Written evidence submitted by The Old Vic Select Committee Call for Evidence on the Impact of Covid-19 on DCMS sectors 6 June 2020 1. Summary The COVID-19 pandemic likely presents the greatest threat to the future of The Old Vic since its opening in 1818 because, unlike comparable cultural organisations, we receive no ACE or government funding, instead generating 100% of our income from theatre and event tickets, donor support for artistic work and education workshops/activities, and trading (merchandise and catering): all sources of income that depend upon us being open to the public. We are currently existing by paying reduced operating expenditure through reserves. This cannot continue beyond the autumn if we wish to re-open the theatre and continue to produce work. 2. Introduction to The Old Vic The Old Vic is a 202-year-old Grade II* listed theatre, a cultural civic centre with an annual turnover of circa £15.5m (2019/20), employing up to 250 staff (82 permanent) situated in the borough of Lambeth and is additionally closely linked with the borough of Southwark due to geographical proximity and user demographic. Unlike other arts organisations, comparable in scale, artistic and societal contribution, The Old Vic operates independently and is not in receipt of any regular government subsidy. It has raised £31m over the past five years in funds to keep itself thriving. The Old Vic is known as a world leader in creativity and entertainment, and has operated in this vein much of its 202-year history. Today it is widely known as one of the UK’s leading theatres with global impact, reaching audiences in person and online of 500k+ every year, with over 60% of those engaging for the first time. The Old Vic is an iconic, national treasure, attracting 11% of bookers from overseas in 19/20 and operating as one of the UK’s cultural attractions. The Old Vic is a good bet for surprising, fun and intelligent entertainment which is accessible, vibrant and inspiring; as well as being renowned as a place that is committed deeply to its social mission as an arts educator and talent creator. Artistic Director Matthew Warchus’ aim is to make the popular artistic, and the artistic popular, sharing each Season an eclectic mix of new writing, musicals, dance, classic revivals with a twist alongside work by auteur directors, and productions for all the family to enjoy. In the last five years, our multi-award-winning theatre has produced 30 collector’s item productions of which 18 were world premieres and 17 transferred to the West End or Broadway, toured nationally or internationally, or were broadcast in cinemas, as well as dozens more Voices Off talks and debates, One Voice monologues, late night comedy or variety nights on its iconic stage. This extensive work adds to the long-term bank of national cultural assets which predispose people to listen to the UK on the world stage, boosting our soft power as a nation and supporting the vibrancy of the nation globally. Many engage with us online; The Old Vic has followers currently totalling 320k across all major social platforms and YouTube. Since our building closure, we have broadcast free-to-access our award-winning 2018 production A Monster Calls and a monologue series in celebration of the NHS, The Greatest Wealth, reaching a total of 7.7 million impressions on YouTube to date in over 44 countries, demonstrating our reach and brand appeal. Growth across all social channels during closed has increased by 6.7% with YouTube alone showing 40.9% growth in subscribers. But this does not tell the full story of The Old Vic. As a theatre operating independently as a registered charity, The Old Vic’s identity is built around its wider societal contribution. Our free-to- access inspiring programme of education, employment and social mobility projects engage with 10,000 people a year giving access to free theatre tickets, bespoke learning experiences, and partnering with over 100 schools across London each year to provide all our resources for free, including lesson plans linked to the National Curriculum based on the themes of each production. 100% of our teachers rated our projects excellent or very good. A new online Education Hub (detailed below) now makes all of those resources free to access for teachers and students all over the world and underlines the power and effectiveness of the UK’s education model globally. At the heart of our mission is making The Old Vic accessible. Each year we give away just under 10% of our tickets free or at discounted rates (this equates to a £1.23m public benefit) to groups (local and beyond) who would not otherwise be able to access theatre including Mousetrap, Gingerbread and the Black Ticket project. We do so through audience development initiatives such as the 1000-strong Access Membership offered for free to those patrons with specific requirements; our PwC £10 Previews scheme that makes 17,500 tickets available for £10 every year; and for the older generation, Matinee Idols (free tickets and workshops) opens up the theatre and invites participation as a way to combat isolation amongst older communities. And, once a year, through our annual production of A Christmas Carol, we carry out a bucket collection amongst our audiences for another charity. Over the past three years we have raised in excess of £334,000 between each of Field Lane, The Felix Project and Coram Beanstalk in the UK and $127,194 between the Broadway Cares, Equity Fights Aids Collection and Hearts of Gold charities. We do all this at no cost to the public purse. The Old Vic that began life as a music hall, a notorious drinking den, a temperance tavern and an opera house went on to become the home of great acting, dance, musical extravaganzas, vaudeville and spectacle. Many of our great actors have appeared here, including Laurence Olivier, Sybil Thorndike, John Gielgud and Ralph Richardson. Others, like Judi Dench, Michael Gambon and Maggie Smith first made their names here and more recently we have welcomed the next generation of talent such as Sheila Atim, John Boyega, Erin Doherty and George MacKay. Olivier led the first National Theatre Company at The Old Vic and independence, integrity and a fighting spirit have permeated throughout The Old Vic’s history as it has triumphed over adversity when faced with bankruptcy, fires and even bombing during the Second World War. The last two centuries have seen The Old Vic take on many identities but throughout this time one element has endured; an unwavering determination to remain a beacon of hope, entertainment, education, solace and inspiration with a social mission to be a force for good. Our survival is more than just about our own preservation as an institution, but also about rebuilding the country after the crisis abates. A legacy leaving important buildings empty or closed and the communities they serve ruptured offers a poor hope for the future. 3. Governance and Management The Old Vic is governed by a Board of 12 Trustees, chaired by Nick Clarry1. The collective expertise of the Trustees embraces business, finance, charitable governance, property and capital projects, theatre production and administration, theatre making, education and community, and marketing. The Chair of OVTT is Nick Clarry, a partner at the private equity firm CVC with previous experience at Goldman Sachs and Morgan Stanley. His work with Stage Entertainment and now Head of the Exhibitions Committee at the Serpentine Gallery and Governor, Director & Trustee of the Courtauld Institute of Arts further augment his credentials. The Chair of the Finance, Audit and Risk Committee of the Board is Sir Ian Powell, ex-PwC Senior Partner. Ian Powell was elected Chairman and Senior Partner of PwC in 2008 and re-elected for a second and final four year term in 2012. He is a Chartered Accountant. Ian joined PwC as an Economics graduate and became a Partner in 1991. His specialist area prior to joining the Executive Board of PwC in 2006 was advising on international restructurings. Ian holds a number of positions including memberships of the Board of London First. He established the PwC Foundation and is involved in numerous charitable activities. Ian is a member of the National Gallery's Development Committee, a trustee of Wellbeing of Women and Chairman of the Board of Trustees of Police Now. 1 Nick Clarry (Chair, OVTT); Sir Ian Powell CBE (Chair, FRC); Robert Bourne; Sally Greene OBE; Annie Pleshette-Murphy; Rebecca Lury; Sheila Atim MBE; Tina Alexandrou; Kevin McGrath OBE; Kate Horton; Alan Banes; Glenda Jackson OBE The management of the theatre is led by Artistic Director Matthew Warchus and Executive Director Kate Varah. Matthew is a leading UK theatre and film director and dramatist who has directed award-winning productions for many of the major British theatre companies, including The Old Vic, winning 7 Olivier awards, including Best Director and Best New Musical, and 4 Tony awards. Notable pre-Artistic Directorship productions include Art (West End, Broadway, Old Vic), God of Carnage (West End, Broadway), The Norman Conquests (OV, Broadway), and Matilda The Musical (RSC, West End, Broadway, US, Australia, New Zealand). His film Pride was selected to be screened as part of the Director’s Fortnight section of the 2014 Cannes Film Festival where it won the Queer Palm award in 2014. His artistic vision and defined sense of social mission for The Old Vic inspires everyone who works there. His tenure has recently been extended to 2023. Kate Varah, Executive Director since 2015 and Business Director and COO for seven years prior, works with Matthew to deliver this vision.