of the excitement that was to Michael Hamlyn, who left the Board this year, for come. Their performances met with rapturous re- their tireless work during their time with us and the sponses from audiences and critics, with 60,000 invaluable contributions they have made. people flocking to the Royal Festival Hall to see As we look ahead to what will be a demand- their shows. Their residency set a benchmark for ing future, Southbank Centre is determined to participation in classical music, with 4,600 under- continue at the high levels we have achieved both 16s attending concerts, and even more attending creatively and commercially. These are challenging the open rehearsals and watching free live relays of times – and I am excited about the future. With the the performances in The Clore Ballroom. That week 60th anniversary of the Festival of Britain in 2011 epitomised Southbank Centre’s approach: deliver- and the Olympics in 2012 opening up a myriad of ing the highest standards in artistic excellence to- fascinating opportunities, we will continue to show gether with enthusiastic participation and engage- the world Southbank Centre at its incomparable, Riverside Terrace ment by people of all ages and backgrounds. innovative and inspirational best.

3 Chief Executive’s Report ALAN BISHOP

My first full year at Southbank Centre has been exhilarating. It is a unique place with a warm and inclusive outlook that offers an unrivalled ex- perience. Its history, stretching back to the 1951 Festival of Britain, offers a sense of legacy and perspective in everything we do; our central loca- tion puts us physically at the heart of the capital’s cultural life. Thanks to its creativity and world- class facilities it is able to reach out to both audi- ences and artists in a way few other places can. The vision of our Artistic Director, Jude Kelly, is a constant inspiration to me. I am proud of all that we have achieved, particularly during these more straitened times. With 21.5 million visitors from all parts of the country and all over the world coming here eve- ry year, Southbank Centre has become the fo- Alan Bishop, cal destination of our capital city and the major Chief Executive showpiece of our public and cultural realm. Even though we run ourselves efficiently and derive as the Secretary of State for Culture, Olympics, Me- much benefit as possible from all the commercial dia and Sport, when he said that however tough opportunities we can develop, we could still not the spending round we face may be, we must cover the basic costs of maintaining this site and never forget that our responsibility for the arts opening the buildings every day without the sub- and culture is one that is not simply for this gen- stantial core funding from the Arts Council. This eration, but for many generations to come. I see year in particular we could not have kept the Hay- it as my duty to fulfil the hopes and expectations ward Gallery open without the Arts Council’s ad- of the millions of visitors to the site, of the artists ditional capital funding for repairs and renewals. that perform here and of all those who benefit We also owe a debt of gratitude to all the or- from our superlative participation and education ganisations and individuals – be they artists, programmes, and to ensure that Southbank Cen- funders, donors or audience members – who have tre remains a world-class destination for creative enabled the site to blossom both artistically and endeavour, both now and into the future. commercially over the past year. It is for these reasons that we are making our To this end I am pleased to report that the fi- own operations as efficient as possible. We have nancial results for this year exceeded expecta- re-tendered all our major contracts and are ex- tions. In 2009/10 operating income exceeded ploring the potential efficiencies from sharing £40m for the second year in a row. This, coupled operational support services. Since we attract with prudent financial management and efficien- millions of visitors each year, we are also look- cy savings, has resulted in a good break-even po- sition. Despite the challenging economic environ- ment, box office income has held up well and the ‘I see it as my duty to fulfil shops, restaurants and cafés on the site continue to trade strongly. These good financial results are the hopes and expectations a tribute to the enduring success of Southbank of the millions of visitors Centre. Thanks to the sheer scale and quality of the excellent artistic offering we are able to draw to the site’ millions of customers to our site, which in turn spurs on the admirable consistency in our com- ing at ways of increasing our commercial income mercial income and sponsorship. through developing our site and examining fur- I am under no illusions about the tough times ther opportunities for the expansion of our retail that lie ahead. During a time of austerity it is vi- offering. Meanwhile, steps have been taken to tal to consider how best to weather the economic further enhance Southbank Centre’s Executive storm whilst upholding the vibrancy of Southbank Team. Given our expanding range of international Centre’s artistic life. I agreed with Jeremy Hunt, projects, co-commissions and partnerships, we

4 Vladimir Jurowski conducts have appointed Vicky Cheetham as the new Di- crowds outdoors on Southbank Centre Square the Lo ndon Philharmonic rector of Arts Administration, to further develop in the summer and sold out the Queen Elizabeth Orchestra our planning and producing framework. The Com- Hall in the winter. The score is now being prepared munications and Marketing departments have for use by other schools around the country. The been newly combined to address the increasing blend of art forms, the coming together of profes- convergence of external communications activi- sional and amateur performers, the reach to both ties, and Edward Venning joined Southbank Cen- local and national audiences, and the infectious tre in March as the Director of Communications energy and quality of the performance made this and Marketing. show a shining example of the unique and won- Above all, this year Southbank Centre has derful work that goes on at Southbank Centre. been home to an electrifying artistic programme which encompassed everything from exquisite chamber music recitals to cutting-edge contem- porary dance. One original commission, The Rime of the Ancient Mariner, epitomised for me what Southbank Centre does best. The show involved children from local schools, members of the lo- cal community and our Artists in Residence Bel- lowhead and Lemn Sissay. The work was new and exciting, and offered a bold mix of original music, poetry and performance. It played to capacity

5 ARTISTIC DIRECTOR’S REPORT JUDE KELLY

I think Southbank Centre is the most exciting We began this year with the week-long resi- cultural organisation in the world. Its 21 acres of dency of the Simón Bolívar Youth Orchestra of outdoor riverside space and its three major build- Venezuela, with sold-out concerts, packed open ings – the Royal Festival Hall, the Hayward Gallery rehearsals, thought-leading symposia, free live and the Queen Elizabeth Hall – give us a unique relays watched by thousands, the involvement platform for commissioning and producing world- of local young performers and widespread ac- class art that ranges from the intimate to the epic. claim. The feeling of excitement and inspiration We have a determination to push forward the across the site was palpable. Later in the year we boundaries of each art form, encourage artists in presented our iconic Meltdown festival, this time new partnerships and bring audiences and artists under the stewardship of jazz legend Ornette together in both celebratory and challenging ways. Coleman. It was a bold decision and brought huge As Artistic Director of this vibrant organisation, I critical success both for the main stage acts and am privileged to grapple daily with the ambition to for the innovative education projects we devel- create an outstanding programme of exhibitions, oped – in particular the School of Harmolodics for performances and educational encounters for young musicians. our millions of audience members whilst search- We expanded Imagine, our festival for children, ing for new ways to build trust, enjoyment and in- and Ether, our growing festival of innovation. This volvement with those who traditionally have not year our London Literature Festival – London’s ma- described themselves as art lovers. jor gathering of authors from around the globe – mounted over 60 events and the Southbank Cen- SENIOR ARTISTIC tre Lecture was given by the Indian economist and TEAM 2009/10 philosopher Amartya Sen. His thoughts guided Jude Kelly OBE our planning of Alchemy, our new festival of Indian Artistic Director and British cultural collaboration. This year we Vicky Cheetham also mounted the first of our science and art pro- Director of Arts grammes by partnering with Pestival to present an Administration artistic look at insect life. Over the last few years we have shown how Rachel Holmes much impact and change a festival can achieve. Head of Literature and Spoken Word The inspiration for so much of Southbank Centre’s work lies with our heritage, the 1951 Festival of Shân Maclennan Britain, which made participation in the arts a joy- Creative Director, ous reality, and made connections between sci- Learning and ence, technology, architecture and art with verve Participation and imagination. Marshall Marcus We are constantly intrigued by how to give peo- Head of Music ple an immersive experience in a way that is unin- Nicky Molloy timidating but demands the very highest level of Head of Dance and commitment. The festival concept allows for this Performance layering of experience. Gillian Moore MBE We have also placed a strong emphasis on Head of Contemporary understanding the thinking and methods of ma- Culture jor contemporary artists. Our autumn Hayward Gallery exhibition marked the 50-year career of Ralph Rugoff Director, Hayward the American artist Ed Ruscha in a critically ac- Gallery claimed retrospective, which brought thousands to see his paintings, and acknowledged his contri- bution to 20th-century art.

Jude Kelly, Artistic Director

6 ‘Over the last few years we have shown how much impact and change a festival can achieve’

Gustavo Dudamel conducts This year we expanded the role of our Artists Sinfonietta and the Orchestra of the Age of En- the Simón Bolívar Youth in Residence, recognising that the ways in which lightenment, all of whom play a central part in our Orchestra they develop and devise projects is now part of the programme. We have also established fantastic texture of Southbank Centre’s unique quality. In working relationships with National Youth Orches- January I led Collision – a two-week programme tra, Trinity Laban and Sphinx to name but three. funded by Paul Hamlyn Foundation for interna- It was rewarding to add a new temporary ven- tional artists to exchange ideas with artists from ue, E4 Udderbelly – a 400-seater theatre housed other disciplines and backgrounds. This has pro- in an upside down inflatable purple cow – that duced some exciting plans for 2011 and 2012. offered comedy, performance and circus to the Voicelab – run by our Associate Artist Mary King summer programme. – has extended the opportunity to sing to thou- Every day we witness ways in which the arts sands of people through our many programmes. transform lives. This spurs us on to ensure we Much of our artistic success is rooted in the draw in everyone possible and allow them to build strong relationships we have built with many a lasting relationship with all that a rich cultural partner organisations over the years. We are par- life can offer. This year I have appreciated the sup- ticularly proud of our relationship with our four port, energy and determination of Alan Bishop Resident Orchestras: the London Philharmonic Or- who has made this shared mission a delight to chestra, the Philharmonia Orchestra, the London work on.

7 ‘The Royal Festival Hall has become a welcoming place for local young people’ Natalie Bell, Project Director, SE1 United

8 The World’s Most Inspiring Centre for the Arts

our strategic objectives UK-based musicians and three symposia. Sixty thousand people took part, which was ten times –– To offer life-enriching encounters between au- as many as would have been able to come to diences and the world’s great and emerging art- the original concerts. ists in music, visual arts, dance, performance Southbank Centre is taking imaginative steps to and literature. extend the site beyond its physical boundaries by –– To enable anyone to experience the excitement of this year creating groundbreaking online participa- exploring their own creativity and artistry through tory projects such Global Poetry System (GPS) and our far-reaching programme of learning and par- Dance Atlas. ticipation. There has been a strong emphasis on creating –– To welcome the world to the unrivalled visitor expe- opportunities for children and young people this rience of our riverside site with its iconic buildings year. Through outdoor performances in the summer and history and its continuous sense of festival. and Imagine children’s festival in February we com- –– To demonstrate successfully that commercial missioned and created a new work for children – as entrepreneurship can live happily beside the both performers and audience – with The Rime of demanding requirements of both art-making the Ancient Mariner, further developing our relation- and profitability. ships with local schools. The year saw significant achievements in our aim to provide a continuum of The Festival Site opportunities for young people to engage with all aspects of Southbank Centre. These included our At Southbank Centre the artistic programme sits young curators scheme, which formed part of the inside a site-wide festival landscape which inspires London Literature Festival; the creation of the E4 Ud- people to learn and encourages them to contrib- derbelly Training Academy, a structured programme ute and to take part. People come here for all kinds for young people to learn about every aspect of of reasons as well as for the arts themselves – to managing and programming an arts venue; and our play, to meet, to work, to celebrate, to relax – and achievement as the first cultural organisation to be they have the opportunity, regardless of their age or a successful lead bidder for the government’s Fu- background, to discover something new. ture Jobs Fund initiative. The site itself and its origins in the 1951 Festival of We could not have achieved the success we have Britain, generally acknowledged as one of the great without working in partnership with groups such democratic and imaginative gestures of the last as SE1 United, a youth forum now in residence at century, are key to this approach. The policy of open- Southbank Centre. Other local partnerships also ness which extends across The Clore Ballroom, include an ongoing relationship with Lambeth City Spirit Level and the public spaces indoors and out- Learning Centre and our participation in the Lam- doors provides multi-layered opportunities for eve- beth In Harmony scheme, which teaches music to ryone to discover, enjoy and deepen their engage- young children in deprived areas and is based on the ment with the arts. These range from free events Venezuelan El Sistema model. and exhibitions – around 100 events were attended Other examples of the work we do in partnership by over 60,000 people in summer 2009 alone – to in- with other groups include our relationship with Inde- depth learning projects and longer-term participa- pendance. Their b.supreme and Dare2Dance events tory work. This work creates a cumulative sense of regularly attract crowds of women in street dance to community across the site as well as having a pro- our site. We continue to work closely with Entelechy found effect on the ideas and working practices of Arts to offer regular opportunities for older people artists themselves. at Southbank Centre. Southbank Centre also has Our engagement strategy is fundamentally wo- a strong relationship with the Koestler Trust, work- ven through our artistic programme. It doesn’t stand ing with them on the curation and presentation of alone. When the plans were made for the Simón the Art by Offenders exhibition – curated in 2009 Bolívar Youth Orchestra to visit Southbank Centre in by women serving prison sentences. This year April 2009, they were initially engaged for two Royal we continued to act as a focal point for regional Festival Hall concerts with an audience capacity of partners to come together through activity such nearly 6,000. As the conversation developed, those as Sound Moves. Working closely with organisa- two concerts turned into a week-long residency with tions that have knowledge of specific communities additional main hall concerts, chamber concerts, ensures we can engage as many people with the Young women performing as part of Dare2Dance live relays, surrounding performances by young arts as possible.

9 The World’s Most Inspiring Centre for the Arts

Community & Collaboration OPPORTUNITIES TO LEARN & PARTICIPATE ACROSS OUR SITE Southbank Centre continues to play a leading role in the community with the Southbank Employ- Opportunities to engage and learn are woven ers’ Group, Lambeth and Southwark Councils, the 8k hours of through our artistic programme. These pages GLA family and our partners in the South Bank participation present just some examples of how individuals, and Bankside Cultural Quarter. Working in part- during the RIME OF THE ancient communities and organisations participate in nership with these groups is bringing about im- mariner Southbank Centre’s work. provements to the area, reducing duplication of efforts and improving efficiencies. For example CASE STUDY: we are working with: FUTURE JOBS FUND AND THE E4 UDDERBELLY TRAINING ACADEMY –– S outh Bank Employers’ Group, Shell, London Eye, The E4 Udderbelly Training Academy gave 22 Lambeth Council and local residents to deliver young people from Lambeth and Southwark a a new Jubilee Gardens and Trust for its ongoing practical insight into running a performance management, and with other landowners to im- venue. The 16- to 20-year-olds worked side-by- prove the public spaces between Waterloo Sta- side with Southbank Centre and E4 Udderbelly tion and the river. staff in a six-week course covering box office, front of house, technical, producing, artist –– L ocal employers to deliver better management liaison, marketing and press. At the end the of the area with joint security, graffiti and other participants programmed and managed their cleaning, waste management, coach manage- own event in E4 Udderbelly. Five participants ment and cycling. joined the Underbelly team working at the Edinburgh Fringe in August. –– T fL and South Bank Employers’ Group (SBEG) In March, 30 young people from across the UK, to deliver the new Legible London signage to all of whom had been out of work for at least six help visitors, local residents and workers find months, took up positions at Southbank Centre their way around the South Bank. as part of the government’s Future Jobs Fund. In partnership with SE1 United and New Deal of the –– T he London Development Authority and local Mind the employees, aged between 18 and 24, employers to explore the potential of combined took up a range of posts, from welcoming visitors heat and power to reduce future energy costs to technical, marketing and administrative roles. as well as our carbon footprint. They were in post for six months for 25 hours a week and were given personalised training, men- –– T he Greater London Authority, Lambeth and toring and support to improve their skills and Southwark Councils and our cultural partners boost their future employability. to deliver a Cultural Olympiad between Jubilee Gardens and Potters Field.

–– C ultural partners to explore the potential ef- ‘The recent rapid improvement ficiencies from sharing operational support in our GCSE results in creative services. and media subjects and high numbers choosing these options can be clearly linked to our increasing work with Southbank Centre, for which I am very grateful.’ Gary Phillips, Head Teacher, Lilian Baylis Technology School

10 The World’s Most Inspiring Centre for the Arts

Above: Members of Voicelab CASE STUDY: CASE STUDY: performing in the Royal VOICELAB THE RIME OF THE ANCIENT MARINER Festival Hall Under the direction of Mary King, internationally In July 2009 Southbank Centre and the Young Right: Children perfom The acclaimed vocal artist and star of Channel 4’s Vic came together for the first time to work Rime of the Ancient Mariner Musicality and Operatunity, Voicelab supported on a new project based on Samuel Taylor by the Paul Hamlyn Foundation provides training Coleridge’s classic poem, The Rime of the Ancient and performance opportunities throughout the Mariner. Southbank Centre’s Artists in Residence year for all kinds of people, from enthusiastic Bellowhead composed a new site-specific piece amateurs to aspiring professionals. Participants which incorporated professional musicians and learn how to use their voices and work across a actors with young people from five Lambeth and wide range of vocal styles, from classical music Southwark primary schools. One hundred and to beatboxing, musical theatre and world music. twenty children from years four to six (ages eight This year alone performances have included to 11) were part of the performance itself. Other performances with Bobby McFerrin as part children contributed to the project in different of Ornette Coleman’s Meltdown, a number of ways, making musical instruments and creating projects with Bellowhead and performances podcasts for Southbank Centre’s blog. in huge choral festivals at Southbank Centre The piece was further developed for perfor- including Various Voices and our Royal mance in the Queen Elizabeth Hall, with an ex- Festival Hall Christmas show, Sandi Toksvig’s panded cast which took in members of the local Christmas Cracker starring Ronnie Corbett. To community in the form of staff from Lambeth Lo- date, Voicelab participants have been involved in cal Authority and staff from Southbank Centre. over 45 projects to seated audiences of 115,000 The score is now being adapted for use in schools and to hundreds of thousands of others at around the country. unticketed events.

11 The World’s Most Inspiring Centre for the Arts

LEARNING AND PARTICIPATION Partners We would like to thank all the partners that have worked with our Learning and Participation team over the past year to present our programme of free, educational and participatory events and activities, including:

LAMBETH SCHOOLS Stockwell Park High Archbishop Sumner School C.E. Primary School Stockwell Primary Charles Edward Brooke School C.E. Girls School Streatham Wells Christ Church C.E. Primary School Primary School Sudbourne Primary Dunraven School School Heathbrook Primary Sunnyhill Primary School School Herbert Morrison Telferscot Primary Primary School School Hitherfield Primary The Michael Tippett School School Immanuel & St. Andrew The Norwood School C.E. Primary School Woodmansterne Johanna Primary Primary School School Wyvil Primary School Julian’s Primary School Kingswood Primary SOUTHWARK School SCHOOLS Lambeth Academy Charles Dickens Primary School Lark Hall Primary School Hollydale Primary School Lilian Baylis Technology School Kingsdale Foundation School Livity School George Green’s School Mark Cross C.E. Imagine story workshop Spa School Primary School Maytree Nursery Godstowe Preparatory School St Peter’s C.E. Primary School Millennium Performing School Arts Reay Primary School Hampstead School St Saviour’s & St Mulberry School for Girls St Stephen’s C.E. Ightham Primary Olave’s C.E. School Primary School School Nonsuch High School St Anne’s R.C. Island School Northgate High School OTHER SCHOOLS Primary School Kemnal Technology Oaks Park High School Charles Darwin School St Bernadette’s R.C. College Park View Academy Banbridge Academy Junior School Kidbrooke Secondary Ravenscourt Park St Leonard’s C.E. Brentside High School School Preparatory School Primary School Chestnut Grove School Kingston Grammar Rushey Green Primary St Saviour’s C.E. Coombe Girls’ School School School Primary School Forest Hill School Langley Park School Rutlish School

12 The World’s Most Inspiring Centre for the Arts

South Camden Baby Loves Disco Hip Hop Shakespeare Pegasus Opera Southwark Library Community School Bandstand Busking Company Company Services St Augustine’s R.C. BBC Independance Pestival South London Gallery Primary School BBC Blast In Harmony, Lambeth Poejazzi Southall Black Sisters St Paul’s Way Trust Beverley Literature Institute of Poetry Society Southall Story School Festival Contemporary Arts Protein Dance Spread the Word St Ann’s School Big Dance Islington Library Royal Academy of Tate Services Sutton Grammar Blow PR Music The Royal Society School for Boys Junior Open House British Council Royal Institute of Tomorrow’s Warriors Sutton Valence School Kinetika British Architects British Film Institute Trouble Tune The City Academy, Knowledge Transfer Sadler’s Wells British Underground Underbelly Hackney Partnership School Libraries Group Camden Library Verbal Arts Centre The Yehudi Menuhin Koestler Trust of CILIP Services Victim Support School Lambeth Council Scottish Poetry Library Candoco Dance Victoria Oxfam Tring Park School for Lambeth City Learning SE1 United the Performing Arts Company Whitechapel Gallery Centre Serious – London Jazz Welling School Centre for Young Wordquake Musicians Lambeth Local Festival Westminster School Authority Choir Working it Out Coin Street Community Serpentine Gallery Builders Lambeth Music Service Shape World Press Photo FURTHER/HIGHER Cooltan Arts Lambeth Wind Shobana Jeyasingh Yeast EDUCATION Orchestra Crafts Council Dance Company Young Minds Goldsmiths, University Lambeth Library Cripps, Sears & Simón Bolívar Youth Young Vic Theatre of London Services Partners Ltd Orchestra Youth Dance England King’s College London Litfest Crying Out Loud Siobhan Davies Dance ZooNation Norbury Manor Lewisham Library Ctrl.Alt.Shift Southwark Council Business and Services Enterprise College Dance United Southwark Children’s London Libraries Services Trinity Laban Delrow Community – Louis Vuitton University of Brighton Camphill Village Trust Mayhem Theatre Dylan Thomas Centre University of Exeter Company Ealing Council University of Motionhouse Hertfordshire Ealing Youth Orchestra Music For Youth University of the East London Dance Music Matters Arts London English National Ballet National Association 2,932 University of the Entelechy Arts children Third Age for Literature Festival of Britain Development Society ARTS, EDUCATION National Youth Find Your Talent AND OTHER Orchestra of Great ORGANISATIONS GaiaNova Britain Academi: Welsh Good Vibrations New Art Exchange National Literature Gamelan Challenge Nottingham (Tomorrow’s People) Nottingham Castle 5.6Kpeople Attended Imagine Promotion Agency and Society for Authors Greenwich Dance Nottingham Akademi: South Asian Hackney Youth Contemporary Dance UK Offending Team Open House Apples and Snakes Heart N Soul Park Lane Group Arts Alliance Hide & Seek Parkour Generations

13 ‘the hayward gallery has excelled itself this year’ London Evening Standard

14 HAYWARD GALLERY AND VISUAL ARTS

The Hayward Gallery’s 2009 summer exhibition space for contemporary art based in Berlin. The Walking in My Mind continued the recent tradition show reflected on the history of project-based inde- of inviting high-profile and up-and-coming artists pendent and collective cultural production in Berlin from around the world to transform the gallery’s since the fall of the Wall 20 years ago. unique outdoor and indoor exhibition spaces. Ten 76k people visited Between February and May 2010 essential repair international artists converted the galleries and walking in my mind and renewal work was undertaken at the Hayward sculpture terraces into a series of sculptural en- Gallery. This included a refurbished foyer and shop, vironments which explored the inner workings of new entrance doors to the gallery and sculpture ter- the artists’ imaginations through immersive, large- races allowing increased daylight into the internal scale installations. The exhibition also extended its spaces, and improvement of existing public toilets. presence to outside of the gallery, with Yayoi Kusa- The Hayward Gallery Project Space was also im- ma’s distinctive polka dots adorning the trees on proved with a new floor and ceiling. Queen’s Walk outside Southbank Centre. For over 35 years, the Hayward Gallery has The Los Angeles-based artist Ed Ruscha took played a key role in creating imaginative, high-pro- over the Hayward Gallery during the autumn with file exhibitions in London and within the UK through a 50-year retrospective of his paintings. Ruscha is Hayward Touring. Hayward Touring is a contempo- one of the most influential and pioneering American rary art organisation producing exhibitions that tour artists of the past half-century. A series of talks and to galleries, museums and other publicly-funded films accompanied the show, as well as a participa- venues throughout Britain, and adds to the Hay- tory programme which included the creation of a ward Gallery’s distinctive national remit. huge panoramic artwork inspired by Ruscha’s art on This year, Hayward Touring sent exhibitions to a The Clore Ballroom. huge variety of locations, including Derby, Black- These large shows were complemented by a se- pool, Cardiff, Milton Keynes and the Outer Hebri- ries of free, smaller exhibitions throughout the year des. Some of this year’s highlights include an ex- in the Hayward Gallery Project Space, which con- hibition of etchings by David Hockney inspired by tinued to showcase emerging contemporary artists Left: Yayoi Kusama Dots the Brothers Grimm and My Giant Colouring Book, from the UK and abroad, many of whom have not Obsession, part of Walking a suite of highly imaginative and provocative prints shown in London before. One of the highlights this in My Mind by Jake and Dinos Chapman. Elsewhere, Magic year was Rooms Without Walls, an exhibition guest- Below: Ed Ruscha: Fifty Show featured over 20 international artists, whose curated by Silberkuppe, an innovative independent Years of Painting works borrow the perception-shifting ploys and strategic illusions often employed by magicians. Hayward Touring also opened Quiet Revolution, curated by Chris Fite-Wassilak, winner of the in- augural Hayward Touring Curatorial Open. The Cu- ratorial Open was devised to seek out, inspire and encourage emerging curatorial talent from around the UK, and to build upon Southbank Centre’s rep- utation as a forward-thinking organisation that thinks with a national outlook. This year was a highly successful one for the Arts Council Collection, a national collection of contem- porary art which has been administered by the Hay- ward Gallery since 1987 on behalf of Arts Council England. There was a remarkable number of new acquisitions to the collection – including important works by Bridget Riley and Wolfgang Tillmans – and the launch of a highly successful new touring series called Flashback, which focuses on major artists. The Collection also completed a project with the Public Catalogue Foundation to photograph and display online almost 2000 works of art. It is a signif- icant advance in making the Collection accessible online for both industry specialists and the general public alike.

15 CLASSICAL MUSIC

This year’s classical music programme at South- bank Centre comprised of more than two hundred events ranging from concerts with the greatest conductors to exciting new orchestras and more informal performances in unusual settings. The main impetus of the classical music programme is to offer immersive experiences through in-depth encounters with great music and musicians. Weaving through much of this year’s programme was a focus on Beethoven through his three major compositional cycles performed by a series of remarkable artists. Dan- iel Barenboim and the Berlin Staatskapelle per- formed all five Beethoven piano concertos as part of the Shell Classic International series; South- bank Centre’s Associate Artists the Takács Quar- tet performed the complete Beethoven string quartets over six concerts; and Southbank Centre Resident Orchestra, the Orchestra of the Age of Enlightenment surveyed Beethoven’s nine sym- phonies with four conductors. There were also mini-residencies during the year, including Sounds Venezuela with the Simón Bolívar Youth Orchestra of Venezuela and the vir- Two Worlds: Alfred Schnittke series, and the orches- Above: Performance during tuoso Greek violinist Leonidas Kavakos. tra with the Finnish conductor Osmo Vänskä later Mass Rally, opening The Bernstein Project Southbank Centre’s classical programme is un- presented Miraculous Logic: The Music of Jean Si- derpinned by the remarkable work of our four Resi- belius, receiving many five-star reviews. Celebrat- dent Orchestras. Our two resident symphony or- ing its 65th Anniversary season, the Philharmonia chestras, the London Philharmonic Orchestra (LPO) Orchestra and Principal Conductor and Artistic and the Philharmonia Orchestra have achieved Advisor Esa-Pekka Salonen launched their new great successes this year. Vladimir Jurowski led season in October 2009 with the UK premiere of a the LPO in the UK premiere of excerpts from Alfred major Magnus Lindberg commission and continued Schnittke’s unfinished opera The History of D. Jo- their City of Dreams: Vienna 1900–1935 series with hann Faustus as the centrepiece of the Between a semi-staged performance of Berg’s operatic tour- de force Wozzeck with Simon Keenlyside. Meanwhile Southbank Centre’s specialist resi- dent orchestral ensembles continued to lead as our resident well as explore new horizons in their respective orchestras fields. London Sinfonietta, the UK’s leading new London Philharmonic music ensemble, presented a season packed Orchestra with adventurous commissions, including Harri- Philharmonia Orchestra son Birtwistle’s new opera The Corridor, and rous- ing works by John Adams, Steve Reich and more, London Sinfonietta which were met with rapturous reviews, culminat- Orchestra of the Age ing in the ensemble winning the 2010 Royal Philhar- of Enlightenment monic Society Ensemble Award. The Orchestra of 27KAttended A the Age of Enlightenment, one of the pre-eminent PERFORMANCE DURING period instrument orchestras in the world, demon- Sounds Venezuela strated the eclecticism of their repertoire, ranging from a major celebration of the 200th anniversary of Haydn’s death during the Radical. Genius. Enter- tainer: Haydn series, through to Donizetti and a rare 6,400 period-instrument performance of Elgar’s seminal under 25 The Dream of Gerontius.

16 Above: Esa-Pekka Salonen Alongside the work of the Resident Orches- from Southbank Centre’s Voicelab. and the Philharmonia tras, Southbank Centre’s Shell Classic Interna- The Take The Risk: A Weekend of Early Improvi- Orchestra rehearsing tional series continued to introduce audiences to sation weekend in October explored improvisa- great orchestras and conductors from around the tion in early music, curated by lutenist Paula world, including the Chicago Symphony Orches- Chateauneuf and featured some of the most in- tra with Bernard Haitink, the Bavarian Radio Sym- novative, experimental and exciting performers in phony Orchestra with Mariss Jansons, as well as the world of early music. Camerata Salzburg’s first Southbank Centre visit. Classical music at Southbank Centre takes This year saw the beginning of The Bernstein place in a variety of different contexts and is per- Project, a ten-month celebration of the work, in- formed at new levels of informality across the fluence and legacy of Leonard Bernstein. Curated site. The Philharmonia Orchestra continue their by his pupil Marin Alsop, the project explored the successful early evening Music of Today slot, the great icon of 20th-century music making, includ- Orchestra of the Age of Enlightenment the lively ing performances, talks and workshops. The pro- Night Shift and the London Sinfonietta presented ject launched in September with a spectacular Spirit Level Nights, which offer audiences a chance day-long celebration of the life and inspiration to wander through the Spirit Level at Royal Festival of Bernstein with free events and a performance Hall accompanied by cutting-edge contemporary by the specially convened Mass Orchestra per- classical music and intriguing visuals. forming together with non-professional singers

17 ARTISTS IN RESIDENCE

The Artist in Residence scheme, supported by Paul Hamlyn Foundation, has continued to flour- ish with the artists fully embedded in the artistic programme across the site, developing work with the local and wider communities, and promot- ing Southbank Centre as an artistic hub through which new projects are created and developed. Poet Lemn Sissay launched Global Poetry System (GPS), a user-generated world map of poetry, where people can upload their poetic photos, audio, text or videos on the global poetry map. Dancer and choreographer Gauri Sharma Tripathi curated and prepared performances in the first Alchemy festival of Indian and South- Asian culture. Shlomo premiered the Concerto for Beatboxer and Orchestra, a Southbank Centre commission with composer Anna Meredith, per- formed with a specially created orchestra fea- turing players from all four Resident Orchestras. Shlomo also developed Boxed – a theatrical show with his Vocal Orchestra that performed at the Queen Elizabeth Hall and has gone on to perform at E4 Udderbelly and theatres across the UK. Folk band Bellowhead spent the summer months writing the music for The Rime of the Ancient Mariner, a massive participatory pro- ject with Southbank Centre and the Young Vic based on Coleridge’s poem. Bellowhead also pro- grammed and performed in Southbank Centre’s nautically-themed New Year’s Eve Party. Cape Farewell curated the first SHIFT festival in January 2010, and created a climate-focused festival of artworks, music, writings and perfor- Above: Resident Artist appointed and has used his part of his residency Gauri Sharma Tripathi mance inspired by the artists who joined their ex- to create New Deal of the Mind – an organisation peditions to the High Arctic. with an objective to boost the UK economy by de- 2009 introduced a new wave of Artists in Resi- veloping jobs in the creative industries. dence. Poet Simon Armitage developed the script A major part of the Artist in Residence’s year to accompany the Oscar®-winning film, Peter and was Collision: a two-week period of creative col- the Wolf. Cellist Oliver Coates programmed the laboration devised by Jude Kelly and new Artist upcoming Harmonic Series, a series of concerts in Residence, the visual artist Jeremy Deller. Col- that offer a chance for informal, concentrated lision asked each Artist in Residence to identify listening featuring classical, new and alterna- another artist they wish to join them in creative tive music in unconventional performance spaces dialogue. They were then given space to exchange around the site. Video-journalist and new Artist in and build on each other’s ideas, and to learn from Residence David Dunkley-Gyimah created a short each other’s working methods in order to make film which was shown as part of Sound Moves, changes in artistic and organisational creativity. a project celebrating the next generation’s most Jeremy Deller also devised a programme of Lam- talented performers. beth Encounters with members of the Southbank Journalist and theorist Paul Morley is develop- Centre’s local community including Kids Compa- ing a series of compositions, talks, conversations ny and the Archbishop of Canterbury. and debates. Visual artists Jane & Louise Wilson have been exploring ideas for a piece of work with architect Eyal Weizman and writer Shumon Ba- sar. Journalist and thinker Martin Bright has been

18 SAISON POETRY LIBRARY

Artists in Residence 2009/2010 The Saison Poetry Library in the Royal Festival Hall is the most comprehensive and accessible Bellowhead collection of modern and contemporary poetry in Cape Farewell the UK. With 20,000 visits, 19,000 loaned books, and 14,500 enquiries from all over the UK and be- David Dunkley-Gyimah (Video-Journalist) yond, the library is an important resource for po- Gauri Sharma Tripathi (Dancer & Choreographer) etry lovers. During the course of the year different groups were introduced to the library by offering Jane & Louise Wilson (Visual Artists) personalised sessions to teachers, librarians, Jeremy Deller (Visual Artist) and students from post-graduates to foreign lan- guage students and nursery classes. Lemn Sissay (Poet) This year the Saison Poetry Library worked Martin Bright/New Deal of the Mind closely with the BBC on their Poetry Season, facil- Oliver Coates (Cellist) itating interviews with leading poets and provid- ing research and support throughout the season. Paul Morley (Journalist & Theorist) In November the library held its first Special Dr Rahayu Supanggah (Gamelan Artist & Composer) Collections Open Day, with an impressive display of rare and limited edition pamphlets, artists’ Rosemary Butcher (Artist/Choreographer) books, posters and magazines. The event at- Shlomo (Beatboxer) tracted publishers, designers, artists, and poets, and revealed the depth and variety of what the Simon Armitage (Poet) Below: Resident Artist library has collected over the years. Tim Casswell/Creative Connections Simon Armitage Examples of new magazines added to www. poetrymagazines.org.uk this year included Homeless Diamonds, a magazine written and edited by homeless writers and artists, Match- box, a magazine published in a matchbox, and The French Literary Review. Along with the Global Poetry System online network and the library’s own website, Southbank Centre now of- fers a growing suite of poetry online. The library’s exhibition space this year featured an exhibition to complement the Hayward Gal- lery’s Ed Ruscha exhibition. This was followed by a specially designed nursery rhyme corner during Southbank Centre’s Imagine children’s festival.

‘Plenty to get the blood pumping in this genre-hopping concert… starting with Shlomo’s own typically blistering solo spot’ The Times

19 Artistic Highlights

The year began with a bang with the phenome- Voices festival offered a wide variety of opportu- nally successful week-long residency of Gustavo nities for the singers, including the With One Voice Dudamel and the Simón Bolívar Youth Orchestra concert in the Royal Festival Hall, and the Handel of Venezuela. The sheer energy of the perfor- Choral Club, which allowed the public to explore mances garnered a joyful reception from audi- 25k People attended and celebrate Handel’s choral range through a se- ences and critics alike. meltdown ries of open workshops. April’s Ether festival presented new work in Ornette Coleman’s Meltdown in June was one music, technology and digital media. As well as of the most successful in the festival’s 16-year two sell out shows from David Byrne and mem- history, with six sold-out shows and five-star re- orable performances by Peaches and Plaid, views for concerts by Patti Smith, Baaba Maal, the festival introduced a new strand of talks and Right: Walking in My Mind Bobby McFerrin, Moby and Ornette himself. As spoken word. exhibition part of the festival 30 aspiring young musicians Voicelab’s work continued to weave through and dancers undertook an intensive week-long much of Southbank Centre’s programme in May. Below: Ornette Coleman programme, The Meltdown School of Harmolod- performs on stage as part Vocal training course Pulse presented a week- of Meltdown at the Royal ics, and worked with the festival artists to explore long series of lunchtime concerts. The Various Festival Hall Ornette Coleman’s unique approach to music. This was led by a partnership between Southbank Centre and Trinity Laban. The Hayward Gallery’s immersive Walking in My Mind exhibition drew huge crowds during its run from June to September, and also included a diverse and well attended programme of free and participatory work. The London Literature Festival continued to mark itself out as London’s leading literary fes- tival. Highlights included appearances by Buzz Aldrin, Arundhati Roy, Sarah Waters and Benja- min Zephaniah. The Cultural Olympiad Weekend was celebrat- ed at Southbank Centre in late July. Highlights in- cluded performances and dance workshops from Artist in Residence Gauri Sharma Tripathi and a day of free activity from Tomorrow’s Warriors, who specialise in training young jazz players.

‘Meltdown just seems to improve with age’ The Independent

Following a national tour, July also saw the opening of Unpopular Culture – a selection of paintings, sculpture and photographs from the Arts Council Collection by Grayson Perry at the Longside Gallery, with the special addition of a new collaborative project undertaken with the BFI. Titled Nostalgia for the Bad Times, the pro- ject took the form of a screening of six films from the 1940s, 1950s and 1960s chosen by Perry from the BFI archives. Southbank Centre played host to Le Cirque Invisible in August, a magical two-person circus with French performer Jean-Baptiste Thiérrée

20 ‘wacky and original... you’d be dotty to miss it’ Daily Telegraph on Walking in My Mind

21 artistic Highlights

and brilliant transformation artist Victoria Chaplin, Norwich and Southampton. which charmed packed houses, playing 18 shows Two of the world’s most highly regarded de- over three weeks in the Queen Elizabeth Hall. signers and architects, Marc Newson and Shige- The Dare2Dance project returned in July as a high ru Ban, were commissioned by the organisers of profile street dance competition in The Clore Ball- The London Design Festival to create installations room at the Royal Festival Hall. The winning all-girl for its annual Size + Matter initiative at South- hip-hop groups spent the summer training with top bank Centre. The installations were on display on female dancers and the final energetic night show- Riverside Terrace and Southbank Centre Square cased the results of their work to a sell-out Purcell from mid-September until mid-October. Room audience. In October the annual Koestler Awards exhibi- E4 Udderbelly, the upside-down purple cow tion Art by Offenders, Secure Patients and Detain- in Jubilee Gardens, provided Southbank Centre ees went on show at the Royal Festival Hall, in the with a new, alternative venue for summer. Aimed second year of Southbank Centre’s partnership at audiences that might not otherwise come to with the Koestler Trust. In a departure from pre- Southbank Centre, E4 Udderbelly provided a vious years, the 2009 show was the first national programme of comedy, performance, music and work for family audiences. ‘T he giant upturned purple cow In September Pestival – a weekend of installa- tions, activities and performances that took an in- on London’s Southbank hosts some novative look at insects in culture – attracted huge of the most innovative, inventive press coverage, and pictures of the large Termite Mound installation appeared in several national comedy shows you’ll see in the newspapers, including The Guardian and The Times. capital this summer’ The festival went on to win Conservation Project of London Evening Standard the Year at the Observer Ethical Awards 2010. The Arts Council Collection’s touring show Bridget Riley: Flashback opened at the Walker art exhibition curated by serving prisoners. All the Art Gallery, Liverpool in September. The first of curators were from a women’s prison, giving the a new series of monographic exhibitions from selection of 130 works a distinctly female per- the Collection, the show will tour to Birmingham, spective. As part of the nine-week educational

22 artistic Highlights

conducted by Riccardo Muti. November saw the completion of the London Philharmonic Orchestra’s bold series featuring the music of Russian master Alfred Schnittke. Later in the year, their spectacular Sibelius Sym- phony cycle with Osmo Vänskä garnered a clutch of five-star reviews. Ed Ruscha: Fifty Years of Painting, the Hayward Gallery autumn show, was the first major UK ret- rospective to focus exclusively on the paintings of the Los Angeles based artist, one of the most influential and pioneering American artists of the past half century. The highly unusual Spaghetti Western Orches- tra performed two sell-out nights in the Queen Elizabeth Hall in October with a quirky take on the film music of Ennio Morricone. The London Jazz Festival in November saw per- formances from both international and emerging artists, from Carla Bley and Branford Marsalis to Melody Gardot. November also saw the first ever performance in the UK by American comedian turned musician Steve Martin, performing with the Steep Canyon Rangers, for an evening of bluegrass Far left: E4 Udderbelly at project, the women underwent intensive training, and banjo. Southbank Centre selected the exhibits, designed and built the dis- Hayward Touring’s Magic Show opened at plays and gave exhibition talks and tours. QUAD in Derby in November 2009, with a number Centre: The Termite Mound during Pestival Autumn saw the beginning of our classical of magicians and performers participating in the music season and the Shell Classic Internation- launch. Its opening at the Grundy Art Gallery in Above: Jon Hopkins al series, with Bernard Haitink conducting the Blackpool coincided with the annual internation- performing at Ether Chicago Symphony Orchestra. The ten-month- al Magic Convention in Blackpool. long Bernstein Project was launched, under the artistic stewardship of Marin Alsop. A day of par- ticipatory events culminated in the eclectic Mass Rally, which brought together a wide range of mu- sicians to celebrate Bernstein’s legacy. Chamber music played a key role in the classi- cal programme. Leonidas Kavakos’ Artist in Focus season was received enthusiastically by critics new attendees and audiences alike. The Takács Quartet’s cycle of Beethoven’s string quartets established them as the pre-eminent string quartet playing today and featured in many of the critics’ 2009 highlights of into the hoods the year. attracted Celebrating its 65th Anniversary season, the Philharmonia Orchestra and Principal Conductor and Artistic Advisor Esa-Pekka Salonen launched their new season in October with the UK premiere 70%new attendees of a major Magnus Lindberg commission and con- tinued their City of Dreams: Vienna 1900–1935 series with a semi-staged performance of Berg’s operatic tour-de force Wozzeck with Simon Keen- existing lyside. Additional highlights included the Phil- attendees harmonia’s 65th Birthday Gala on 30 March 2010,

23 artistic Highlights

‘marin alsop’s Bernstein project at Southbank Centre... has something for everybody.’ Daily Telegraph

24 artistic Highlights

‘Southbank Centre has recently been on a high, with audiences flocking in’ The Guardian

From the family cabaret show, Sandi Toksvig’s The much anticipated return of Daniel Baren- Christmas Cracker, to street-dance extravaganza boim in January saw the iconic pianist-conductor Into the Hoods, the Christmas Unwrapped season returning to the Royal Festival Hall to perform offered audiences a wide variety of events for all Beethoven’s piano concertos. The concerts at- ages and tastes. An enchanted forest was creat- tracted five star reviews and rapturous audience ed on The Clore Ballroom at the Royal Festival Hall responses – including from the hundreds of peo- and the ever popular inflatable igloo returned. ple who watched free relays of the shows on The Over 15,000 people attended free events and join- Clore Ballroom at the Royal Festival Hall. in activity over the Christmas season. Mime artists from all over Europe came to the The Oscar®-winning film Peter and the Wolf International Mime Festival 2010, and in particu- returned for a second run in Royal Festival Hall in lar Circus Klezmer, who performed their riveting December, this time with a script by Artist in Resi- and riotous show in the Queen Elizabeth Hall to dence Simon Armitage and starring Burn Gorman. delighted audiences during the second weekend The show, with live music from the Philharmonia of the festival in January. Orchestra gave children a real sense of the won- February saw the return of the Imagine children’s der of live orchestral music. festival, greatly expanded and more ambitious than before. Imagine featured three major commissions: Shlomo and Anna Meredith’s sold-out and critically acclaimed Beatbox Concerto, which melded con- temporary and classical music together in an excit- ing new direction; a new production of The Rime of the Ancient Mariner; and the return of the installa- tion The Bibliomancer’s Dream, expanded to cover even more of our public spaces. The Chopin Bicentenary celebrations in the spring gave rise to two of the most important piano recitals of the year from Krystian Zimerman and Maurizio Pollini, which took place on each of Chopin’s disputed birthdays. The Election 10 series in March tackled ma- jor political issues in the run up to the election. Think tanks from across the political spectrum went head-to-head to debate policy in Think Tank Clash, hosted by Rory Bremner. Waiting, a perfor- mance in which five women speak and sing about their experiences of war, featured powerful per- formances from Juliet Stevenson, Phyllida Law and classical soprano Anna Dennis.

Far left: Marin Alsop conducting

Left: Circus Klezmer perform as part of the London International Mime Festival

25 DONORS AND SUPPORTERS

As a charity, Southbank Centre relies on the gen- we are thrilled to continue our relationship with erous support of individuals, trusts and com- many corporate partners and excited to welcome panies in order to deliver its vibrant, innovative the new members who have joined us during this and expansive artistic programme. The economic difficult period. conditions of 2009/10 have made it a challenging Southbank Centre’s range of venue spaces con- year for fundraising, but we have maintained the tinue to offer fantastic entertaining opportuni- strong base of support established since the reo- ties for organisations, companies and individuals. pening of the Royal Festival Hall. There were 152 private events hosted this year, The ongoing investment from Paul Hamlyn including: the BAFTA TV Awards; Orange Prize for Foundation continues to support Voicelab and Fiction; Southwark Excellence Awards; Lambeth Achievement Awards; Arts Mark Awards; gradu- ations for London South Bank University, King- ‘I would like to name a seat after my ston-St George’s, American School in London, UCL Medical School, British School of Osteopathy, first grandchild in the hope that University of Westminster and Central School of when she is a little older, I can look Speech and Drama; and numerous weddings. forward to introducing her to one November saw the Royal Festival Hall stage used for the Chairman’s Dinner for the first time, of London’s cultural treasures’ which was a huge success. There was an excellent Donor, Name a Seat campaign organ performance and the dinner was used as an opportunity to seek engagement and discuss the Artist in Residence activities and we are grateful work that needs to be done to install the other two to the Esmée Fairbairn Foundation’s contribution thirds of the organ. There was a fantastic turn out to our children’s programme, specifically Peter from the Board of Governors and Southbank Cen- and the Wolf. tre is grateful to them and the Chairman’s Circle for Walking in My Mind proved a popular sum- their continued support of fundraising activities. mer exhibition and we are grateful to the Henry Southbank Centre would like to give its heart- Moore Foundation for their continued support felt thanks to all those individuals and organi- of the Hayward Gallery. We are also grateful to sations that gave donations or funded the or- the Columbia Foundation for their support of The ganisation throughout 2009/10. The long-term Bernstein Project. investment of our many existing partners and Individual support has always been vital to support from new relationships are very grate- Southbank Centre’s success and this year was fully received. no exception. Individuals continued to support in large numbers both through the Festival Fund Revenue Supporters 2009/10 and the Supporters’ Circles. The Festival Fund this year raised over £65,000 from over 1,000 in- Arts Council England dividuals. AXA Art Insurance By the end of the financial year we had over Bloomberg 80 Supporters’ Circles members, donating gifts British Land of between £250 and £5,000. This year, these Clifford Chance LLP donors enjoyed a huge range of events linked to Columbia Foundation the artistic programme including exclusive re- D’Oyly Carte Charitable Trust hearsals to Rambert Dance Company and our The Drapers’ Company Resident Orchestras. Clore Duffield Foundation Shell Classic International continued in Eversheds LLP 2009/10 with a series of spectacular concerts, in- Esmée Fairbairn Foundation cluding the Simón Bolívar Youth Orchestra in April Goethe Institut and Daniel Barenboim with the Berlin Staatska- Calouste Gulbenkian Foundation pelle in January. We are grateful to Shell for their Paul Hamlyn Foundation ongoing support and are delighted that they are J.P. Morgan renewing their sponsorship of the Classic Interna- JTI tional series until 2013. Land Securities Whilst sponsorship was reduced this year, Louis Vuitton

26 Donors and supporters

Bernstein Mass Creation on The Clore Ballroom at Royal Festival Hall

Mondriaan Foundation Director’s Circle The Henry Moore Foundation Oracle Financial Services Software b.v. Karen Abbott Penningtons Solicitors LLP Brian Abel Pro-Helvetia - Arts Council of Switzerland Carole and Neville Conrad PRS for Music Foundation Mr and Mrs Saeb Eigner Red Bull Fine Family Foundation GB Sasakawa Foundation Eric and Louise Franck Sotheby’s Jane French Philip and Irene Toll Gage Foundation Emily and Horacio Furman The Helen Hamlyn Trust Paul Gambaccini Westminster Foundation Jacqueline and Michael Gee Sheila Hayman Chairman’s Circle Linda Kahan Professor Donovan Kelly and Dr Ann Wood Linda Bennett David and Sarah Kowitz Elliott Bernerd Angie and George Loudon John Cousins The Maplescombe Trust Dame Vivien Duffield DBE Mr and Mrs E Scott Mead Mark Glatman Mary Moore Walter A Gubert Alex Noyer Michael Hamlyn Midge and Simon Palley Sophia Mason Dr Anand Saggar Scott Mead Willem Sels Caroline Michel The David and Jennifer Sieff Charitable Trust Sir Keith Mills Richard Thomas Anthony Salz Michael A Ward Lord Stevenson of Coddenham CBE Caroline Younger Sir David Tang Poju and Anita Zabludowicz Ronnie Wood and those who prefer to remain anonymous Michael and Anna Zaoui

Individual Supporters Alan Bishop Rick and Janeen Haythornthwaite David Kershaw

27 Donors and supporters

Capital Campaign Donors The J P Jacobs Charitable Trust JCB Three years on from the reopening of the J.P.Morgan Chase Foundation Royal Festival Hall we remain enormously Mr and Mrs Donald Kahn grateful to those donors who made the Gilbert and Lena Kaplan transformation possible. The Kresge Foundation The Linbury Trust 3i Group Marks & Spencer The 29th May 1961 Charitable Trust Zvi and Ofra Meitar Family Fund Allied Irish Bank (GB) The Mercers’ Company Allies and Morrison Merlin Entertainments Group American Fund For The Southbank Centre Mizuho International plc Anonymous Supporters The Modiano Charitable Trust Arts Council England The Monument Trust Mr and Mrs Aidan Barclay Sir Mark and Lady Moody-Stuart Mr and Mrs Sid R. Bass Mr and Mrs Paul Morgan Miss Beverly Anne Battersby Mr Martin Myers Mr Elliott Bernerd The Jack Petchey Foundation Mr Peter Borender The Roger and Ingrid Pilkington Charitable Trust Mr Eric Chalker The David and Elaine Potter Foundation The City Bridge Trust PRS Foundation Clifford Chance LLP The Rayne Foundation Clore Duffield Foundation Richmond Associates UK Limited The Clothworkers’ Foundation The Sir John Ritblat Family Foundation The John Coates Charitable Trust The Rothermere Foundation Coca-Cola Great Britain The Coral Samuel Charitable Trust The John S Cohen Foundation Schroder Foundation Sir Ronald and Lady Cohen Shell Mr and Mrs G L Collins The Archie Sherman Charitable Trust Columbia Foundation The David and Jennifer Sieff Charitable Trust Sir Brian and Lady Corby Mrs Lois Sieff OBE Department for Culture, Media and Sport Sotheby’s Devereux Family Trust Southbank Centre Governors Lloyd and Sarah Dorfman Speechly Bircham LLP Dame Vivien Duffield DBE Charlotte and Dennis Stevenson Dunard Fund The Bernard Sunley Charitable Foundation The John Ellerman Foundation Dr Christopher and The Lady Juliet Tadgell The Eranda Foundation John and Carol Wates Ernst & Young The Weston Family Eversheds LLP The Wolfson Foundation The Fidelity UK Foundation Mr Robin Woodhead Todd and Christine Fisher Aline and Philippe Foriel-Destezet 18,000 audience members who supported The Foyle Foundation the campaign The Gatsby Charitable Foundation Mrs Kyoko Gledhill The Goldsmiths’ Company Charity Donors to the Lord Goodman Fund Walter A Gubert Mrs Dorothy Hambleton Mr Christopher Hanson-Abbott The Hedley Foundation Heritage Lottery Fund Daniel Barenboim conducts Hollick Family Trust the Berlin Staatskapelle

28 ‘superb stuff from Daniel Barenboim and the Berlin Staatskapelle’ The Guardian

29 30 COMMERCIAL UPDATE

Southbank Centre’s successful commercial part- Shop – continued to trade well and maintained nerships continued to flourish despite the wider the sales performance of the previous year. impact of the economic downturn. Now firmly The other on-site bars and restaurants also established as a commercial destination in its maintained strong sales, with Skylon building own right, sales in the shops, restaurants and 10k visitors per day to on its reputation for fine dining and magnificent bars surrounding the Royal Festival Hall have re- the Food Markets views. The popular Canteen on Southbank Centre mained buoyant. Revenue derived from the com- Square also enjoyed a successful year, winning mercial activities across the site contributed ‘Best Design’ in the multiple restaurant category £5.1m in 2009/10. of the Restaurant and Bar Design Awards. The Southbank Centre continues to broaden and bars and cafes operated by Company of Cooks in develop its commercial partnerships to widen in- the Royal Festival Hall, Queen Elizabeth Hall and come streams and to support artistic activity with Hayward Gallery saw increased sales, despite the joint promotional activity, even spreading to other closure of Concrete from mid January during the branches of some of our commercial partners. Hayward Gallery refurbishment. The Central Bar In the run up to the fifth anniversary of the Terrace in particular has become a very popu- opening of Festival Riverside, Giraffe, EAT, lar destination with sales up 51 per cent on the Foyles, Strada and wagamama continued to en- previous year. joy a healthy growth in overall sales. Meanwhile, Southbank Centre shops – Festival Terrace, the commercial outlets on Festival Terrace – Las Royal Festival Hall and Hayward Gallery – contin- Iguanas, Le Pain Quotidien, Caffè Vergnano 1882, Left and below: Produce ue to reflect, and cross promote, the wider artis- Feng Sushi, Ping Pong and the Southbank Centre on offer during Southbank tic programme on site and supported key events Centre’s food markets such as Pestival, London Design Festival and the Hayward Gallery exhibitions. The online shop was launched at the end of 2009 allowing greater ac- cess to our ranges and a higher profile for the re- tail offering generally. The Festival Terrace Southbank Centre Shop has continued to build its reputation as the store to find unusual gifts and the work of new design talent, and garnered a feature in the Financial Times. This year the shop undertook a high profile collaborative project with Cockpit Arts which saw up-and-coming British designers taking inspira- tion from the site to develop new products. During the temporary closure of the Hayward Gallery, the shop was stripped back to its con- crete walls to create a striking industrial space that gives the shop a strong identity and greater ‘this scrumptious southbank chocolate festival offers indulgence in spades.’ South London Pulse

31 comercial update

reflect the rest of the gallery space. Strides have Yayoi Kusama Ascension been made in working with artists on limited edi- of the Polka Dots on Queen’s Walk tion pieces and with UK-based designers to cre- ate exclusive product that takes inspiration from the architecture and artistic work of the gallery. The Royal Festival Hall Southbank Centre Shop continues to showcase exclusive products relat- ing to the buildings, architecture and design his- tory of Southbank Centre in addition to jewellery, toys and CDs. The offer adapts throughout the year to reflect the changing artistic programme across the site giving our guests a relevant and exciting choice whenever they visit, at a variety of price points. The successful food markets continued dur- ing the year. The Easter and Christmas Choco- late Festivals and a Cheese and Wine Festival in October helped to bring thousands of additional visitors to the site. The Cologne Christmas Market returned for the second year and continues to be very well attended. Southbank Centre’s reputation as a venue for filming and photography continues to grow. De- spite cutbacks in marketing and film budgets, several high profile shows were filmed here, in- cluding the BBC’s Sherlock and Spooks. Two fea- ture films were also shot here – Get Him to the Greek starring Russell Brand and London Boule- vard starring Colin Farrell (scheduled for release in October 2010). Southbank Centre was also chosen as the location for Vivienne Westwood’s Spring/Summer 2010 campaign.

21.5m Visits to the site every year

32 ‘a unique metropolitan arts centre with 21 acres of creative space and an extraordinary history’ Visit Britain

33 34 FINANCIAL UPDATE

Financial results for this year have exceeded OPERATING STATEMENT expectations and demonstrated financial resil- ience to the broader economic situation, with box Year ended 31 March 2010 2010 2009 office income holding up well and the restaurants £’000 £’000 and cafes on site continuing to trade strongly. A strong commercial showing and further destina- INCOME tion developments have helped to achieve a broad audience reach. Arts Council revenue grant 23,472 23,715 In 2009/10 operating income exceeded £40m Activities for generating funds 9,085 11,015 for the second year in a row. This, coupled with (including voluntary & interest income) prudent financial management, has resulted in a Income from artistic activity 8,692 8,693 breakeven result after a small transfer to reserves. Total operating income 41,249 43,423 The figures in this report were extracted from Southbank Centre’s full financial statements. The audit opinion of the Comptroller and Auditor EXPENDITURE General on the annual financial statements for the year ending 31 March 2010 was unqualified. Costs of generating funds 5,257 5,984 The financial statements should be consulted for Costs of charitable activities 35,441 34,545 a full understanding of the results of Southbank Governance 314 389 Centre and of its financial position. A copy may be downloaded from www.southbankcentre.co.uk Total operating expenditure 41,012 40,918 or obtained from the Finance Department, South- bank Centre, Belvedere Road, London, SE1 8XX. Transfer to capital and maintenance fund (237) –

Operating surplus - 2,505

In addition to the operating grant, Southbank Centre received an additional Arts Council grant of £2m for the repair and renewal of the Hayward Gallery.

Balance sheet As at 31 March 2010 2010 2009 £’000 £’000

Fixed assets 291,890 296,945 Current assets 14,954 47,812 Current liabilities (19,052) (15,543)

Creditors: amount falling due after one year (22,128) (57,938)

Provision for liabilities and charges - (199) Pension plan liability (6,078) (8,036)

Net assets including pension plan liability 259,586 263,041

Financed by: Unrestricted funds 256,752 258,712 Restricted funds 2,834 4,329 Shigera Ban installation, part of the London Design Festival at Southbank Centre Total funds 259,586 263,041

35 Staff and Board

Executive Alan Bishop Chief Executive Jude Kelly OBE Artistic Director Jenni Carbins Interim Director of Marketing (until February 2010) Vicky Cheetham Director of Arts Administration Alison Cole Director of Communications (until September 2009) John Greenwood Interim Finance and Commercial Director Mike McCart Director of Partnerships and Policy Catherine Mallyon Director of Operations Rebecca Preston Director of Development Edward Venning Director of Communications and Marketing (from March 2010)

Board Mr Rick Haythornthwaite Chairman Chairman, Network Rail Mr Brent Hansen Alan Bishop and Jude Kelly Chairman, MasterCard Inc Former President, Creative and Editor in Chief, with the young people work- ing as Southbank Centre As- MTV Networks International Mr Robin Woodhead sistants through the Future Jobs Fund initiative Deputy Chairman Mr David Kershaw Chairman, Sotheby’s International Chief Executive, M&C Saatchi Dame Vivien Duffield Mr Cornelius Medvei Chair, The Clore Duffield Foundation Partner and Head of Transport Sector Group, Chair, Royal Opera House Endowment Trust Eversheds LLP Ms Ursula Owen OBE Mr Jamie Ritblat Editor and Chief Executive, Index on Censorship Chairman and Chief Executive, Delancey Ms Fionnuala Hogan Mr Julian Lloyd Webber Senior Director, Hypo Real Estate Bank Cellist International Ms Susan Gilchrist Senior Partner, Brunswick Group LLP

36 staff and board

Staff (as at 31 March 2010) Liyu Abai Sonja Byrne Sean Devane Terry Abbott Gerry Cahill Gurjit Dhinsa Southbank Centre would not be the success it Angela Abena Nick Cain Lizzie Docherty is without the skill and dedication of all its em- Alissa Abena Jenny Camilleri Caroline Douglas ployees. In addition to the range of expertise and Tamsin Ace Camille Campbell Cally Dowden detailed management required to create the ar- Sophie Adams Michael Cannon Sally Drinkwater tistic programme, this programme could not be Imran Addo Cori Capper Tania Duarte achieved without production and technical skills Sague Ahmed Amelie Carbonnelle Sam Dub of the highest levels. Teams maintain, clean and Maksud Ahmed John Carey Ruth Duckworth secure the site 24 hours a day, every day of the Tosin Ajayi Caroline Cargill Stephen Eames year, and essential administrative and support Jonathan Aldous Alex Carley Simon Eaves work takes place seamlessly behind the scenes. Steve Allsop Georgina Cervin Thomas Edge Most importantly, many people work creatively Michal Arad Dennis Chang Eirwen Edwards and tirelessly to ensure our visitors and audi- Claire Ashby David Charlton Ian Edwards ences are aware of everything going on and are Adam Asnan Christine Chastanet Rick Eggleton warmly welcomed to our site. Paul Astbury Vicky Cheetham Kevin Emsden Aaron Austin-Glen Kasmyn Chen Naomi Engler Victoria Avery Pam Chowhan Emanuela Evangelisti Ariful Aziz Charlotte Christesen Miles Evans Safa Aziz Anca Chung Michelle Evans Sarah Ball Jeremy Clapham Mia Farlane Kate Barker Steve Clark Helen Faulkner Nigel Barratt Sophie Clark Jonathan Fenelon Alba Basterra Chris Clarke Rebecca Finch Raj Batra Louise Clarke Chelsea Fitzgerald Madeleine Beaumont Bridget Coggin Marilyn Fitzgerald- Jane Beese Hilary Cohen Edwards Ciaran Begley Charlotte Coleman Louise Fitzjohn Shahanara Begum Martin Colthorpe Marthe Fjellestad David Bell Becca Connock Alex Flinn Stephen Bell Jill Constantine Mark Foster Lizzie Benson Swithun Cooper Gillian Fox Rose Bernays Steven Cotton Dominique Francis Aysha Berry Rishi Coupland Sophie Frost Vaughan Bhagan Peter Cox Julie Game Natasha Bird Luigi Cozzolino Maria Garces De Los Alan Bishop Andrew Craig Rios Steve Bishop Froniga Creissen Christopher Gardner Anningwaa Boakye- Michael Critcher Jeanne Gargam Yiadom Dorottya Csurgai Nadia Gasper Hannah Booth Giulia Cubattoli Maria Georgoula Amy Botfield James Cunningham Duncan Gibb Peter Brown Kate Cunningham Alan Gibbons John Brown Lizzie Danford Connie Gittleson Antony Brown Christopher Daniels Anna Glover Jenny Brown Rachel Davies Sarita Godber Steve Bullas Susanna Davies-Crook Jack Goffe Helen Burgess Thomasin Davis David Goldsmith Jon Burns Trevor Davison Clive Gordon Leanne Burrill John Day Philip Goudal Rob Burrows Jane Deane Nicola Goudge Debbie Butler Melford Deane Katherine Gould Mark Butler Eleanor Demeger Nathan Graham Nicholas Buxton Holly Denton Amy Grant

37 Staff and board

John Gray Bobby Jewell Chris McCabe Harol Padilla Cleger Stacey Green Anna Johnson Mike McCart David Palmer Jessie Greengrass Ignatz Johnson Higham Sue McCarthy Kelly Palmer John Greenwood Ann Jones Daniel McCarthy Jennifer Panatti Pamela Griffin Shirley Jordorson Monika McConnell Paris Pancrace Alexander Guedeney Kavita Joshi Siobhan McCracken Christian Panouillot Catherine Guest Olivier Katz-Debarge David McDade Maria Papadimitriou Rachael Haines Penny Kearns Alicen McDonald Leanne Parker Matthew Hale Jude Kelly Erin McGann Bob Parks Linsey Hall Sabine Kindel Melissa McGrath Richard Parry Gary Halliday Mark King Paul McGuinness Domino Pateman Jamilah Hamilton-Yates Madeleine King Fiona McLees James Patterson Clementine Hampshire Mohamed Koroma Silvia Melchior Ruth Pelopida Rahila Haque Oliver Krug Filipa Mendes Jennifer Pengilly Isobel Harbison Jeffrey Kubiak Liz Menzies Magda Perez-Usle Maria Harcourt Victor Kyefulumya Isis Mera Nicolas Pergola Rachel Harris Amelia La Fuente Ron Middleton Simon Perkin Merlin Harrison Fiona Lambert Monica Millan Balducci Lemmy Peter Abdul Hasson Theo Lampert-Crook Nick Miller Alberto Pinton Kyle Hawkins Lori Lane Leon Miller-Spence Denise Pitter Christine Hayes Cliff Lauson Beverley Mills Albert Pizzaia Trudy Healey-Potter Stephen Leacock Rebecca Millward Jen Pollard Joseph Heaney Amber Lee Rizwan Mirza Jan Popkowski Jessica Hemming Mark Leman Graham Moir Mark Pountney Nicholas Herbert Federica Lippi Nicky Molloy Deborah Power Katie Hewitson Sean Little Gillian Moore Soraya Pravato Natalie Highwood Gaelle Lochner Deborah Moreton Ann Prestidge Rosie Higson Jon Loxton Lauren Morris Rebecca Preston Andrew Hladky Helen Luckett Jon Morrison Laura Quartarone Andrew Hogan Rosanna Luff Richard Morrow Neill Quinton Jamie Hogan Shân Maclennan Athena Morse Sarah Ragsdale Carl Holmes Lucy Macnab David Mortlock Andy Ransby Rachel Holmes Viomercy Mago Britannia Morton Barbara Rathbone Julia Homersham Sekai Makoni Tom Morton Andrew Reed Sewell Hong Roger Malbert Abdel Najid Nick Reeves Farrar Hornby Meka Malbert Jaime Naranjo Paulina Ricciardi Katie Horrocks Peter Mallon Nigel Needs Anne Rice Sadie Hough Catherine Mallyon Mary Newman Jade Richards Laura Hough Ying Man Caroline Newton Mary Richards Terry Hoverd Francesca Manfrin Rafal Niemojewski Antonia Richardson Sandra Howgate Asha Mangul Vanessa North Martin Riches Gareth Hughes David Manley Stuart North Becan Rickard- Elliott Simon Humphrey Moira Mannas Jon Norton Jane Riddell Brian Hunt Marshall Marcus James Oakley Scott Rimington Karina Hussain Lorraine Mariner Patricia O’Connor Kenelm Robert James Hutchinson Matthew Martin Pat O’Connor Tanya Roberts Casey Hutton Eva Martinez Lennie O’Dwyer T O Robertson Gwen Hylton Paul Martyn Pascal O’Loughlin Zoe Robinson Sarah Hynds Helen Matthews Dan O’Reilly India Roper-Evans Anne Hynes Alison Maun Sarah O’Reilly Stephanie Rosenthal Riverside Terrace Rachel Illingworth Glenn Max Paul O’Sullivan Natalie Rudd Cameron Irving Karen Maycock Onome Otite Ralph Rugoff Karlene Jackson Sue McAinsh Richard Owen David Rule Abokor Jama Nicholas McArthur Laura Pace Adrian Rutter

38 Staff and Board

Gareth Ryan Samantha Tilling Malcolm Rycraft Roberta Titley Choman Saeed Tommy To Geoffrey Salt Ronan Tuite Sarah Sawkins Jordan Tyler Jonathan Sawyer Ane Urkizu Kim Schofield Miriam Valencia Laura Scott Charu Vallabhbhai Jake Seaman Maria Vasiliou Joseph Semakula Edward Venning Gail Seres-Woolfson Shaney Vere-Dresser Nikki Shaill Katie Vickers Catherine Sharrock Selena Virrels Becky Shaw Charles Wade Hani Sheikh John Wallace Mick Shenton Thomas Wallace Natalie Shiner Kat Walsh Ben Shires Donna Walsh Eilidh Short Pete Warman Mischa Sidelnikov Barry Waterman Angelina Sim Konrad Watson Lorna-Rose Simpson Paul Watson Amy Simpson Claire Weaver Peter Simpson Sadah Webster Vicky Skelding Jacqueline Weir Helen Slater Hilton Wells Jonathan Smalldon Pat Weston Ed Smith Frances Wheare Rebecca Smith David Wheeler Adam Smith Liz White Ros Sorrentino Annie Wigman Ros Southwood Jennifer Williams Gareth Spencer Elinor Williams Ellen Stanford Christina Williams Emma Stell Mel Wilson Phil Stephan Shauna Wilson Richard Stokes Scott Wilson Kit Stratfull Simon Wingfield Lakwena Suit Imogen Winter Cindy Sullivan David Wood Luisa Summers Brett Woodall Isabella Sumner Jim Woodall Lakshmi Sundaram Suzanne Wooder Jamie Sutcliffe Tony Woolley Monika Swiechowicz Cathy Woolley Lindsay Taylor Thomas Wunsche Kate Taylor Andrew Wyard Henry Taylor Karen Wykurz Sheena Thanki Barbara Yates Jan Thomas Luis Zamarra Trish Thomas Bianca Zamfira Lee Thomson Aminah Zamora Peralta Miriam Thomson Adam Thow

39 Southank Centre manages the Royal Festival Hall, Page 19 Hayward Gallery, Queen Elizabeth Hall and Purcell Simon Armitage © Jonty Wilde Room, as well as the Saison Poetry Library, the Page 20 Arts Council Collection and Hayward Touring Exhi- Ornette Coleman © Getty Images/Mark Mawston bitions on behalf of Arts Council England. Page 21 Walking In My Mind © Tom Armitage Southbank Centre Page 22 Belvedere Road E4 Udderbelly © Ophelia Tudeaux London Pestival © Joseph Burns SE1 8XX Page 23 Jon Hopkins © Mark Mawston Telephone: 0844 847 9910 Page 24 www.southbankcentre.co.uk Marin Alsop © Grant Leighton Page 27 Registered charity No.298909 Bernstein Mass Creationn © Rachel Cherry For a version of this Annual Review in an alterna- Page 29 tive format telephone 0844 847 9910 Barenboim© AFP-Getty Images Page 30 IMAGE CREDITS Food Market © Sam Peach Page 31 Front Cover Food Market © Sam Peach Simón Bolívar Youth Orchestra Page 32–33 © Fotini Christofilopoulou Queen’s Walk © Roger Wooldridge Page 2 Page 34 Festival Riverside © Sam Peach London Design Festival © Rachael Talibert Page 3 Page 36 Rick Haythornthwaite © Kieron McCarron Future Jobs Fund © Kieron McCarron Page 4 Page 38–39 Alan Bishop © Kieron McCarron Festival Riverside © Sam Peach Page 5 Vladimir Jurowski © Karen Robinson Page 6 Jude Kelly © Kieron McCarron Page 7 Gustavo Dudamel © Fotini Christofilopoulou Page 8 b.supreme © Paul Hampartsoumian Page 11 Voicelab © Kieron McCarron The Rime of the Ancient Mariner © Keith Pattison Page 12 Imagine © Mercedes Baliarda Page 14 Walking in My Mind © Sam Peach Page 15 Ed Ruscha © Marcus Leith Page 16 The Bernstein Project © Rachel Cherry Page 17 Esa Pekka Salonen © Karen Robinson Page 18 Gauri Sharma Tripathi © Chris Nash

40