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Annual Report 2013–2014 Annual Theatre National Report

Annual Report 2013–2014 Annual Report For the 52 weeks ended 30 March 2014

2 Board and Advisers 4 Purpose, Vision and Objectives 6 John Makinson, Chairman 8 , Director 12 Nick Starr, Executive Director 15 The National Theatre tour 16 Plays and Artists 21 National Theatre Productions 25 Awards 26 National Theatre 50th Anniversary celebrations 30 Audiences 33 , Digital Innovation and Broadcast 37 Learning 40 Public Engagement 42 National Theatre Future 44 NT Studio 46 Leadership 48 Finance and Sustainability 55 Fundraising 56 Supporters 64 Performers 68 NT Associates, Committee Membership and Heads of Departments 69 Photo captions

In this document, The is referred to as If you would like to receive it in large print, “the NT”, “the National”, and “the National Theatre”. or you are visually impaired and would The full Financial Review and Financial Statements (and this like a member of staff to talk through the Annual Report) are available to download at www.nationaltheatre. org.uk/annualreport The Trustees’ Report comprises those items publication with you, please contact the on pages 2 – 5 and12 – 69 of the Annual Report and pages Board Secretary at the National Theatre. 1 – 20 of the Financial Statements.

National Theatre Annual Report 2013–2014 1 Board and Advisers

Board Members Executive Chairman John Makinson Director* Peter Bennett-Jones Nicholas Hytner Dame Ursula Brennan DCB Executive Director Dominic Casserley Nick Starr CBE Susan Chinn CBE Chief Operating Officer Lisa Burger Tim Clark Chief Executive Designate Tessa Ross Lloyd Dorfman CBE Director Designate Glenn Earle Aminatta Forna Farah Ramzan Golant CBE Ros Haigh Associate Directors Neil MacGregor Sebastian Born Kate Mosse OBE Howard Davies James Purnell Marianne Elliott Clive Sherling Rufus Norris Ben Power Bijan Sheibani ‘A swirling, postmodern Bankers maelstrom of Coutts & Co 440 Strand, a production, WC2R 0QS where modern dress and Auditors medieval PricewaterhouseCoopers LLP garb collide.’ 7 More London Riverside Andrzej Lukowski, Time Out London SE1 2RT

*The term “Director” is a traditional title used at the National. Neither the Director, the Associate Directors, nor other members of the Executive are directors under the Companies Act, 2006

2 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 3 Our Purpose extensive learning and public Our Objectives — Broadcast. The NT broadcasts The National Theatre is dedicated engagement programmes, touring — The Artistic Programme and a selection of its repertoire to to the constant revitalisation of the and broadcasting in the UK and Artistic Development. The NT cinemas in the UK and great traditions of the British stage internationally, and creating presents a balanced artistic internationally. innovative digital content. and to expanding the horizons of programme, staging around 20 — Leadership. As a national theatre, audiences and artists alike. In its Our Vision productions a year from the the NT takes responsibility for three theatres on the South Bank whole of world , with a fostering the health of the wider The National Theatre strives to in London, it presents an eclectic specific responsibility for the British theatre. be a national centre of theatrical mix of new plays and classics from creation of new work and arts, central to the creative life — Sustainability. The NT operates in the world repertoire with seven or representing the widest range of the country and unmatched a financially and environmentally eight productions in repertory at of voices. in the world for scale, range of responsible manner, whilst any one time. The National Theatre repertoire and audience reach. It — Audiences. The NT is tireless in striving to increase self-generated aspires to reflect in its repertoire aspires to produce to the highest trying to reach more people, income. the of the nation’s culture. standards by attracting the best broaden our audiences and give — Innovation. The NT actively With a commitment to openness, artists and staff and by providing them an unparalleled experience. considers the way in which it wide-reaching engagement and an environment which stimulates — Learning & Engagement. The operates, and strives to access for everyone, the National them to realise the fullest extent NT aims to be an inspirational, innovate in all areas of its activity. shares its resources, energy and of their talents. Education and internationally recognised creativity with audiences and public engagement are founding resource for lifelong learning theatre-makers around the globe; principles for the NT and are about and through theatre. using its Studio for research and central to our vision of the future. development of new work, offering

4 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 5 John Makinson ‘As irresistible Jesus music Chairman seems to be flying sky high, carrying us with it, a jazz riff in the background calls out for not following the flock but going your own way.’ The National Theatre’s Board The achievements of the year are documented October of this year and Nicholas Hytner in detail later in this report. In a nutshell, we will follow next March at the end of his final Susannah Clapp, had three challenging priorities presented more theatre to more people in more season. Anyone who cares about theatre, in during the 12 months covered places and formats than ever before. But it was a the UK and indeed elsewhere, owes the two of by this review. The first was birthday year to remember in so many other ways. them an enormous debt of gratitude. We wish One million people watched BBC Television’s them every success in their future enterprises. to ensure that the NT’s 50th transmission of Live from the National Planning the succession to the two of them was Theatre: 50 years on stage, an extraordinary birthday was celebrated with a of course the most challenging of the Board’s celebration of the NT’s first half-century creative and commercial flourish; three assignments. We were delighted, however, orchestrated and directed by Nicholas Hytner. the second was to guide NT that we were able to persuade Rufus Norris, a Throughout the year visitors to the NT will director whose ground-breaking work at the Future, our £80m redevelopment have seen (and occasionally heard) the physical NT and elsewhere needs little introduction programme, towards a successful evidence of our ambitious NT Future project. to regular theatre-goers, to become the next conclusion; and the third We have kept the Olivier and Lyttelton theatres Director of the National Theatre. Soon after, running at full throttle – and close to full we announced with some fanfare that Rufus was to provide a smooth and capacity – over this period of construction, while would be joined at the helm of the NT by Tessa compelling transition from the The Shed has offered new and often younger Ross, the current of Film4, and one of the most successful executive team audiences a breathtaking mix of contemporary most respected and admired film and television theatre during the period of the Cottesloe’s executives in the world. In recognition of the in the theatre’s history to a new closure. By the time this annual report is scale and reach that the NT has grown to leadership possessing the skills published, the temporary construction walls over the last decade, the Board has decided to will be coming down and visitors will have embrace a joint leadership model. Tessa joins and experience to build on the the opportunity to experience a dramatically the NT in November, formally becoming Chief achievements of the past decade, enlarged and enhanced National Theatre. New Executive when she and Rufus pick up the as well as the confidence and restaurants and bars are preparing to receive reins next April. Both are already fully engaged customers, the Clore Learning Centre and Max in planning the future of the NT, working in vision to steer the NT in fresh Rayne Centre are approaching completion, and close partnership with the extraordinary Lisa and exciting new directions. the Cottesloe theatre will reopen as the Dorfman Burger, who has been promoted to the role of in September. There is more work to be done over Executive Director. These are early days but the the next 12 months but the project is on track for Board’s view is that the future leadership of the a successful completion, and all but £3m of the National Theatre could not be in stronger hands. £80m fund-raising target has been committed. I am also delighted to report that Kate Mosse, It is appropriate that I wind up this statement who has served as an NT Board member for three by paying tribute to Nicholas Hytner and Nick and a half years, has agreed to accept the role of Starr, respectively the Director and Executive Deputy Chair of the National Theatre. The NT Director of the National Theatre, because none has grown enormously in scale and complexity of the achievements that I have listed earlier over recent years and Kate’s appointment will in this narrative would have been possible help to ensure that, as a Board, we are keeping without their creativity, drive, intelligence and pace with that growth and development. determination. They have led the NT for over I know that I also speak for the executive teams a decade and in that time the NT’s creative of the NT present and future in paying tribute reputation, commercial income, international to all the exceptional people who work and reach, and commercial production capacity, perform at the National Theatre, and who help to on screens as well as on stages, have grown in make it the unique place that it undoubtedly is. ways that no-one could have dared to predict when they set out. Nick Starr will leave us in

6 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 7 Nicholas Hytner Director

The NT celebrated its 50th The Theatre was awash with that sentiment these great to great texts has been matched stages and in the auditoriums of the National a couple of weeks later when we staged our only by the daring of their imaginations. Theatre will continue to change, and continue to birthday on 22 October 2013. anniversary celebration, National Theatre: 50 respond to the society of which we are a part. The National’s commitment to the great plays of years on stage. In an extraordinary evening that On the day itself HM The Queen the past goes hand-in-hand with a determination For the last 11 years I have been galvanised by covered 36 old shows that still worked, there visited us, watched a rehearsal to seek out the best of the new. We are young every part of the National’s mission. I have been were appearances from 100 actors from each enough to be working still with playwrights bowled over by the quality of our actors and the of Emil and the Detectives, decade of our existence, including , who worked for Olivier. In January 2015 Tom daring of our writers and directors. I have been , , spent some time in the Props Stoppard will give us his new play The Hard moved as much by our forays outside the great , , Christopher department and finally saw a Problem, 48 years after premiere of literary tradition as by plays like ’ Eccleston, , , Rosencrantz and Guildenstern Are Dead. It will Harper Regan and Lucinda Coxon’s Happy Now? performance of ‘Sit Down You’re , , , play in repertoire in the Dorfman Theatre with which use traditional forms to explore apparently , , Helen Rocking the Boat’ from Guys Sam Holcroft’sRules for Living, and there is every ordinary lives. Recent plays by James Graham Mirren, , , Maggie . On the way back to reason to believe that she will be around for the and John Hodge (This House and Collaborators) and Dolls Smith and . The cast in the National’s 100th birthday with her newest play. have explored the corridors of power; while her car, she said “They still work, auditorium was as dazzling as the company on Lucy Prebble and Tena Štivičić (The Effect, 3 stage, embracing many of the most distinguished But it was also striking how much has changed. those old shows, don’t they?” Winters) have explored issues as diverse as the writers, actors, directors, designers and musicians Almost all of the new plays that made the cut pharmaceutical industry and Balkan history. who have been part of the National, as well as on 2 November were by men. The fact that our nearly 80 recipients of our 25-year service medal. selection of highlights barely differed from the I have been gripped by plays in the intimate many wish-lists published in advance by the surroundings of our amazing red temporary The evening was a vivid demonstration of what handful of critics who’ve been around for as space in Theatre Square, and elevated by great has remained constant over 50 years, and of long as we have makes this no less noticeable a communal events in the Olivier. I’ve been thrilled what has changed profoundly. We started with reflection on the way things have – mercifully to our work play to packed houses all over the first three minutes ofHamlet – the play – changed. Over the last ten years the number the country (a record 392,000 people saw our with which opened his first of women writing plays for the National has shows on tour in the UK in the past 12 months), National Theatre season at the Old Vic, and gradually risen, and both this year and last and was particularly proud this year to speak which has been staged anew under all four of year there have been more new plays at the to my crowd at The Lowry Theatre in his successors. Derek Jacobi, who played Laertes National by women than by men (19 out of Salford, and to discover how many Mancunians in 1963, appeared 50 years later as the Ghost 32), so it is a belated relief to know that the appreciate our twice-yearly visits there. NT of ’s father. At the end of the evening, dominance of male playwrights is over. Live now brings our work to all corners of the Adrian Lester and Rory Kinnear recreated the country, and indeed of the globe. I spoke at climactic temptation scene of their 2013 , Just as striking has been the emergence on our the Galway Festival recently to an audience and gave way briefly to a recording of Laurence stages of artists and voices who reflect the full that was almost as familiar with what we do on Olivier and playing the same scene diversity of the nation and in particular of the South Bank as the London audience is. in 1964. The reinvigoration of the great classical London. 2013-15 have included new plays like texts has been the National’s bedrock, and over The World of Extreme Happiness, nut, Yellow Face, By the time I relinquish the directorship of the 50 years our acting company has included the Here Lies Love, Behind the Beautiful Forevers, National in March 2015, the transformational most distinctive talents of our age. Joan Plowright Dara and revivals like The Amen Corner and work of NT Future will be almost complete. returned to the Old Vic to film part of Shaw’s Moon on a Rainbow Shawl which have focused There will never be enough time or space , which she played there in 1963. One on (and in many cases have emerged from) to pay tribute to the hundreds of colleagues of the finest productions of my directorship communities that were under-represented on with whose achievements I have all too often was Marianne Elliott’s Saint Joan, with a central our stages 50 years ago and in some cases were been credited; but I cannot sign off without performance by Anne-Marie Duff in 2007, barely represented in the city. The National saying unequivocally that Nick Starr and which can stand proudly now beside Dame will always be running to keep up with the Lisa Burger have been the two main reasons Joan’s. Lester, Harewood, Scofield and Olivier ever-evolving, ever-changing fabric of the why I am, for the eleventh consecutive year, have played Othello; Kinnear, Russell Beale, interlocking communities that make up our able to produce a report that is testament Charleson, Day Lewis, Finney and O’Toole have potential audience. I don’t think we’ve gone to the National’s continuing rude health. played Hamlet; Mirren and Dench have played far enough, but I’m confident that under my Cleopatra; Wanamaker, Wilton and Smith have successor Rufus Norris the experience on the played Beatrice. The meticulous attention of

8 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 9 10 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 11 Nick Starr Executive Director

For the last five years, we have (and capturing its first New York production in coming close to breakdown in a number of been listing in these annual July 2014) – it has become one element in the backstage areas. One of the private joys of the In 2013-14, the following specific objectives mix of what the NT does as part of fulfilling its scheme is its great investment in the working were set with the aim of advancing the NT’s reports as one of our main mission which also contributes to our income conditions and facilities for people to practise constant organisational objectives (page 4); objectives the endeavour to reach (which reached £100m last year, 65% earned at a their craft, which range from the traditional these are reviewed in the appropriate sections, box office). We have long felt that the value of our theatre-making staples of paint, carpentry, as indicated, throughout this Annual Report: ever more people. This is more work oughtn’t to be equated in some simplistic prop-making, costumes and wigs through than fine words; the spur to find way with whether it’s ‘commercial’ or subsidised, to cutting-edge techniques in digital design, — Continued fundraising for the increased scope of NT Future and completion ways of enacting the ‘national’ as if there is some inherent virtue – or defect lighting, sound, automation and projection. For – in either. It has been our great good fortune the first time these crafts-people will be together, of the building works (page 42) part of our name by being as that, at the same time as our public subsidy and for the first time too, the NT will give — A renewed focus on training and ubiquitous as possible is fully felt. began to be reduced (by 2017-18 it will have proper facilities and space for designers and other development with the introduction of And in this past year – thanks declined 37% in real terms over the seven-year theatre-makers. Alongside the apprenticeships, further apprenticeships; and the re- period since 2010-11), the opportunities have bursaries and training schemes we run, launch of Step Change to create a national to the burgeoning innovation of presented themselves to earn from this greater some in concert with the RNT Foundation, programme of early to mid-career professional National Theatre Live and the reach. At the beginning of this current régime, this is another way of being ‘national’. development with regional partners we benefited from an uplift in grant from the (page 47) great growth in our touring in the Arts Council to respond to what we wanted to — Development of a new business model to UK, international productions do, and to back the kind of new work we wanted address the challenge of continued to develop through the NT Studio, which was and continued popularity in reduction in government funding and refurbished in 2006-7 to be able to host more increased emphasis on fundraising the West End – the number of workshops. It’s only fitting that, 12 years on, In 2014-15 we have set the (page 48) people who paid to see the NT’s it’s the successful exploitation of this strand of following specific objectives: shows around the world reached work which is balancing our yearly budgets. Our — The opening of the Dorfman Theatre; — The launch of the UK tour and German temporary theatre, The Shed, was built on the production of War Horse in autumn 2013, a high-water mark of 4.3million. Clore Learning Centre; Max Rayne Centre; profit made byWar Horse in New York. The case Sherling High-Level Walkway; Sackler and planning for involvement in Our total audiences in the UK last year were for funding emergent and experimental work Pavilion; new restaurant, café, bookshop the centenary of World War 2.8million people. About half of that number isn’t just a nostrum of the British subsidised arts: and bar; re-landscaped terraces; and One from 2014 (pp 18 & 38) it’s a clearly effective way of creating the vibrancy were outside London. For a few months this refurbished workshops, offices and — Continued innovation, particularly in that is fuelling the current theatre boom2 . year, we shall have three large-scale shows on the resource areas: all part of the NT Digital and Learning, while the NT is in road simultaneously; between September 2013 If there is a life-cycle to creation and production Future scheme transition to a new Director taking over and November 2015, with 80 visits to towns in the theatre, the same is true but on a longer — The continuation of NT Future building from Nicholas Hytner in April and cities across the UK, something like 1.3m time-scale for the architecture of the NT. We works, with possible completion within 2015 (pp 33 – 35 & pp 37 – 39) people will see a high-quality production that started addressing ourselves to the need for a the financial year, and further fundraising originated at the NT on the South Bank. At the masterplan for the building and its infrastructure for the final £3m towards our £80m target same time as this big surge in touring, we have as long ago as 2006 which, crystallised as the been developing the UK coverage of NT Live NT Future scheme, reaches fruition under — The launch of the UK tour of cinemas. It is a remarkable growth – from 70 at the direction of its co-creator Lisa Burger The Curious Incident of the Dog in the the outset five years ago, to 550 now. We have over the next six months with the opening Night-Time, further growing the NT’s long suspected that NT Live doesn’t satisfy but of the Dorfman Theatre, the Clore Learning audience in theatres outside London rather stimulates the appetite for theatre-going, Centre, the Max Rayne Production Centre — Widening the scope and reach of and a ‘big data’ study by Nesta confirms that and a transformation of the river frontage and NT Live to include more productions view1. We’ve put this to the test ourselves by public facilities. Eight years to conceive, design, beyond the South Bank broadcasting War Horse and Curious Incident re-design, fundraise and build a scheme – all into cinemas while they played in West End while the organisation is fully active – is probably — The launch of the Chinese production of theatres and, in the former case, on tour too. about the right amount of time, and says a lot War Horse in partnership with the National Theatre of ; Now that NT Live has become profitable – for the staying-power of chairmen and trustees production of Curious Incident; and the having widened its scope beyond the South Bank past and present. Without NT Future we were co-production with the National Theatre of Scotland and International 1nesta.org.uk/publications/estimating-impact- 2 London Theatre Report, commissioned by the Festival of ’s . live-simulcast-theatre-attendance-application- Society of London Theatre and the National Theatre, The James Plays london%E2%80%99s-national 2014: solt.co.uk/downloads/pdfs/pressroom/ London%20Theatre%20Report%202014.pdf 2013-14 Objectives

12 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 13 The National Theatre on tour

Between September 2013 and November 2015, audiences in these towns and cities can see an NT production (in the UK, sometimes more than one) on stage in their local theatre:

Aberdeen Ca p e To wn Jacksonville Tampa Albuquerque Cardiff Johannesburg Nottingham Toledo Amsterdam Charlotte Kansas City Norwich To k y o Appleton Cincinatti Las Vegas Omaha Tr uro Austin Cleveland Leeds Orlando Vancouver Aylesbury Columbus Ottawa West Palm Beach Baltimore Crawley Liverpool Wimbledon Bath Dartford Los Angeles Plymouth Winnipeg Beijing Dayton Louisville Providence Woking Belfast Detroit Madison Richmond, VA Wolverhampton Berlin Dublin Melbourne Rochester York Birmingham Eastbourne Memphis Salford Birmingham, AL Edinburgh Miami Salt Lake City 33 Blackpool Fayetteville Milton Keynes Schenectady productions in repertoire on the Bradford Fort Lauderdale Milwaukee Shanghai South Bank Brighton Minneapolis Bristol Greenville Myers Sioux Falls 3,149 Bromley Hartford Nashville Southampton performances in the UK and Brisbane Hersey New Orleans Stoke-on-Trent internationally Buffalo High Wycombe Newcastle- Sunderland Calgary Houston upon-Tyne 65% Canterbury Hull Ne w York Syracuse of income from box office receipts

14 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 15 Plays and Artists

The Repertoire

The NT’s repertoire in 2013-14 in Georg Kaiser’s From Morning to Midnight, in Fall, giving voice to young residents of an inner a new version by Dennis Kelly. Daniel Kitson city hostel, was a critically acclaimed sell-out. was true to its constant aim of returned to the National with his new solo An examination of contemporary China, The drawing from the whole of show, Analog.Ue; and Lesley Sharp led a revival World of Extreme Happiness by Frances Ya-Chu world drama, with a specific of Shelagh Delaney’s defining play of the 1950s, Cowhig, received its UK premiere directed by A Taste of Honey, directed by Bijan Sheibani. Michael Longhurst; and responsibility for the creation made her NT debut directing her new play nut. The Light Princess, a new musical with music of new work and representing and lyrics by , and book and lyrics by For young audiences, an adaptation of Ross the widest range of voices. , premiered in the Lyttelton Collins’ The Elephantom directed by Finn under the direction of Marianne Elliott, and Caldwell and Toby Olié, saw The Shed invaded earned an Evening Standard Award by a group of giant pachyderm puppets for The eleventh Travelex £12 Tickets season offered for Best Musical Performance for her astonishing daytime performances over Christmas; while four fascinating rediscoveries. In the Lyttelton, floating heroine. The latest in the National’s in the evenings, Protest Song by Tim Price, director Howard Davies continued his fruitful tradition of shows for family audiences, Carl exploring the reality of the Occupy movement, exploration of 19th and 20th-century Russian Miller’s new adaptation of Erich Kästner’s classic gave a powerful solo vehicle. drama with Maxim Gorky’s Children of the tale Emil and the Detectives, filled the Olivier stage Blurred Lines, created by and Sun, in a new version by Andrew Upton; and with three teams of local children – 180 in all. Nick Payne, featured an all-female cast in a former NT Director returned to journey through the minefield of contemporary If the National Theatre’s repertoire over the direct Pirandello’s rarely performed and atypical gender politics. Olwen Fouéré performed her year embraced an even more diverse selection of Liolà, in a new version by Tanya Ronder. In the own adaptation of the voice of the river in James new work than hitherto, it was largely thanks to Olivier, Rufus Norris directed James Baldwin’s Joyce’s ‘Finnegan’s Wake’, riverrun, presented the addition of The Shed: the temporary space The Amen Corner, with Marianne-Jean Baptiste by TheEmergencyRoom and Galway Arts providing a third stage following the Cottesloe’s making a long-awaited return to in Festival; and ’s one-woman play closure for its NT Future redevelopment. a production suffused with gospel music and embodying an east London teenager, Chewing Celebrating original, ambitious and unexpected jazz; and John Heffernan played the title role Gum Dreams, was directed by Nadia Fall, theatre, it presented work by theatre-makers in ’s Edward II, given whose revival of Home ended The Shed’s first familiar to the NT as well as emerging voices. a contemporary take by Joe Hill-Gibbins year. Such was the temporary theatre’s success in his first production for the National. The opening production wasTable , a new that planning permission has been granted play by Tanya Ronder tracing six generations Nicholas Hytner’s revelatory production of to extend its life until March 2017 (it will be and a piece of furniture across two continents, relaunched in 2015 – the trademarked title ‘The Shakespeare’s Othello in the Olivier saw Adrian directed by Rufus Norris. It was followed by Lester (in the title role) and Rory Kinnear Shed’ having only been licensed for one year). three visitors: Rob Drummond’s solo show () recognised with a joint Evening Standard from the Arches, Glasgow; Award for Best Actor. Another long-anticipated Bullet Catch Mission , created by American experimental collaboration, Simon Russell Beale and director Drift company the TEAM; and The Grandfathers ’ interpretation of , also by Rory Mullarkey, originally commissioned played to packed houses. On a different scale, for Connections and performed by Bristol Old Ben Power adapted Romeo and for young 10 Vic Young Company. , created by audiences in a production by Bijan Sheibani The Hush new plays Matthew Herbert with Ben Power, was followed which toured London schools, visited Derry- by the Paines Plough production of by Londonderry for the UK City of Culture Sea Wall Simon Stephens, with Andrew Scott recreating 2013 celebrations, and played in The Shed. ‘Not all mistakes his devastating solo performance. A Limited Anne-Marie Duff led the cast of Eugene O’Neill’s Editions festival featured short runs of work can be fully epic masterpiece Strange Interlude, with director by Still House, Little Bulb Theatre, Myrtle 653 rectified, all making his NT debut in the Theatre Company, Sleepdogs and The Wardrobe actors and musicians employed Lyttelton; and directed Ensemble. Home, created and directed by Nadia by the NT in London damage repaired and all love restored – at least, not here and now.’ Simon Russell Beale, Daily Telegraph

16 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 17 Plays and Artists continued

UK Touring Following its world premiere at the Lyttelton, ’s new play People, directed by Nicholas Hytner, set off on a 10-week tour with a cast led by Siân Phillips, Brigit Forsyth and Selina Cadell. It played to 65,500 people in Birmingham, Leicester, Norwich, Salford, Canterbury, Milton Keynes, Leeds and Plymouth.

War Horse embarked on a year-long, ten-venue tour of the UK and Dublin in September 2013, visiting Plymouth, Birmingham, Salford, Edinburgh, Southampton and Dublin, creating box office stampedes and sell-out audiences of 327,000. The tour continues to Sunderland, Bradford, Cardiff, Stoke-on-Trent, Bristol and a return visit to Salford in 2014-15. National touring will continue to expand next year, with One Man, Two Guvnors beginning a third UK tour to 37 cities in May 2014, and The Curious Incident of the Dog in the Night-Time opening a 31-city UK tour in Salford in December 2014.

West End and international transfers War Horse entered its seventh year in London and is booking until February 2015. The North American touring production, in its second year, visited 37 cities over 43 weeks. The Australian production concluded with visits to Sydney and Brisbane; the German-language production opened in Berlin in October 2013; a Dutch- language production opens in Amsterdam in June 2014, followed by a tour of the ; and a Chinese-language production will open One Man, Two Guvnors completed its West End Curious Incident of the Dog in the Night-Time the Theatre Royal, Stratford East and the London in autumn 2015 in Beijing, followed by touring run on 1 March 2014, having played almost on 19 December 2013, the production resumes Borough of Newham. Similar performances in China, as part of the NT’s new partnership 900 London performances and becoming the its West End run at the from were also given – for South London community with the National Theatre of China (see page longest-running show at the Theatre Royal, 24 June 2014. Winner of seven 2013 Olivier groups, along with representatives of local 36 46). War Horse will also visit South Africa, the Haymarket in almost 200 years. The 20-week Awards, Curious had played to 100% capacity employers and businesses, the emergency services weeks of UK touring home of Handspring Puppet Company, visiting international tour ended in Melbourne in at the Apollo since opening in March 2013; and audiences who had been at the Apollo on Johannesburg and Cape Town in autumn/ May 2013; and a third UK and Ireland tour the closure of the gallery to enable the theatre’s 19 December – at Rambert Dance Studios winter 2014-15. The production continues begins in May 2014. The production has been restoration meant that the show was no longer (the NT’s new neighbour on the South Bank). to travel with a strong ethos and emphasis seen by over one million people worldwide. economically viable there. In February, during Curious Incident will open at the Barrymore on learning and participation; the centenary the lay-off of the production, the NT took Theatre on Broadway in October 2014, 72 Alan Bennett’s Untold Stories completed its commemorations of World War One will the opportunity to offer free performances of produced from the National’s New York office. weeks of international touring scheduled 12-week run at the Duchess offer numerous opportunities for involvement, Curious Incident in a rehearsal-room format, with Theatre in June 2013. including a ‘War Horse Prom’ exploring the music minimal settings and lighting, for students from and stories of the Great War during the 2014 Following the partial ceiling collapse of the fourteen secondary schools in east London: at BBC Proms season at the Royal Albert Hall. during a performance ofThe The Old Town Hall, Stratford, in association with

18 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 19 ‘A Taste of Honey is one of those faintly National Theatre Productions occult works of British literature: one 2013–14 that has meaning for people who have never seen it. It’s a play that brought a new sensibility to the theatre.’ Matthew Sweet, Daily Telegraph TABLE STRANGE INTERLUDE THE HUSH A new play by Tanya Ronder Eugene O’Neill Created by Matthew Herbert with Ben Power Director Rufus Norris Director Simon Godwin Devised by the Company Designer Katrina Lindsay Designer Soutra Gilmour Director Matthew Herbert Lighting Designer Lighting Designer Guy Hoare Designer Sarah Hopper Movement Director Javier de Frutos Music Michael Bruce Lighting Designer Paul Knott Music David Shrubsole Movement Director Jonathan Goddard Sound Designer Matthew Herbert Sound Designer Rich Walsh Sound Designer Christopher Shutt Associate Sound Designer Mike Winship Company Voice Work Jeannette Nelson Company Voice Work Jeannette Nelson Company Voice Work Richard Ryder Dialect Coach Richard Ryder Dialect Coach Judith Windsor Staff Director Kate Sagovsky The Shed 12 April 2013 Staff Director Caitlin McLeod The Shed 22 July Supported by The Shed Partner Lyttelton 4 June Supported by The Shed Partner Neptune Investment Management Neptune Investment Management

MISSION DRIFT CHILDREN OF Created by the TEAM Maxim Gorky, in a new version In collaboration with Heather by Andrew Upton Christian and Sarah Gancher In a version for young audiences by Ben Power Director Howard Davies Music composed by Heather Christian Director Bijan Sheibani Designer Lyrics by Heather Christian and the TEAM Designer Becs Andrews Lighting Designer Neil Austin Director Lighting Designer Paul Knott Music Set Designer Nick Vaughan Music Soumik Datta Sound Designer Paul Groothuis Costume Designer Brenda Abbandandolo Choreographer Aline David Company Voice Work Kate Godfrey Lighting Designer Jack Heinrich Sound Designer Mike Winship Staff Director James Blakey Sound Designer Matt Hubbs Company Voice Work Richard Ryder Lyttelton 16 April The Shed 5 June Staff Director Cheryl Gallagher Sponsored by Travelex Supported by The Shed Partner The Shed 24 July Neptune Investment Management Supported by The Shed Partner OTHELLO Neptune Investment Management William Shakespeare THE AMEN CORNER James Baldwin Director Nicholas Hytner Paines Plough presents Director Rufus Norris Designer Vicki Mortimer SEA WALL Set Designer Ian MacNeil Simon Stephens Lighting Designer Jon Clark Costume Designer Joan Wadge George Perrin Music Nick Powell Director Lighting Designer Paul Anderson The Shed 25 July Fight Director Kate Waters Music Supervisor & Vocal Arranger Supported by The Shed Partner Neptune Investment Management Sound Designer Gareth Fry The Reverend Bazil Meade Jeannette Nelson Company Voice Work Music Director & Composer Tim Sutton LIOLÀ Staff Director Natasha Nixon Additional Music Byron Wallen & Joseph Roberts Luigi Pirandello Olivier 23 April Movement Coral Messam In a new version by Tanya Ronder Sound Designer Simon Baker Director Richard Eyre An Arches, Glasgow production Company Voice Work Kate Godfrey Designer BULLET CATCH Dialect Coach Jeannette Nelson Lighting Designer Neil Austin Writer, Director, Performer Rob Drummond Staff Director Kimberley Sykes Music Orlando Gough Co-Director David Overend Olivier 11 June Choreographer Scarlett Mackmin Stage Designer Francis Gallop Sponsored by Travelex Sound Designer Rich Walsh Lighting Designer Simon Hayes Fight Director Kate Waters Sound Designer Ross Ramsay Company Voice Work Kate Godfrey The Shed 21 May Supported by The Shed Partner Staff Director Rebecca Frecknall Neptune Investment Management Lyttelton 7 August Sponsored by Travelex

20 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 21 National Theatre Productions 2013–14 continued

HOME THE WORLD OF EXTREME HAPPINESS nut THE ELEPHANTOM KING LEAR National Theatre Touring Created by Nadia Fall Frances Ya-Chu Cowhig A new play by debbie tucker green Ross Collins, adapted by Ben Power William Shakespeare Productions Director Nadia Fall Director Michael Longhurst Director debbie tucker green Directors Finn Caldwell and Toby Olié Director Sam Mendes Designer Ruth Sutcliffe Designer Chloe Lamford Designer Lisa Marie Hall Designer Samuel Wyer Designer Anthony Ward PEOPLE Lighting Designer Ciaran Bagnall Lighting Designer Philip Gladwell Lighting Designer Tim Mitchell Puppet Designer Toby Olié Lighting Designer UK tour, 3 September – 16 November 2013 Movement Director Jack Murphy Movement Anna Movement Polly Bennett Lighting Designer Matt Daw Music Paddy Cunneen Birmingham Rep Theatre Music Tom Green and Shakka Music & Sound Designers Max and Ben Ringham Music Matthew Scott Music Adam Pleeth Projection Designer The Curve, Leicester Music Director Gareth Valentine Fight Director Bret Yount Sound Designer Emma Laxton Sound Designer Alma Kelliher Fight Director Terry King Theatre Royal, Norwich Fight Director Kate Waters Company Voice Work Kate Godfrey Company Voice Work Jeannette Nelson Consultant Director Marianne Elliott Sound Designer The Lowry, Salford Sound Designer Mike Walker Staff Director Teunkie van der Sluijs Staff Director Ng Choon Ping The Shed 13 December Company Voice Work Jeannette Nelson Marlowe Theatre, Canterbury The Shed 30 September The Shed 5 November Supported by The Shed Partner Company Voice Work Richard Ryder Neptune Investment Management Staff Director Tim Hoare Milton Keynes Theatre Supported by The Shed Partner Supported by The Shed Partner Olivier 23 January Staff Director/Assistant Dramaturg Rob Drummer Neptune Investment Management Neptune Investment Management Grand Theatre, Leeds Sponsored by Julius Baer The Shed 9 August, revived 26 March 2014 PROTEST SONG Theatre Royal, Plymouth Supported by The Shed Partner THE LIGHT PRINCESS EMIL AND THE DETECTIVES A new play by Tim Price Neptune Investment Management A TASTE OF HONEY A new musical Erich Kästner, adapted by Carl Miller Director Polly Findlay WAR HORSE Music & lyrics by Tori Amos Shelagh Delaney EDWARD II Bijan Sheibani Merle Hensel UK & Dublin tour, 27 September Book & lyrics by Samuel Adamson Director Designer Christopher Marlowe Director Bijan Sheibani Suggested by a story by George MacDonald Designer Bunny Christie Lighting Designer Lee Curran 2013 – 30 March 2014 Joe Hill-Gibbins Designer Hildegard Bechtler Director Marianne Elliott Lighting Designer Lucy Carter Movement Director Jack Murphy Theatre Royal, Plymouth Director Paul Anderson Set Designer Lizzie Clachan Lighting Designer Birmingham Hippodrome Designer Rae Smith Movement Director Aline David Sound Designer Carolyn Downing Alex Lowde Music Paul Englishby Costume Designer Paule Constable Projection Design Voice & Dialect Coach Richard Ryder The Lowry, Salford Lighting Designer Aline David Lighting Designer James Farncombe Movement Director Festival Theatre, Edinburgh Choreographer Steven Hoggett Music Paul Englishby Staff Director Sean Linnen Chris Kondek Sound Designer Ian Dickinson Video & Projection Designer Martin Lowe Fight Director Bret Yount The Shed 19 December Mayflower Theatre, Southampton Music Supervisor Kate Godfrey Music Gary Yershon Supported by The Shed Partner Company Voice Work Bord Gáis Energy Theatre, Dublin Orchestrations John Philip Shenale Sound Designer Ian Dickinson Neptune Investment Management Imogen Knight Dialect Coach Richard Ryder Movement Director Associate Sound Designer Peter Rice (UK tour continues in 2014-15) Vocal Arrangements & Additional Ola Ince Sound Designer Paul Arditti Staff Director North American tour, 7 April Orchestrations Tori Amos & Martin Lowe Company Voice Work BLURRED LINES Lyttelton 18 February 2013 – 30 March 2014 Music Associate Sam Cable Animations Matthew Robins Kate Godfrey & Richard Ryder Created by Nick Payne & Carrie Cracknell Devised by the Company, Cincinatti, Cleveland, Columbus, Tampa, Ft. Dramaturg Zoë Svendsen Projection Designer Ian William Galloway Staff Directors Jesse Jones & Emily Kempson with poetry by Michaela Coel ANALOG.UE Lauderdale, Fayetteville, Charlotte, Providence, Company Voice Work Jeannette Nelson Olivier 4 December Puppetry Director Finn Caldwell Text Nick Payne Written and performed by Daniel Kitson Minneapolis, Appleton, Sioux Falls, Calgary, Staff Director Jeff James Puppetry Designer Toby Olié Director Carrie Cracknell Lyttelton 25 February Vancouver, Las Vegas, Los Angeles, Greenville, Olivier Theatre 4 September FROM MORNING TO MIDNIGHT Aerial Effects Designer Paul Rubin Designer Bunny Christie Dayton, Richmond, Rochester, Buffalo, Louisville, Sponsored by Travelex Georg Kaiser, in a new version by Dennis Kelly Syracuse, Toledo, Hersey, Detroit, Milwaukee, Sound Designer Simon Baker Lighting Designer Lucy Carter TheEmergencyRoom & Galway Arts Festival Director Melly Still Schenectady, Ottawa, Hartford, Baltimore, West LIMITED EDITIONS Associate Set Designer Paul Atkinson Music Stuart Earl RIVERRUN Palm Beach, Jacksonville, Orlando, Miami, Myers, Designer Soutra Gilmour The voice of the river in THE BULLET AND THE BASS Neil Bettles Associate Choreographer Movement Ann Yee ’s Finnegans Wake Birmingham, Memphis (tour continues in 2014-15) TROMBONE created by Sleepdogs Lighting Designer Bruno Poet Assistant Music Director Tom Brady Sound Designer David McSeveney Adapted and performed by Olwen Fouéré Australia, 1 April – 30 June 2013 SQUALLY SHOWERS created & Video & Projection Designer Andrzej Goulding Staff Director Paul Foster Dramaturg Jenny Worton Director Olwen Fouéré with Kellie Hughes Lyric Theatre, Sydney; Lyric Theatre, Brisbane devised by Little Bulb Theatre Music Dave Price Lyttelton 9 October Fight Director Kate Waters Sound Designer/Composer Alma Kelliher Berlin, 21 October 2013 – 30 March 2014 OURS WAS THE FEN COUNTRY Movement Director Al Nedjari Company Voice Work Richard Ryder Lighting Designer Stephen Dodd (ongoing) created by Dan Canham & the Company Fight Director Kate Waters NATIONAL THEATRE: Costume Designer Monica Frawley Theater des Westens RIOT devised by The Wardrobe Ensemble Staff Director Jeff James 50 YEARS ON STAGE Sound Designer Christopher Shutt The Shed 12 March Poetry Michaela Coel UP DOWN BOY by Sue Shields Director Nicholas Hytner Physical Comedy Consultant Jason Thorpe Supported by The Shed Partner ONE MAN, TWO GUVNORS The Shed 9-21 September The Shed 22 January 2014 Neptune Investment Management Designer Mark Thompson Company Voice Work Jeannette Nelson Australia, 30 March – 29 June 2013 Supported by The Shed Partner Supported by The Shed Partner Neptune Investment Management Lighting Designer Mark Henderson Staff Director Rebecca Frecknall Neptune Investment Management Sydney Theatre CHEWING GUM DREAMS Music for short films Lyttelton 6 December Written and performed by Michaela Coel Arts Centre, Melbourne Sound Paul Arditti (previously , Adelaide and Auckland, Director Nadia Fall Music Director Gareth Valentine 15 February – 23 March) Lighting Designer Jamie Spirito Associate Director Adam Penford Mike Walker Olivier 1 & 2 November Sound Designer The Shed 17 March Supported by The Shed Partner Neptune Investment Management

22 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 23 Awards 2013–14

2013 Olivier Awards 2013 New London Awards 2014 Olivier Awards Best Actress in a Supporting Role Temporary Project Best Actor for The Curious Incident of the Dog Haworth Tompkins for the National Theatre: Rory Kinnear for Othello in the Night-Time The Shed Best Actress in a Supporting Role Best Lighting Design Sharon D Clarke for The Amen Corner Paule Constable for The Curious Incident of the Dog Special Award 2013 Broadway World.com in the Night-Time Nicholas Hytner and Nick Starr Best Sound Design UK Awards Ian Dickinson and Adrian Sutton for The Curious Best Direction of a New Production of a Play 2014 Learning on Screen Incident of the Dog in the Night-Time Marianne Elliott for The Curious Incident of the Awards (British Universities Best Set Design Dog in the Night-Time Film & Video Council) Bunny Christie and for The Curious Best New Play in the West End Educational Multimedia Award Incident of the Dog in the Night-Time The Curious Incident of the Dog in the Night-Time Best Actor 50 Years of the National Theatre iPad app Courseware and Curriculum Broadcast for The Curious Incident of the 2013 Empty Space… Award Dog in the Night-Time Award Best Director The Curious Incident of the Dog in the Night-Time: The Shed Marianne Elliott for The Curious Incident of the From Page to Stage (BBC for BBC Two Learning Dog in the Night-Time Zone) Best New Play 2013 Critics’ Circle Awards The Curious Incident of the Dog in the Night-Time Best Shakespearean Performance 2014 RIBA London Rory Kinnear for Othello Regional Awards TripAdvisor Certificate Most Promising Newcomer The Shed by Haworth Tompkins of Excellence 2013 Kate O’Flynn for Port Royal National Theatre (awarded to businesses that rank in the top 10% 2014 Civic Trust Special Awards worldwide for traveller feedback) Pro Tem Special Award (presented to an exemplar project) Drama Victoria Award The Shed (Melbourne, Australia) Best Performance by a Theatre Company 2013 Theatre for Secondary Students Awards One Man, Two Guvnors Best Visiting Production War Horse, National Theatre at The Lowry 2013 Evening Standard Awards Best Actor 2014 Association for Cultural Rory Kinnear and Adrian Lester for Othello Enterprises Awards (won jointly) Best New Range Best Designer The National Theatre’sEverybody Dies for (with ‘A magical and ravishingly People merchandise and ) distinctive fusion of the Best Musical Performance Rosalie Craig for The Light Princess 2014 American Institute theatrical arts.’ of Architects UK Chapter Paul Taylor, 2013 Walpole British Luxury Excellence in Design Award Awards Haworth Tompkins for The Shed British Cultural Excellence The National Theatre

24 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 25 The National Theatre at 50

‘When asked what his policy was for the theatre, Olivier replied: ‘To make the audience applaud’. Half a century on, it hasn’t stopped yet.’ Daily Telegraph leader

The National Theatre opened its doors in 1963 and won a FOCAL Award for Best Use of Over a million people watched live on television An anniversary programme of 29 Platforms told witty range of gifts centred on Shakespeare’s on 50 seminal productions, it includes specially at the Old Vic under Laurence Olivier. Eight Archive Footage in an Arts Production. and an additional 200,000 on BBC iPlayer. three distinct stories. Scene Changes looked at the tragedies, ‘Everybody Dies’, which won Best written introductions to each play by playwright hundred productions later, its 50th anniversary A slightly edited version of 50 Years on Stage sweeping changes that have taken place across the New Range at the 2014 Association for Cultural Nicholas Wright, newly created content and Live from the National Theatre: 50 years on stage, was marked in autumn 2013 with a short season was shown on US television in February theatre sector over the last 50 years, both onstage Enterprises Awards (the second year running a wealth of assets from the Archive, including broadcast live on BBC Two on 2 November and celebrating the remarkable people and plays that 2014 as part of PBS’ Great Performances. and off; told very personal the NT Bookshop had carried off this award). A photography, exclusive video interviews, to cinemas internationally, was an unforgettable National Histories have made the NT one of the most cherished The documentary and the gala performance stories about the National by some of the leading specially commissioned poster was sent to every costume and set designs, audio features and evening of live performance and rare glimpses and creative of great British institutions. have been released as a double-disc DVD, artists who have been part of the company; while secondary school across the country for display original programme articles. Having featured from the archive, featuring many of the most currently sold exclusively through the NT Future Questions looked ahead at the challenges in drama studios and English classrooms to as a ‘best app of the week’ in , it Three years in the making,Arena: The National celebrated actors who have performed on the Bookshop; it has sold over 3,000 copies and facing writing, funding and regional theatre inspire young people to make and enjoy theatre. went on to win the 2014 Learning on Screen Theatrewas a two-part documentary which told National’s stages over the past five decades and will soon be made available more widely. over the next 50 years. The 119 contributors ‘Educational Multimedia’ Award and has now the story of the National from the appointment directed by Nicholas Hytner. Extracts ranged National Theatre Live presented encore ranged from distinguished designers, architects, been downloaded over 12,000 times. An updated of Olivier as its first Director, and the great from Rosencrantz and Guildenstern Are Dead Two contrasting exhibitions reflected on the screenings of some of the National’s most administrators and critics to leading actors and version containing interview footage from period of legendary productions at the Old to , from Antony and Cleopatra NT’s half century. Chris Arthur: Scenes from acclaimed recent productions: Shakespeare’s directors. All 29 Platforms were made available Arena: The National Theatre will be released Vic, to the move to the controversial and now to Angels in America, and from National Life included unseen portraits of Hamlet, with Rory Kinnear; ’s online and watched by over 150,000 people. in 2014 and will also be available on iPhone. iconic building on the South Bank. Using to London Road. The cast of over 100 included , and Laurence production of by Nick Dear, based rare footage of historic productions from the Roger Allam, Simon Russell Beale, Benedict Olivier taken by a member of the original lighting Part-treasure hunt, part-history tour, a National on the novel by Mary Shelley, with Benedict A social history project called Your National National’s own archive, the film went inside the Cumberbatch, Frances de la Tour, Judi Dench, team with unique access to document the shows, Trail created by innovative company metro- Cumberbatch and alternating Theatre was initiated as part of a three-year workings of the theatre and looked at recent , Ralph Fiennes, Michael company life and backstage world of the Old boulot-dodo took the audience on an interactive the roles of Frankenstein and the Creature; project, asking audiences to share their memories hit productions including Othello, Frankenstein Gambon, Derek Jacobi, Alex Jennings, Rory Vic. National Theatre Lampoon uncovered the journey around the NT. A pop-up shop and Alan Bennett’s The Habit of Art, with of the NT’s last 50 years. Over 500 people and War Horse in the making. Produced in Kinnear, Adrian Lester, Anna Maxwell Martin, story of the National from the early 1900s to appeared on the South Bank for unique items Alex Jennings and the late . submitted memories which are featured online; partnership with Lone Star Productions and , Andrew Scott, Maggie Smith, the present day through rarely-seen cartoons created for the anniversary, including signed, collectively, they will help to create a unique The National launched its first app,50 Years BBC Arena, the documentary aired on BBC Penelope Wilton and many more – joined and caricatures, satirical swipes from diarists, limited edition prints by designers Michael record that will form a vital part of the history of the National Theatre, an interactive timeline 4, was seen by over half a million viewers, at the curtain-call by the dozens of backstage and records from the National’s own archive. Craig-Martin, Jamie Reid, Paula Scher, David of the National for future generations. A series available to download free for iPad. Focusing staff who had helped make it happen. Carson and Graphic Thought Facility; and a of six digital exhibitions with the Google

26 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 27 The National Theatre at 50 continued

Cultural Institute was launched, showcasing the treasures of the National Theatre archive, offering unique insights into the theatre’s rich history and reaching out to a global audience. The first exhibition centred on Greek tragedy, while the second focused on staging children’s stories at the National. Exhibits on Shakespeare and costume, among others, will follow in the next two years. On 22 October, HM The Queen, accompanied by HRH The Duke of Edinburgh, marked 50 years to the day of the National’s opening with a backstage visit. The royal party watched rehearsals for Emil and the Detectives and ‘Sit Down You’re Rocking The Boat’ from Guys and Dolls (which was to be performed in the live gala performance), toured the new prop-making workshop and met Dame Joan Plowright (Lady Olivier). After unveiling a plaque, the Queen was escorted from the Theatre by Joey, the horse puppet fromWa r Horse, who had given the National’s Jubilee Salute during the Thames Pageant of 2012. That evening, the anniversary was marked with speeches from the stage not only in the three theatres on the South Bank – where celebratory fireworks lit up the night sky – but also in three West End theatres where Wa r Horse, One Man, Two Guvnors and The Curious Incident of the Dog in the Night-Time were playing; in Canterbury, where Alan Bennett’s People was on tour; and in Birmingham, in Dayton, Ohio and in Berlin, where War Horse was also playing. Across the world, the NT’s recent Hamlet, with Rory Kinnear, was seen in 600 cinemas in 25 countries as part of the National Theatre Live ‘Encore’ programme: 50 years after Peter O’Toole’s performance in the same play on the NT’s opening night.

Your National Theatre, Chris Arthur: Scenes from National Life, National Theatre Lampoon, online exhibitions and the Timeline app ‘The mix of live performances from were supported by the National Lottery a stellar cast and film clips of through the Heritage Lottery Fund. Digital and broadcast work was also supported performances in earlier years was one by the Sydney E Frank Foundation. of the most moving and exhilarating nights I have ever spent in a theatre.’ Charles Spencer, Daily Telegraph

28 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 29 Audiences

The expansion of touring and National Theatre Live means that more people in the UK now see National ‘Earthy, exuberant Theatre productions in their local theatres and cinemas regionally than at the NT on the South Bank. and fecund with Between September 2013 and November 2015, NT productions will make over 80 visits to British cities, symbolism and spending 133 weeks on the road. In 2013-14, the National’s audience reached almost 4.3million globally, 2.8million of them in the UK. superstition… Nature’s life force triumphs over Audience Development for young producers and playwrights. Half-price Audience Experience The eleventh Travelex Tickets season took the tickets for under-18s continue to be available at the National human tragedy.’ Sam Marlowe, number of £12 (originally £10) Tickets sold for all productions outside the Travelex season. Commercial Operations is run by and for the since 2003 to 1,375,000 (74,000 in 2013); Over 23,000 concessionary tickets were sold to National Theatre and comprises Catering, 2.26 million people in total have attended disabled people and their companions for NT Hospitality Events, Retail, House Management, the Seasons. Travelex Tickets continue to productions in London, where we provided 41 Tours and Visiting, Building Operations attract first-time ticket-buyers: 25% in 2013. captioned performances, two sign language- and Housekeeping. Its focus is to deliver an exceptional audience experience to help support 156,000 discounted tickets for young people interpreted performances and 41 audio-described the NT’s commitment to reaching and retaining were sold for NT performances in London. performances, along with 29 touch tours. more audience members; and to generate revenue Entry Pass, our popular free discount ticket For Untold Stories at the , a to support the ongoing work of the NT. scheme for 16-25-year-olds, now numbers over was run offering audio introduction for 47,000 members. Further engagement with the every performance. Outside the capital, for Propstore, the café-bar created for the Inside scheme was encouraged through 20 workshops People and War Horse on tour, there were 11 Out festival in 2012, returned to the river bank and events, ranging from a practical workshop captioned performances, seven sign language- for the summer of 2013 and outdid its previous exploring the use of puppetry in live performance interpreted performances and 12 audio- success: thanks to a programme of bands and to post-show Q&As with actors. The scheme described performances with 12 touch tours. DJs, it served 200,000 customers, well up on also offered two four-day introductory courses Following the success of last year’s pilot ‘relaxed last year. For the second year running, the performances’ – specifically designed to welcome NT Bookshop won best product range at the people with an Autistic Spectrum Condition, Association of Cultural Enterprises awards (see learning disability or sensory and communication under 50th Anniversary above). In three hives disorders into the theatre – four further relaxed on the NT’s roof, 60,000 bees produced 100 performances were programmed, for Curious jars of honey, which sold out in 24 hours. Incident at the Apollo and Romeo and Juliet, Up Down Boy and The Elephantom in The Shed. From the summer of 2013, considerable planning 392,122 and attention was given to the impact NT Future people saw an NT touring In order to ensure The Shed attracted a mix of building works would have on audiences. While 4.3m paying audience worldwide production in the UK audience members – including younger people maintaining a full programme of performances, with a propensity to book late – a marketing, efforts have been made to keep disruption to a press and ticketing strategy was developed minimum. New parking arrangements for Blue to target key groups outside the NT’s core Badge (disabled) holders have worked well. The audience, and ensure tickets were available relocation of the main box office to the Lyttelton close to the performance date. This approach foyer and the move of the main entrance to the contributed to the venue attracting almost temporary theatre foyer while the new Sackler 89% 74,000 double the percentage of ticket-bookers aged capacity houses on the South Bank Travelex £12 Tickets sold Pavilion is under construction have proved under 35, when compared to the Lyttelton more challenging for regular visitors; however, and Olivier theatres in the same period. new signage, colourful hoardings and increased staffing have helped to combat confusion. The temporary housing of the Bookshop in a pop- up location on the riverbank in spring 2014 proved popular with South Bank visitors. 1,453,104 33% people saw War Horse in the UK, North of South Bank audiences were America, Australia & Berlin and via first-time bookers NT Live

30 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 31 ‘Betrayal is the most National Theatre Live heinous of military sins so it is the last to be suspected.’ Jonathan Shaw, military adviser

The remarkable growth of the NT Live National Theatre Live Audiences programme of cinema broadcasts has continued, reaching an impressive audience of 1.49 1600 million in 2013-14: a growth of over 200%, with a total UK audience of 890,000 (in over 1400 500 cinema screens across the country) and overseas audience of 597,000. It is now regularly 1200 available in 1,000 cinemas across the world in more than 35 countries; the worldwide 1000 audience since National Theatre Live launched in 2009 has now reached 2.7 million. 800 A strong driver of this growth was the series 0.5% 0.5% 600 of NT Live broadcasts of productions from other British theatre companies, with 676,000 400 7% tickets sold over the year for The Audience 8% (Playful Productions), (Manchester 200 International Festival) and (), while the audience for the NT’s own productions grew by 69% to reach 811,000. 2009-10 2010-11 2011-12 2012-13 2013-14 22% ’s The Audience, with Helen 62% Mirren giving an Olivier Award-winning UK Audience (’000) International Audience (’000) Total Audience (’000) performance as The Queen, was broadcast from the Gielgud Theatre in London’s West End to a worldwide audience of almost 0.5% 0.5% 400,000 people, the largest to date for a UK single National Theatre Live production. 7% North America Partnerships with Manchester International Europe Festival for ’s Macbeth 8% Australia and New Zealand and the Donmar Warehouse for Coriolanus Asia with both drew audiences South Africa approaching 150,000 (the latter marking

our second partnership with the Donmar, 22% following Derek Jacobi’s King Lear in 2011). 62% Back at the National, James Graham’s new play This House was broadcast to over 70,000 people from the Olivier Theatre; Nicholas Hytner’s much-acclaimed production of Othello reached 130,000 and included more than 130 screenings UK aimed specifically at a schools audience. As North America Europe noted earlier, encore screenings of Hamlet, Australia and New Zealand Frankenstein and The Habit of Art were given to mark the NT’s 50th anniversary and the Asia celebratory performance Live from the National 530South Africa venues in the UK 36 Theatre: 50 years on stage was broadcast to countries international cinemas. The final broadcast of the year was the long-anticipated War Horse from the New London Theatre which, by the end of the financial year, had played to 322,000 people with many encore screenings still to come. 2,700,000+ 1,000 worldwide audience for National Theatre NT Live venues worldwide Live since its launch

32 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 33 Digital Innovation and Broadcast

Much of the Broadcast and Digital department’s work this year centred around the National’s 50th anniversary celebrations covered earlier in this Report, with a range of activities across broadcast and digital platforms to reach as wide and varied an audience as possible.

The National continued to grow and develop its audiences for digital content about productions in the repertoire and behind-the-scenes theatre craft. In 2013-14 there was a total of 1.9 million downloads and streams of free digital content across five online channels (YouTube, iTunes, iTunesU, SoundCloud and the NT website). A high quality archive recording of Polly Findlay’s 2012 production of Antigone was made freely available with protected access through a content partnership with Clipbank, a digital learning experience for secondary schools, and was seen by over 40,000 students. This was followed by a high quality archive recording of the Primary Classics production of Romeo and Juliet, also made available with a range of supporting digital resources through Clipbank to over 20,000 school children.

The Hour, a 30-minute documentary following six actors in the 60 minutes before curtain- up as they prepared to go on stage at the NT, was made exclusively available on the Guardian website in October and attracted nearly 20,000 viewers in four weeks. The National also launched a bold new venture, 60,000 starting production on a feature film adaptation Views and downloads of of Alecky Blythe and Adam Cork’s London Antigone and Romeo and Juliet Road, first seen at the National in 2012. Financed by the National, BBC Films, the BFI on ’s Clipbank and Lip Sync, the film is being co-produced with Cuba Pictures and directed by Rufus Norris, and will feature all the original cast members from its runs in the Cottesloe and Olivier Theatres. The film began production in March 2014 for likely release in early 2015. 1.9m Downloads and streams of NT digital content in 2013

34 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 35 Learning

NT Learning opens up the NT’s repertoire, artistry, expertise, and the building itself, enabling participants of all ages to discover new skills and experience the excitement of theatre.

In October 2013, marking its 50th birthday, elephant puppets, songs and dances which they National reach the National sent a specially-commissioned performed for other classes in their schools. The National’s flagship youth programme, poster with a letter from Nicholas Hytner to It was really good to see them expressing themselves Connections, marks its 20th year in 2014-15. every secondary school in the country. The so confidently in front of an audience… Coming It continues to grow in reach and popularity, poster (illustrated opposite) celebrates the many to the performance was just amazing and an with 235 youth and school theatre companies ways in which young people can use their skills unforgettable experience for the children which participating in the 2012-13 cycle. Almost 300 and imagination in making theatre: a visual they’re still talking about. companies applied to take part in 2013-14. Of manifesto for the National’s aim to open up Year 1 Teacher – Griffin Primary School the 240 accepted onto the programme, half were the breadth of expertise in making theatre. new to the scheme and more than a quarter An in-depth project for secondary schools The National’s new Clore Learning Centre opens received bursary support to take part, recognizing runs alongside The Curious Incident of The in autumn 2014 and will widen still further the scarce funding or a group or school based in a Dog in the Night-Time, working with students opportunities we offer to schools, young people, disadvantaged community. Companies come on the autistic spectrum or who have other families and adults, with the invitation to discover from across the UK, with an increase this year social and communication difficulties. and explore theatre at the heart of the NT. in participants in Wales and in Scotland. The Each project culminates in performances number of partner theatres across the UK has by the young people for their families: Exploring theatre with schools grown to 26: each partner works with the NT Ben Power’s adaptation of Romeo and Juliet for I loved the show last night and I loved the way that to recruit and support local youth theatres and primary schools, directed by Bijan Sheibani, the show acknowledged what our children find host a Connections festival. The National has opened at the Waterside Theatre in Derry- difficult and through drama presented them with a now commissioned over 150 plays for young Londonderry as part of City of Culture way around difficult social situations. people, creating a lasting repertoire for youth 2013, toured to schools in London in June Parent, Ashcroft Academy theatre companies worldwide, and Dennis Kelly’s DNA, commissioned in 2007, is included in the and July and played in The Shed during the The NT’s secondary school programme GCSE English syllabus. This year’s Connections school summer holidays. Over 8000 children has explored repertoire through a series of writers are Deborah Bruce, Matt Hartley, Sam saw the play; 2,135 took part in the creative projects on the Black Plays Archive and on Holcroft, Dafydd James, Catherine Johnson, education programme offered with the Port, sixth form conferences on Othello, King Pauline McLynn, Sabrina Mahfouz, Luke production; and 24 primary schools and three Lear and ’s Five Practitioners Norris, Evan Placey and Simon Vinnicombe. secondary schools hosted performances. films, and events onEdward II and A Taste It was an outstanding performance. The costumes, of Honey. Students also have the opportunity New Views, another national programme, the production, the multi-cultural cast together to explore theatre production and careers in challenges young people to try their hand at reminded me of the great tradition of contemporary theatre, with events focusing on Lighting and playwriting. Now in its third year, New Views theatre our lucky children are being exposed to, via Sound, Costume, Wigs, Hair and Make-up, supports playwriting groups in schools and invites the National Theatre. and Voice. A wide programme of teacher participating students to submit short plays to an Year 5 teacher – Lauriston Primary School training included in-depth courses on Verbatim annual competition. 300 plays were submitted Theatre, Devising and Adaptation and active in 2013, of which nine were given rehearsed Bijan Sheibani’s production of Emil and the approaches to teaching Shakespeare. readings by members of NT companies, and Detectives was also the inspiration for a series one, Carpe Diem by 14-year-old Ella Thompson of projects focusing on playwriting and design. from Dorothy Stringer High School in 540 children from 13 schools wrote their own Brighton, was given a staged performance in short plays inspired by the production, and The Shed. New Views has continued to grow, saw excerpts performed by NT actors in The with 66 schools from across the UK signing Shed. Another 90 children from three schools up in September 2013 and groups set up at worked with a theatre designer to create their , Leicester Curve and the NT. own settings for the play. The Elephantom provided an opportunity to work with younger children from six local schools, who created

36 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 37 Learning continued

Completely terrific in every way. A wonderful, fully Informal learning and training resourced opportunity for both staff and students to Activity for young people at the NT has be involved in. … The joy of working with students continued to develop, building towards the in an organic and free way. The knowledge that I launch of a larger programme in the Clore 5,000 can escape the prescription of the curriculum. Learning Centre. Partnership projects with young people from Teacher, New Views 2013-14 Blackfriars Settlement, Spotlight Youth The UK tour of War Horse has been the Centre, Barnardos and Coram Family have catalyst for a wide range of projects developed enabled more than 70 young people with no in partnership with tour venues. These aimed previous access to theatre to take part in youth to reach audiences that would not otherwise theatre programmes. Entry Pass has offered have the opportunity to see the production, repertoire-based workshops and short courses 240 and to connect with local histories around the in playwriting and producing. Young people school and youth theatres centenary of the First World War. In addition, have also had the opportunity to create their participated in Connections at a partnership with the National Army Museum own work in collaboration with NT artists and has provided free historical workshops and the NT Studio through Young Studio. Three sessions handling First World War artefacts in seasons of intensive activity took place over the schools across the UK. In Birmingham a teacher year, culminating in an immersive installation commented on the ‘noticeable difference’ in at the NT Studio, a production devised for her students’ practical drama work after taking The Shed, and a site-specific performance in 26 part in War Horse workshops and added: an abandoned office space in Oxford Street, regional theatre partner festivals inspired by a week-long residency with For me, the highlight of the whole project was seeing Punchdrunk. Young Studio members have Mohammed [a student] interacting with the actors also collaborated with NT Studio artists over of War Horse and then taking his horse to meet the year, including the TEAM and playwright THE horse… something in the War Horse trailer Sam Holcroft. The NT’s Youth Programme is and the puppetry it displayed captured his supported by the Paul Hamlyn Foundation. 88,000 imagination and all of a sudden he started his own school and college students saw designing and building project. It was lovely to see Theatreworks Partnerships engage hard-to- NT performances in London him so engaged and filled with confidence talking to reach community groups with the work of the the cast and asking questions. He was so proud of his NT, providing opportunities for development work, as was I. through theatre. Projects this year explored many Teacher, Yardleys School, Birmingham different aspects of theatre, including puppetry- NT Archive The Archive is increasingly a focus for of the Shakespeare Memorial National Theatre making, playwriting, the Commedia tradition, Learning activity, with its resources widely Collection – documenting the movement to Digital provision is also key to national The Archive played a key role in the NT’s 50th scenic art and set design, and music. Fourteen used by secondary schools. A series of projects found a national theatre – is now complete. reach, providing access to the work of the 6,472 anniversary celebrations: both the BBC Arena projects took place during the year involving supported by the National Lottery through the The papers of Ken Briggs, the NT’s first NT in classrooms across the country. As well secondary schools and colleges documentary and the live 50th anniversary 200 participants from groups including the Heritage Lottery Fund have taken place over graphic designer, have been donated to the as offering high quality archive recordings performance drew heavily on its collection and National Autistic Society, Crisis, outpatients received an NT 50th anniversary the year, including several teacher residencies Archive and cataloguing is underway. of Antigone and Romeo and Juliet through featured documentary footage. NT Archivist from the Maudsley Psychiatric Hospital and poster developing archive-based resources for Clipbank, the NT worked with BBC Gavin Clarke curated two exhibitions for the Volunteers continue to play a valued role the Jagonari Centre in Tower . primary and secondary schools and a primary Learning to develop educational resources on 50th anniversary: National Lampoon and in the work of the Archive, and the NT is school project exploring the Archive and the Curious Incident – winning the Courseware This project has generated my creativity again. Scenes from National Life (see page 26), and grateful for their support. The NT Archive architecture of the NT’s South Bank building. and Curriculum Broadcast Award in the Using skills I forgot I had, or didn’t think I had. Archive content features in the 50 Years of the is open to everyone by appointment. 2014 Learning on Screen Awards. Participant, nut partnership project. National Theatre app and Google Cultural Work has continued on the Black Plays Institute digital exhibitions. The Archive Archive, which provides access to a range of Theatreworks also offers internal training 570 also played a vital role in Daniel Rosenthal’s resources designed to support the study of black programmes for the NT, this year devising teachers and youth theatre research for The National Theatre Story. British theatre history; it now documents 511 a training and mentoring programme to leaders trained productions by 168 playwrights. Cataloguing support NT apprenticeships and continuing to provide training for Front of House staff. The Theatreworks corporate programme reached 800 clients over 80 sessions, generating £82,000 to support NT Learning. 300 scripts submitted for New Views

38 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2013–2014 39 Public Engagement

The National Theatre believes that theatre is for everyone, and that it does not begin and end with the rise and fall of the curtain; therefore we aim to make our work accessible to as wide an audience as possible, deepening engagement and positioning the building as a popular destination.

Platforms The year under review ended withPhoto Noir, Platforms offer audiences a deeper insight into The Art of Cornel Lucas, a tribute to the doyen the work on stage and other aspects of cultural of film photography featuring the immaculately life. 402 guests took part in 93 Platforms, composed high-contrast portraits that – alone attended by 24,500 people. In addition to the among photographers – won him a BAFTA. NT-at-50 Platforms (covered earlier), three Watch This Space other birthdays were celebrated: at 80, Paines Plough at 40 and at With The Shed occupying much of Theatre 30. The actor Giles Terera led a week of events Square, the annual Watch This Space festival took called Walk in the Light, honouring the rich a break from its usual large-scale programme and contribution that black artists have made to presented a more modest offering entitledAugust British theatre over the past 50 years, which Outdoors in partnership with American Express. culminated in a performance in the Lyttelton This pop-up mini-festival of free entertainment featuring 79 actors and musicians. Perennial in the gap between the NT main entrance and favourites Simon Russell Beale, Alan Bennett, The Shed, included funky music, a gallery in a Nicholas Hytner, Peter Brook and Private caravan, a hairdresser in a caravan, an explorer in a Eye once again drew sell-out audiences; ten garden shed, a contemporary dance/circus fusion Platforms were devoted to Shakespeare, and and interactive children’s puppetry, much enjoyed 14 were followed by book-signings. New by visitors of all ages. this year were ShedTalks, ten pre- and post- show discussions with the creative teams Backstage Tours and companies in the temporary theatre. Just under 21,000 people joined a Backstage Free Exhibitions Tour this year. As well as seeing productions Publications for The Shed sold at £1. NT programme contents evolve and how the repertoire runs, the are also supplied to touring and transfer venues in The major exhibitions of autumn 2013, marking Programmes, and the NT’s other publications, changing environment of the building while the UK and abroad, and illuminating background the NT’s 50th anniversary, are covered earlier add to the experience of seeing a play. Specially NT Future works progress provided much to packs on most productions are compiled and in this Report, but there was no shortage of commissioned articles providing background engage and inspire visitors – not least, a whole edited by Publications with NT Learning. highlights during the rest of the year. Peter to the National’s repertoire this year explored new theatre and additional space backstage. Bobby’s photographic exhibition High-rise, life in Berlin in the 1920s and in Salford in the For the NT’s 50th anniversary celebration, presented as part of the London Festival of Many were fascinated to see seating and other 1950s; Othello from a military perspective; 50 years on stage, a sumptuous programme was Architecture, looked in a compelling and elements from the Cottesloe recycled in The being young and homeless; the ‘anonymous’ produced, giving audience and performers’ imaginative way at the world’s developing love Shed; how the Speaker’s Chair from the House protest movement; the feudal world of memories of the NT and a brief history; it was affair with the skyscraper. The British Press of Commons doubled up as cleaners’ cupboard Marlowe’s Edward II; Pirandello’s women; the given to the audience at both performances on Photographers’ Association returned after a in This House; and in one scene of Strange power of fairy tales; and Expressionism; plus 1 and 2 November. Publications gave vital year’s absence to survey the major stories of Interlude, to see the harbour, within seconds, a conversation on theatrical process between support to Daniel Rosenthal’s The National 2011 and 2012 in images that were in turn become a boat. Costume Tours provided an Simon Russell Beale and Sam Mendes. Other Theatre Story, published by Oberon Books, which 24,500 197,777 joyous, dramatic and highly controversial. in-depth look at a well-loved area of theatre distinguished contributors included Jonathan was launched at the NT in December 2013 and attended platforms programmes sold The 2013 Linbury Prize displayed the work design, and Family Tours gave young (and Bate, Camilla Batmanghelidjh, Tanya Byron, went on to win the 2014 Theatre Book Prize. of 12 graduate stage designers; and Take a young at heart) a chance to dress up in costumes Peter Holland, Nicholas Hytner, Caryl Phillips, View (the Landscape Photographer of the Year and see ‘prop food’ on the menu: “best fun Tanya Ronder, Dominic Sandbrook, Marina competition) proved as crowd-pleasing as ever. in all the world”, one six-year-old decided. Warner and , For the ninth successive year, the selling price for Olivier and 8 21,000 Lyttelton programmes was held at £3, while those free exhibitions people took a backstage tour

40 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 41 National Theatre Future

Reaching audiences not just on our stages but also through the work of the Learning department, and through the National’s digital outreach including NT Live, has shaped the way in which the NT Future redevelopment scheme is designed. From 2015, when the scheme will be complete, these plans will begin to bear fruit, as the Dorfman Theatre, Clore Learning Centre and Max Rayne Centre allow us to engage with audiences, young people and theatre-makers in new ways, creating broader and deeper relationships with larger numbers of people from around the country and across the world. Another major theme of the NT Future scheme is to provide new project spaces within the Max Rayne Centre. This will enable us to offer a temporary base with support facilities to both established and emerging freelance designers and theatre-makers, allowing a space for sharing of ideas and practices, as well as immediate access for designers working on current NT productions.

Lisa Burger, Chief Operating Officer

During 2013-14 over £8.5m was raised for names of over 3,000 people, all of whom on the Weston Terrace which will include a NT Future, bringing the fundraising total have donated £100 or more to NT Future. permanent staircase to the Terrace restaurant and to £76.3m towards our target of £80m. the installation of donor paving stones; the Bank Building work for NT Future hit its full stride of America Merrill Lynch Terrace is also being We received additional major gifts from The this year, with the National maintaining a full re-landscaped and greened, as is Stage Door Dorfman Foundation, The Monument Trust, programme of performances throughout (see Avenue and the entrance to the Dorfman Theatre. The Sackler Foundation and The Garfield Weston under Audience Experience, page 30). The Foundation, all of whom were founding donors new prop-making workshop and set assembly Construction delays – particularly the complex when we first launched the campaign. This year areas were the first elements of the project to be integration of mechanical and engineering saw the first corporate support of the project, completed, and were visited by HM The Queen services, many at subterranean level – led to with Bank of America Merrill Lynch becoming on our 50th anniversary in October 2013; visitors the opening of the Dorfman Theatre and the Founding Corporate Partner for NT Future. will be able to see these for themselves when the Clore Learning Centre being rescheduled Sherling High-Level Walkway opens. New offices to autumn 2014. The transformation of the We also received major gifts from 11 new for the catering, house management, tours and Dorfman auditorium is well under way, with new members of the Chairman’s Circle, all of housekeeping departments have been created, elevators to raise and lower the pit seating area whom have pledged £100,000 or more; this and the sound, lighting and armoury departments installed, along with the new seats themselves; took overall membership of the Chairman’s are now occupying refurbished offices, workshops final fitting-out of the Dorfman and Clore Circle to 65 by the end of 2013-14. and resource areas which will directly connect Learning Centre takes place in summer 2014. The support shown by members of our audience to each other and the Max Rayne Centre. The last phase of construction and renewal, for NT Future has continued to grow. The House (formerly Mezzanine) restaurant has been primarily focused on upgrading and enhancing Audience Appeal was launched in January stripped back and restored to re-open in summer the front of house public facilities in the 2013 to encourage donations at all levels. Their 2014 as an all-day brasserie. At ground floor level Lyttelton foyer, will roll out from autumn total contribution had reached over £2m by on the north-east corner, a glazed atrium will 2014 to spring 2015. Regular updates and the end of 2013-14, with donations being sent offer a café and bakery called Kitchen alongside photos of construction work are posted on the by almost 4,000 people, as well as the 90,000 a new craft beer pub with riverside seating (The website at nationaltheatre.org.uk/ntfuture. people who have chosen to make an additional Understudy). The Sackler Pavilion will welcome 5% donation when booking tickets online or visitors approaching from both west and east; by telephone. When the NT Future Supporters these areas will open successively throughout Mural is unveiled in 2014, it will include the autumn 2014. New landscaping is being laid

42 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 43 NT Studio

The NT Studio is fundamental to the National’s system of artistic development and support, broadening the work we present on our stages and allowing us to refresh and renew our repertoire. The Studio plays a vital role in promoting the health and renewal of theatre at large by providing an environment in which writers, actors and practitioners of all kinds can explore, experiment and devise work, free from the pressure of public performance.

In 2013, the Studio has continued to play a vital Hill. The Quercus Award is our programme for role in initiating, developing and generating mid-level directors to take on a year’s Associate- much of the new work that has been presented ship at a major regional producing house, and be on the National’s stages over the last 12 months. supported through the realisation of a main-stage Breadth of form is matched by the wide network production. Charlotte Gwinner has spent a year of artists with whom we have created work, from as Associate Director at Liverpool Everyman and the musical The Light Princess and sound-based Playhouse: her production of A View from the piece The Hush, to family shows Emil and the Bridge was developed at the Studio, and opened Detectives and The Elephantom, devised projects in April 2014. This year we have also introduced Home and Blurred Lines, and revisited classics a new training strand, with our monthly Edward II and From Morning to Midnight. Inspire events bringing together emerging directors and designers in shared learning. The Studio has a commitment to working in £1.9m Leading practitioners in technical creative fields partnership with other theatre companies. spent on research and lead practical skills workshops, encouraging In 2013, our successful Studio Affiliate development at the NT peer sharing and creative collaboration. programme has been extended to include the New Vic Theatre in Newcastle-under-Lyme. Alongside NT repertoire work is a commitment The partnership intends to boost the New Vic’s to support both emerging and established ambition and skills-base; raise its industry and UK artists. 44 workshops took place from audience profiles; and develop a network of independent theatre-makers of all kinds, artists, and has already helped lead to the creation who came together to develop new ideas 19 of an ambitious multi-authored project, due to and relationships. Artists whom the Studio play readings be produced in 2015. This year the Studio has supported this year include Gbolahan Obisesan, worked with Manchester’s Royal Exchange, to workshopping a show that has subsequently act as the London hub for the theatre’s writing been picked up by The Bush for presentation; award, the Bruntwood Prize; presented works devising company Dead Centre, whose from SPILL Festival of Performance; and run production of Lippy won the Irish Theatre events at leading regional theatres including Award for Best Production; and dance company 57 Birmingham Rep and Northampton’s Royal Ballet Black, whose children’s ballet Dogs attachments offered (25 writers, and Derngate for their artistic directors to Don’t Do Ballet will be produced in 2014. 7 directors, 3 companies, and meet with promising emerging directors. As well as organising workshops and readings, 22 other theatre-makers) Professional training remains at the heart of the Studio was host to 57 different artists on the Studio’s work, and our training activity attachment, including writers, directors, video cuts across all levels of professional practice. artists and performance poets. This year, we were In addition to our staff director programme joined by video artist Mark Grimmer, aerial and the annual Directors’ Course, we also company Tangled Feet, and writer Rebecca run a number of bursaries. The JP Morgan Prichard amongst others. Sam Holcroft was 44 Award for Emerging Theatre Directors sees a our Writer-in-Residence for the year, working development workshops director receive a residency at the Studio, as on a number of projects including an NT well as support through the development and commission of a play which will be produced in for projects outside the production of a show at The Gate in Notting the opening season of the new Dorfman Theatre. NT repertoire

44 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 45 Leadership

As a national company, the NT March 2014, three days of general auditions department provide informal fundraising which will be responsible for representing The National’s apprenticeship and trainee of candidates and to remove barriers that were held at the NT Studio, with successful support and advice to a range of organisations, the interests of visitors and residents alike in programme goes from strength to strength, might inhibit people from applying. Two takes responsibility for fostering applicants performing prepared speeches to and in 2014 will continue their work with the context of the major construction work providing valuable opportunities for people who focus groups have looked at how to encourage the health and renewal of the casting directors from not only the NT and RSC Northern Stage. Members of the NT Executive about to happen on sites around Waterloo. might not otherwise have considered careers at diversity through the recruitment process, wider British theatre community but those working for other theatre organisations and Senior Management continue to serve on a He also participated in board meetings of the the NT, and helping to address issues of diversity through advertising, application, interview or as freelances. A Q&A was held at the end of wide range of theatre boards and as formal and South Bank Employers’ Group, South Bank in theatre more generally. By September 2013, and workshop. The team from The Deck by sharing our expertise and the event to gather feedback. Generally, those informal mentors. National Theatre Scotland, Partnership, South Bank Forum, South Bank nine apprentices and trainees were in post across put together NT Talent, an in-house agency resources with emerging talent, who had taken part declared the event a positive Citizens’ Theatre Glasgow, Sydney Theatre and Bankside Cultural Quarter, South Bank seven departments: Technical Theatre (Lighting), promoting the Theatre’s talented Front of freelance artists and other theatre step in the right direction and all the casting and the , Dublin have benefited Business Watch, and the Waterloo Quarter Health and Safety, Sound, Props, IT Service House staff as musicians and entertainers for directors who took part met many actors whose from advice on literary commissioning and Business Improvement District. In February he Desk Support, Concrete Conservation (based in clients using the NT’s entertainment spaces. companies and providing work they did not know. It also opened up contractual terms. A member of the NT’s was elected Chair of the Neighbourhood Forum, Engineering, supported by the National Lottery appropriate levels of support other networks of contacts for future reference, casting department spent three months on the group charged with developing a Planning through the Heritage Lottery Fund as part of National Theatre Foundation across artistic and administrative both in terms of seeing work and sourcing secondment to Regent’s where Statement that, under the Localism Act, must the NT Future programme) and Development Richard Eyre, formerly Director of the National actors. One actor who attended the event has she cast Re-Imagined and be adopted as guidance for the Waterloo area. Events. All are supported by mentors from both Theatre (1988 – 97), became Chairman of the areas of theatre-making. We also already been employed in a show at the NT. was casting associate on Porgy and Bess. within their departments and from the wider NT National Theatre Foundation in November Developing People community, and regularly work together on a take responsibility for resourcing A relationship with Theatre Royal, Stratford 2013. The Foundation is an independent Building external relationships specifically designed TheatreWorks programme training and professional East began with the collaboration on 2013-14 saw a renewed focus on training charity, whose primary purpose is to support A strategic partnership between the National and development with the introduction aimed at developing their soft skills and thus the National Theatre and make benevolent performances of The Curious Incident of the development across the sector Theatre of China and the National Theatre of further apprenticeships. their employability and confidence. Training welfare grants to individuals closely associated Dog in the Night-Time for local students (see was announced as part of the Prime Minister’s is also run around coaching and feedback, and with it. In order to help support the health of (this is a major theme of the page 18). The NT Commercial Operations The Step Change programme, for early to trade delegation to China in December 2013. mentorship skills for existing staff members the UK theatre at large, the National Theatre and Catering team are currently working with mid-career professionals seeking to progress NT Future scheme which will In addition to a Chinese-language production who are involved with apprentices and trainees; has entered into a joint arrangement to create them on the development of their public or develop their careers in the performing arts, house freelance designers and of War Horse in autumn 2015 at the National we hope to offer more of this in the future. a new Education Endowment Fund within the spaces and commercial projects; and also with relaunched in May 2014 with a new structure Theatre of China’s theatre in Beijing and then Foundation; all unrestricted legacies directed theatre-makers). theatre company Fuel to advise on commercial designed to build regional relationships and In February 2014 Nell Allan, our original a tour across China, beginning in Shanghai, to the NT will in future go to the Foundation. and ticketing services for their new project for attract talented participants from across Technical Theatre apprentice, became the first the partnership will see an exchange of skills A regular income will finance both the NT’s summer 2014 in the neighbouring Doon Street the UK. Providing coaching, mentoring, person to reach the end of her apprenticeship. Sharing our Resources and expertise between the two theatres in areas education work and programmes for the car park, The Roof, for which we will run their masterclasses and experience-based learning, Having been supported in her transition to Building on our previous relationship with including technical production, marketing and development of the profession, for example bar. They have assisted with the recruitment and focusing predominantly on producing the outside world through working on her Punchdrunk, the National co-produced their education, as well as the possibility of creative bursaries, apprenticeships and training. of new managers for ; and management roles, Step Change expands CV, interview techniques and networking, she new London show The Drowned Man: A collaboration on future productions. Joey caused and for , helping to the range of opportunities for those hoping secured a fixed term contract at the St James’s Hollywood Fable, which opened in June 2013. his now customary sensation, appearing at a realise the potential of their new front of house to make a transition within or into the arts, Theatre, Victoria. Health and Safety trainee, As well as supporting the development of a lunch with David Cameron for 600 Chinese and space for which the NT wrote a business case especially those who are overlooked and Georga Costi, has been given a permanent business model for the production, the National British delegates in Shanghai. We were invited for a successful fundraising application last under-represented. Now in its sixth year, the position at the NT as a Safety Risk Assistant Theatre contributed a variety of resources, to visit China again in April 2014, in the first year. Informal advice has also been offered to programme’s key aim is to develop confident, and on completion of her traineeship will including box office and marketing support, instance by the British Council, to participate on their commercial options. experienced, daring and aware professionals continue her training and development under technical and production staff and resources, in the 2014 UK-China High Level People to who will strengthen the heart of the sector. the guidance of her colleagues. We have initiated and guidance and advice on areas including The NT provided administrative and marketing People Dialogue as an eye-catching example of a policy whereby ex-apprentices and trainees can planning, and front of house operations. 157,000 support to the by Step Change 2014-15 and 2016-17 will be run in creative collaboration between China and the continue to make use of the NT’s facilities for tickets have been sold for the production, selling tickets via the NT Box Office, and partnership with Bristol Old Vic; Live Theatre, UK. The signing of the agreement between the at least a year after their training is completed. which runs for a year until July 2014. also for Nesta’s ‘Future Fest’ at Shoreditch National Theatres of China and ; and The Lowry, Salford, Town Hall. We continue to provide IT and was witnessed by the co-chairs of the Dialogue, with additional support from the Ambassador In 2014-15 we will take on a specific Lighting At the end of 2013, the NT and Royal Box Office support to . Chinese Vice Premier Liu Yangdong and Jeremy Theatre Group, Paines Plough and Theatre apprentice (with Tower Hamlets College), Shakespeare Company casting departments Fairfield Halls, Arts Depot and Sadler’s Wells Hunt MP, Secretary of State for Health and the Royal, Stratford East. As well as helping to and a Sound trainee. We also intend to expand joined forces to organise an event specifically have joined the Arts Basket, a collective PM’s special envoy to the Dialogue. On this trip, recruit participants, these organisations have into Digital Drawing and Design, offering aimed at broadening their knowledge of deaf arrangement launched by the NT in 2012 Joey was photographed at the Great Wall. As our committed to supporting all elements of the an IT apprenticeship specialising in CAD and disabled actors, to try and ensure better with the Royal Albert Hall and Royal Opera partnership with the National Theatre of China programme: providing speakers for masterclasses, Drawing, whilst working with the Royal Opera representation of this community on our stages. House, which allows arts venues to combine develops we hope to be able to continue to engage hosting secondments and staff members House and West Thames College on a new Applications were invited from actors with forces in order to procure the most cost-effective with both the UK and Chinese governments as volunteering as mentors. In addition, residential apprenticeship in Wigs, Hair and Make-up. some training or professional experience via and clean energy and now has 12 members. an example of a successful UK creative export. masterclasses will be hosted at each of the three established deaf and disabled theatre companies In other areas, Commercial Operations holds partner organisations, with the final evaluation such as Graeae and Deafinitely Theatre, and We continue to provide HR advice to a number The Director of External Relationships and two recruitment drives a year (typically hiring session taking place at the National Theatre. through social media and an informal network of publicly funded theatres and some local Partnerships, John Langley, chaired the Visitor 30-40 people) which aim to be as inclusive of existing contacts. In early January and late charitable groups. Members of the Development Management Group of local companies, and accessible as possible to a wide variety

46 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 47 17% 18%

Sustainability 7%

11%

40% 7%

The NT keeps a constant eye on During the year the NT developed a new Financial Sustainability reduction of 25%. Income from commercial business model looking at the likelihood of transfers has significantly increased to offset Box Of ce at the NT sustainability and efficiency, The National achieved a break-even result continued reduction in government funding for the year reflecting strong ticket sales at its the impact of this real term cut and were 17% Box Of ce on tour, West End and International streamlining operations, and increased emphasis on fundraising and theatres on the South Bank, in the West End used in full to support activity at the NT. 18% NT Live other income streams. The model looks at likely Trading processes and practices to achieve and on tour as well as for NT Live, offset by After designations to the fund for capital, the 7% outcomes at three different operational levels Fundraising the best and fairest use of the abrupt closure of The Curious Incident of balance on unrestricted reserves is £2.7m. (aspirational, expected and a more conservative the Dog in the Night-Time after the collapse ACE grants The National maintains a balance between self our resources, both money outlook) over a three-year period. The model of the ceiling at the Apollo Theatre. 11% and people. will enable the Executive and Board to make generated income – box office, fundraising, informed business decisions while understanding The Development department raised £16.4m exploitation of National Theatre productions the risks and opportunities for the organisation for NT Future (including £7.7m from Arts in the UK and internationally, catering and 40% 7% and how this might affect the NT in the future. Council as the second tranche of their front of house trading – and public subsidy £17.5m grant), as well as £6.5m for revenue from (ACE). The NT Future redevelopment will bring a larger activity from individual giving, corporate building footprint and an increased volume of sponsorships and commercial promotion. activity. However, we will more than offset the Box Of ce at the NT costs by investing in energy-saving measures, Our current levels of activity are dependent on Box Of ce on tour, West End and International increasing self-generated revenue, improving the funding received from the Arts Council NT Live operations and finding efficiencies and savings. which in 2013-14 was £17.5m, in line with Set out Tradingbelow is a summary statement of income and expenditure. It combines the National’s unrestricted income and the previous year’s funding, and represented expenditureFundraising with short-term project expenditure funded by earmarked donations (restricted funds) and the element 17% of income. Since 2010-11 the grant has of the regular ACE grant which has been restricted to capital expenditure (£1.9m). It excludes NT Future income and expenditureACE grantswhich is treated as a long term project, as well as movements in any other long-term restricted funds. been cut by £2.1m – a real term cumulative

2014 2013 Income £m £m Box office at NT 18.3 18% 18.3 21% Box Office on tour, in the West End and Internationally 39.7 40% 30.8 35% NT Live 6.7 7% 2.4 3% Trading and other income 11.2 11% 11.1 13% Fundraising 6.5 7% 7.0 8% ACE grants 17.5 17% 17.5 20% Total 99.9 100% 87.1 100%

‘The words of

these bruised Expenditure yet resilient Production costs – NT South Bank 36.5 37% 36.0 43% young people Production costs – Touring, West End & International 36.7 38% 27.7 33% NT Learning, NT Live & Public Engagement 9.1 9% 6.8 8% tell us one Research 1.9 2% 1.6 2% story; the songs Trading 10.7 11% 9.4 11% they sing tell Fundraising 1.6 2% 1.5 2% another, and Irrecoverable VAT 0.8 1% 1.0 1% Governance 0.2 - 0.2 - help them Total 97.5 100% 84.2 100%

channel their The NT makes an annual transfer to the Buildings and Equipment Fund of £2.5m to fund routine capital blasted hearts.’ purchases. In 2012 –13 (prior year), an additional £1.7m was designated to this fund for the Shed. Lyn Gardner, The Guardian Net result after transfers - -

48 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 49 Sustainability continued

Production expenditure at the National Theatre The table below shows the five-year trend of attendances. and on tour represented 37% of total expenditure for the year which can be analysed as follows:

National Theatre paid 6% attendances (thousands) 2013/14 2012/13 2011/12 2010/11 2009/10

8% Olivier 364 342 353 355 364 30% Lyttelton 269 314 286 285 322

The Shed / Cottesloe 75 103 108 104 98 14% West End 807 705 630 408 398

UK Touring 392 97 63 79 56

International Touring 869 770 - 2 38

Other 3 16 8 - - 21% 21% Total 2,779 2,347 1,448 1,233 1,276

NT Attendance as % of capacity 86% 90% 90% 92% 90% Performance running Actors and Musicians Production build Number of performances: 2013/14 2012/13 2011/12 2010/11 2009/10 Planning and direction Olivier 339 339 357 343 384 Writers, Directors and Designers Touring Lyttelton 360 394 391 373 393

The Shed / Cottesloe 369 325 368 373 355 A further 38% of expenditure was for commercial productions in the West End and on tour West End 1,005 409 421 414 414 both internationally and in the UK. UK Touring 251 96 70 98 70

International Touring 727 476 - 2 15

Other 98 61 50 - -

Total 3,149 2,100 1,657 1,603 1,631 A full Financial Review and Financial Statements for 2013-14 is available and can be downloaded from www.nationaltheatre.org.uk/annualreport

50 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 51 Sustainability continued 66,815kg food waste composted Environmental Sustainability

The NT recognises that, as one The NT has a zero-to-landfill policy which means technology of the Thermal Storage Vessels. everything is reused. General waste is taken by Running the CHP for the last two seasons of the world’s major production barge along the Thames to an energy-from-waste has enabled us to fine-tune the control theatre companies, its activities facility where it is incinerated and the energy strategy, achieving optimum efficiency. generated put back into the National Grid. have significant environmental Original light fittings in the Lyttelton and impact, which it has a Over the past year, the collected recycling Olivier Theatres have been retro-fitted to accept helped to save 270,630kg of CO2 emissions new LED technology; this will realise long responsibility to minimise. and the equivalent of 767 trees. 574 meals were term reductions in energy consumption, with The NT has exceeded its primary provided to vulnerable people through the more immediate savings in maintenance costs. objective of increasing recycling FareShare scheme. Food waste is taken to an This year has also seen investment in the water anaerobic digester and turned into agricultural distribution throughout the building, replacing up to 65%, achieving a recycling fertiliser and biogas, a renewable energy supply our main pumps with a more efficient design rate of 71% in the past year. that has helped power 5,000 houses in the UK and upgrading the two ageing, galvanised per month. In total the recycling collected 9,000-gallon storage tanks with a modern from the NT has reached 563,333kg. Glass Reinforced Plastic (GRP) construction. Further improvements in energy efficiency will The Combined Heat and Power Plant (CHP), be achieved as a result of the NT Future works. installed as a significant element of the NT’s 71% Environmental Master Plan, is now fully Average recycling rate operational. This year the CHP has been combined with the Absorption Chiller to cool areas of the building, using the innovative

52 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 53 ‘The Shed has landed. Fundraising It’s one of the theatrical events of the year… This is a building that opens your heart before you get into the auditorium. It’s a building In our 50th Anniversary year, the support given for NT core activities that enables invention.’ by individual donors, companies, trusts and foundations amounted to Susannah Clapp, Observer £6.5m. This sum is in addition to the funds raised for NT Future, which are detailed separately.

Individuals activity with schools in and for The Light Princess. The Sidney E Frank Individual giving has increased every year for the Fulham. This was our third year as one of the Foundation continued their generous support last five years, with funds received in 2013-14 J.P. Morgan Series Partners (along with of our archive and digital work by supporting reaching £3.3m. This is due to the growth in the Southbank Centre and National Portrait a special digital broadcast project around the number of supporters who have joined at all Gallery); and the costs of our productions were the National Theatre’s 50th anniversary. eased thanks to flight partner, American Airlines levels of the Individual membership ladder. At We would like to express our gratitude to and contemporary partner, Hugo Boss. entry level, we now have over 12,000 Priority the very many people and organisations that members who collectively have contributed over During the year we welcomed Julius Baer have helped us, by recognising them in the £0.9m this year; while at our top membership as the headline sponsor of King Lear, their following pages. Their support is invaluable levels, we have 112 Olivier and Chairman’s first sponsorship at the National Theatre; and we are immensely grateful for their Circle members. Our Young Patron scheme and we secured the support of Radisson continuing commitment and for the many ways is flourishing with the support of a very active Blu Edwardian London, who became the in which they enable and enrich our work. and engaged committee, and contributed National Theatre’s Official Hotel Partner. £70,000. Recently we introduced a Young Patron Ambassador level and now have 19 young Trusts and Foundations members each giving £1,000 annually. The Board Over £470,000 came from Trusts and of the American Associates of the National Foundations, who contributed towards a Theatre has yet again been able to make a very wide range of projects. Significant grants were significant grant to the NT. received from The Ingram Trust, The Archie Sherman Charitable Trust and the Mohamed Companies S. Farsi Foundation for our work in primary Our revenue from Companies was lower than schools, and from the John Lyon’s Charity last year at £2.8m, since this was the last year of for a new secondary schools project. We are our multi-year agreement with both Accenture, most grateful for the continued support of our partner for Innovation, and with Aviva, our The Paul Hamlyn Foundation towards Young partner for National Theatre Live. Finding new Studio and The Dorset Foundation towards partners to work with us in these areas is vital. our touring Learning work around War Horse in the UK. We were delighted to see growth Travelex continues to support the National in our apprenticeships scheme with support Theatre with the low-cost ticket seasons (£12 from The Eranda Foundation and The Harold in 2013-14, £15 in 2014-15) and has been Hyam Wingate Trust towards our Events and doing so now for 11 years. In an extension of Props Apprentices, respectively. The Leverhulme our Preferred Card Partnership, American Trust has continued its generous support of Express sponsored the return of Propstore and the NT Studio by committing to support increased their sponsorship to embrace the NT’s emerging artists across a range of art-forms. shows in the West End – Curious Incident, Wa r Horse and One Man, Two Guvnors – as part of a From America we received the generous support season of summer activity. Our new partnership of the Laura Pels International Foundation with Bank of America Merrill Lynch extends for Theater for our production ofThe Amen beyond NT Future to include support for our Corner and from the Edgerton Foundation apprenticeship programme and our ongoing commitment to environmental sustainability. We deepened our relationship with Neptune Investment Management who, as well as being partner for The Shed, supported NT Learning

54 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 55 Supporters

NT Future Major Gifts Russ & Linda Carr Individual Giving Lawton W Fitt & James throughout campaign Terri & Timothy Childs Annual Support April I McLaren Foundation to May 2014 Michael & Susan Clasper 2013 – March 2014 Barry & Penny Francis Lin & Ken Craig & the Aloisia Jason Gatenby Arts Council England Major Gifts The Dorfman Foundation Hofmann Charitable Trust Robin Geffen Mick & Barbara Davis Alta Advisors Richard & Kara Gnodde American Associates of the Liz & Simon Dingemans Arête Foundation / Betsy & Anna & Ralph Goldenberg National Theatre Shawn M Donnelley & Ed Cohen Lydia & Manfred Gorvy Bruce & Suzie Kovner Christopher M Kelly Keith & Helen Bolderson Chris & Angela Graham The Monument Trust Lawton W Fitt & James I McLaren Sir Trevor & Lady Chinn Kate Groes The Garfield Weston Foundation Barbara G Fleischman Ian & Caroline Cormack Clare Groom The Clore Duffield Foundation J Paul Getty Jr Charitable Trust Liz & Simon Dingemans Susan Harbour Heritage Lottery Fund Anna & Ralph Goldenberg Sir Harry & Lady Djanogly Susan & Richard Hayden The Rayne Foundation Kate & Arne Groes Beth & Gary Glynn Ms Frances Hellman & The Royal National Linda & Tony Hill Clive & Sally Sherling Mr Warren Breslau Theatre Foundation Madeleine Hodgkin Edgar & Judith Wallner Linda & Tony Hill The Dr Mortimer and Theresa Sue Howes & Greg Dyke Guy & Charlotte Weston Madeleine Hodgkin Sackler Foundation Maxine Isaacs Jacqueline & Richard Worswick Cathy MacNeil Hollinger Luce & Jean-Charles Julien & Mark Hollinger Clive & Sally Sherling Mr & Mrs Robert Ian MacDonald Olivier Circle Clare & Bernard Horn The Wolfson Foundation Ian & Beth Mill Eric Abraham & Sigrid Rausing Sue Howes & Greg Dyke Bank of America Merrill Lynch Mirisch and Lebenheim Celia & Edward Atkin CBE Mrs Luce Julien The Badenoch Trust Charitable Foundation Penny & Bill Bardel Mr & Mrs Jack Keenan Christine Collins Nicola & Harold Pasha Graham & Joanna Barker Bruce & Suzie Kovner The Foyle Foundation Philips Ginny & Humphrey Battcock Rocco & Debby Landesman The Ingram Trust Francesca Robinson Alex Beard & Emma Vernetti John Makinson The Thompson Family Miss Dasha Shenkman Tony & Gisela Bloom Selina & David Marks Charitable Trust Jay & Deanie Stein Simon & Sally Borrows Ian & Beth Mill The Harold & Mimi Steinberg Neil & Sarah Brener Mirisch and Lebenheim Charitable Celia & Edward Atkin CBE Charitable Trust James & Debby Brice Foundation Graham & Joanna Barker Hugh & Catherine Stevenson Barbara Broccoli OBE Malcolm & Elizabeth Offord Ginny & Humphrey Battcock Monica G-S & Ali E Wambold Mrs J A Brodie The O’Grady Foundation Simon & Sally Borrows Steven & Bonnie Ward Mr & Mrs L L Browning, Jr Dalip & Chandrika Pathak The Deborah Loeb Marcia B Whitaker Mr John Burbank & Ms Jordan Laura Pels Brice Foundation George & Patricia White Cook Sara & Paul Phillips Sir Trevor & Lady Chinn Russ & Linda Carr The David & Elaine Potter Roscoe Crabbe Dominic & Nancy Casserley Dominic & Nancy Casserley Foundation The Dorset Foundation Russell & Monkey Chambers Terri & Timothy Childs Francesca Robinson Glenn & Phyllida Earle CHK Charities Limited The Cielinski Family Michael Rose & Roz Rosenblatt Lydia & Manfred Gorvy The City Bridge Trust Michael & Susan Clasper The Ruddock Foundation The Hintze Family Tim & Caroline Clark Veronica Cohen for the Arts Charitable Foundation The Mark Krueger Charitable Trust Christine Collins Sir Robin & Lady Saxby John Makinson Stephanie & Carter McClelland Lin & Ken Craig & the Aloisia Jon & NoraLee Sedmak Susie & Stelio Stefanou Jeff & Liz Peek Hofmann Charitable Trust Mrs Carol Sellars Leila & Mickey Straus Michael & Melanie Sherwood The Cranshaw Corporation David & Sophie Shalit Sir Siegmund Warburg’s and 1 anonymous donor Scott Delman Richard Sharp Voluntary Settlement The National Theatre is also Polly Devlin OBE Miss Dasha Shenkman Jacqueline & Richard Worswick grateful for the generous support Shawn M Donnelley & Michael & Melanie Sherwood and 1 anonymous donor of members of the Royal National Christopher M Kelly David & Alison Slade Penny & Bill Bardel Theatre Board and the Board Sarah & Lloyd Dorfman Peter & Esther Smedvig Alex Beard & Emma Vernetti of the American Associates Glenn & Phyllida Earle Mr George Soros Tony & Gisela Bloom of the National Theatre Peter & Leanda Englander Neil & Sarah Brener

56 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 57 Supporters continued

Susie & Stelio Stefanou Edward Dolan-Abrahams Mark J & Elizabeth L Sir Patrick Sergeant Sir Maurice & Lady Hatter Alan & Betsy Cohn Mr & Mrs T Krumland Anne Sweetbaum Jay & Deanie Stein Justin & Emma Dowley Kogan Charitable Fund Miss Dasha Shenkman Mrs Caroline Hoare Gill & Garf Collins Ms Jolana Leinson Lady Juliet Tadgell Leila & Mickey Straus James & Elizabeth Downing Bruce & Suzie Kovner Mr & Mrs William Shenkman Maxine Isaacs Mr & Mrs Leigh Collins Jacqueline & Marc Leland Hilary Till Max & Joy Ulfane Dame Vivien Duffield DBE The Mark Krueger Charitable Fund Clive & Sally Sherling Philip Kingsley Mr & Mrs Paul Collins Sarah Le May Laura & Barry Townsley Steven & Bonnie Ward Robyn Durie Jon & Mary Leadbetter Lois Sieff OBE Roger & Jane Kirby Douglas S Cramer Mrs Sahra T Lese Melissa Ulfane Charlotte & Simon Warshaw David Dutton Kenneth & Melissa Leet Rita & Paul Skinner Paul & Nicolette Kirkby Dr Neil Cross Fred M Levin & Nancy Livingston Lady Patricia Varney Ian & Victoria Watson Glenn & Phyllida Earle Mr A Lenson Jay & Deanie Stein Stephanie & Carter McClelland Mr & Mrs Cullman Mark & Sophie Lewisohn Ed & Carol Victor Marcia B Whitaker Ambassador & Mrs Edward E Lady Lever Joan Steinberg Ian & Carolyn MacKenzie Sir Howard Davies Jane E Livesey Mary Wallach George & Patricia White Elson Sir Stuart & Lady Lipton Hugh & Catherine Stevenson Margie Markwick Mrs Josephine Dean Graham & Eileen Lockwood Mr Gene Zuriff & Maxine White Jane M & Howard D Epstein Thomas Lynch Leila & Mickey Straus Tim & Juliet Medforth John & Catherine Debs Rachel Lomax Ms Sherry Jacobson Sir Robert & Lady Wilson Mr Joey Esfandi Edward McKinley & Mr John J Studzinski CBE David & Sue Morley Martin & Marian Denny John & Celine Lowrey and 4 anonymous donors Anna Wintour John & Jill Fairchild Kathleen Lavidge Mr Ian Taylor John & Caroline Nelson Mr & Mrs R DeScherer John & Bridget Macaskill Dr & Mrs Gerald Woolfson John & Tawna Farmer Justin & Jill Manson Mr Eric Tomsett Sabine Notz Catsiapis Edmund & Fiona Dilger Dr Sarah McGinty Patrons George & Moira Yip Mr & Mrs Stuart Fiertz Selina & David Marks Jan & Michael Topham Andrew & Jane Onslow Dr Elza Eapen & Dr Govindasamy Gill Macleod Brian Abbs and 4 anonymous donors Maureen & Allan Fisher Judy Marshall Jonathan Tyler Enid Oppenheim Balachandran Donald Main Dame Jennifer Abramsky Lawton W Fitt & James I McLaren Patrick Mears Mr & Mrs Max Ulfane Ms Suzanne Peck Abby Edwards Dr John H Makin & Ms Acacia Charitable Trust Life Benefactors Foundation The Mirisch & Lebenheim The Ury Trust Jeff & Liz Peek Sir Vernon & Lady Ellis Gwendolyn van Paasschen ACT IV Eric Abraham & Sigrid Rausing Emily & Alex Fletcher Charitable Foundation Edgar & Judith Wallner Oliver & Helen Prenn Mrs Maureen Elton Ms Claudine B Malone Meg Addison & Irwin Access Industries Clara & Michael Freeman Carol Mitchell Monica G-S & Ali E Wambold Elihu & Susan Rose Roger & Jane Formby Ian & Serrie Meakins Charles Ferry Irwin & Mary Ackerman Daniel & Joanna Friel Mr Miles Morland Ian & Victoria Watson Jon & Susan Rotenstreich The Edwin Fox Foundation Brenda Meldrum James & Esthy Adler Jonathan & Marie-Claire Agnew Jacqueline & Michael Gee Debbie Morris Jeffrey Weingarten Salomon Oppenheimer Ian & Margaret Frost Gabriela Mendoza Mr Harry Allan Charitable Trust Mr & Mrs George Newell Guy & Charlotte Weston Philanthropic Foundation Andrew Galloway Joyce Menschel Mr & Mrs Richard Allan Celia & Edward Atkin CBE Jill & Jack Gerber Mr & Mrs Jim Nicol Mrs Mary Weston Louisa Service OBE Peter & Barbara Georgescu John & Susan Michaelson Tim Allan & Carey Scott Royce & Rotha Bell Mrs Juliet Gibbs Robert & Jane Norbury Susan Wilen Mr & Mrs Paul Sonabend Jacqueline & Jonathan Gestetner Simon Millson Roger & Angela Allen Ron Beller & Jennifer Moses Beth & Gary Glynn The O’Grady Foundation Rachel & Anthony Williams Joan Steinberg Piers & Melanie Gibson Mr & Mrs A Mosawi Joan & Robin Alvarez Jody Locker Berger Michael Godbee Georgia Oetker The Stuart & Hilary Gwen Thornley Bruce Golden & Michelle Mercer Philip Noel Mrs Catherine Armitage Tony & Gisela Bloom Lydia & Manfred Gorvy Gregory & Susan Palm Williams Foundation N’Gunu Tiny Lady Shauna Gosling Luke & Kate Nunneley Aspect Charitable Trust Keith & Helen Bolderson Nick & Julie Gould Simon & Carolyn Parker Bowles Sir Robert & Lady Wilson Mrs Diana Venison Mr & Mrs Edward Greene Vincent O’Brien Edward & Amanda Astle Benjamin Bonas CBE Barrie & Catherine Pearson Dr & Mrs Gerald Woolfson Gerry Wakelin Jamie & Marritje Greene Maria O’Donoghue James Astor Ms Katie Bradford Mrs Catherine Graham Elizabeth & Daniel Peltz and 16 anonymous donors Susan Wilen Mrs Kate Grimond Mark & Amanda Otway Annette Atkins & Thomas Joyce Ivor Braka Ltd David R Graham Mark Pigott KBE James D Zirin Charles & Kaaren Hale Midge & Simon Palley Denise Augar Neil & Sarah Brener Evelyn & David Green The David & Elaine Potter Benefactors and 4 anonymous donors Richard H Harding Michael & Mary Parkinson Professor John & Carolyn Axford The Deborah Loeb Brice Gabrielle, Lady Greenbury Foundation Helen & Bob Appel Pamela, Lady Harlech Ms Judy Peck John Ayton Foundation Jill Hackel & Andrzej Zarzycki Oliver & Helen Prenn Jack & Ian Archer-Watters Premier Patrons Mark Heappey & Anne Markland Anne & Barry Pinson Mr & Mrs Lawrence Banks Jonathan Brooks & Clare Laffin Katherine Hallgarten Quercus Trust Susan Baker & Michael Lynch Mrs Margot Adams Helen Lee Henderson Peggy & John Pirovano John Barker Russ & Linda Carr Dr Martin Halusa Sue & David Ramsbotham R Derek & Bonnie Bandeen Mr Stephen Allcock The Lady Heseltine The Porter Foundation Switzerland Mr & Mrs John Barkshire Camilla Cazalet The Philip & Pauline Harris Mr H K Rausing Linda Beecham Mr Jeremy Asher Angela Howard & the late Gail, Robert & Ian Reichert Mr Keith Barnett Terri & Timothy Childs Charitable Trust Stephen & Monica Richardson Peter & Ali Bennett-Jones Attias Family Foundation David Gestetner Greg & Karen Reid Ray Barrell & Ursula van Almsick Sir Trevor & Lady Chinn Susan & Richard Hayden Sir Simon & Lady Robertson Norman S Benzaquen & Judy Sir John & Lady Baker Chris & Carolyn Hughes Mrs Clare Rich Anne J Barsh Janet M Christensen Morven & Michael Heller Ruth Robinson Francis Zankel Henry C Beck, Jr Charitable Melvyn & Diane Hughes Mr Robert Rooney Stephen Bartlett Myoung-Cheul Chung The Hintze Family Charitable The Roddick Foundation Tania & Keith Black Lead Trust Liz & Peter Huhne Jonathan Ross Mrs Gwendoline Baxter Dr David Cohen CBE Foundation Bianca & Stuart Roden Mr Philip Bowman Sir David & Lady Bell Al & Denise Hurley William & Julie Ryan Peter Bazalgette & Hilary Newiss Sir Ronald & Lady Cohen David Hobbs Michael Rose & Roz Rosenblatt Mr Peter Brown William Benjamin & Jill Kowal William & Weslie Janeway Betsy & Jack Ryan Mrs Arlene Beare Veronica Cohen Dr & Mrs Alan J Horan Jeffrey A & Marjorie G Rosen Lord Browne of Madingley Mr & Mrs Michael Bienes Mr James Libson & Dr Joseph Sassoon Mr Ernest G Beaumont Ian & Caroline Cormack Clare & Bernard Horn The Michael Harry Sacher Sandra Carlisle & Angus Carlill Cathie Black & Tom Harvey Ms Anne Joseph Phil Scaturro James & Caroline Beery Sidney & Elizabeth Corob Nita Jackson Charitable Trust Marty & Michele Cohen Susan Bloomberg Douglas Kennedy Sir David & Lady Scholey Sarah Bell Lin & Ken Craig & the Aloisia Lord & Lady Jacobs Theresa Sackler Guy & Lucy Davison Edward & Victoria Bonham Carter Ms Nicola J Kerr Mr Robert A Silver J & A Bénard Hofmann Charitable Trust Joseph & Jill Karaviotis Anya & John Sainsbury Alyce Faye Eichelberger-Cleese Mark & Susan Bradley John Kinder Mrs Kate Sloane Mr Michael Bennett Lord Dalmeny Mr & Mrs Jack Keenan Yusuf & Fawzia Samad Barbara G Fleischman Simon Burgess Rupert & Alice King Patricia & David Smalley Phil & Lisa Bennett David Day Mathilda & Terence Kennedy Jon & NoraLee Sedmak Emily & Alex Fletcher Sir Peter & Lady Cazalet Christopher Kneale Helen & Anthony Spiro The Bertie Black Foundation Jose & David Dent Charitable Trust Mrs Carol Sellars Uri & Angela Greenwood Louis & Bonnie Cohen The Kowitz Family Foundation Judy & Michael Steinhardt Sam & Rosie Berwick Sir Harry & Lady Djanogly Gillian & Vimal Khosla Mrs Themy Herbert Kretzmer OBE Oliver & Sally Stocken Dr Kate Best

58 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 59 Supporters continued

Robin & Veronica Bidwell Sir Roger & Lady De Haan Carolyn Gray Mrs Wendy Birkby The de Laszlo Foundation Lesley Gregory Martin Blackburn Mrs Anne De Pinna John & Ann Grieves Peter Blake-Turner Conrad Dehn QC Richard & Odile Grogan Mr & Mrs Charlie Bott Peter & Marian Dell Karen Groos John & Jean Botts Mrs Yvonne Destribats Byron Grote & Susan Miller Mr Thomas Brezina Dr & Mrs C J Dilloway Clifford & Sooozee Gundle Mr & Mrs R L Bristow Leslie Dubow Robert & Diana Guy Mrs Sarah Britton Ann & Henry Ebner Jan & Michelle Hagemeier Lord & Lady Brown of Arnold & Greta Edward Ros & Alan Haigh Eaton-under-Heywood Jeremy Edwards William Haining Damon & Deborah Buffini Frederick & Diana Elghanayan Mark & Moira Hamlin John & Ruth Bullock Symon Elliott Caroline Hansberry John & Susan Burns Stacey & Tessa Ellis David & Claudia Harding Joan Burstein CBE Peter & Barbara Elliston Sir Michael & Lady Harrison Mr Philip Buscombe Don Ellwood & Sandra Johnigan Maureen & Derek Harte Helena Butler Sarah & Louis Elson Mrs Dorothy G Harza Keith & Pamela Butler-Wheelhouse Mrs Alexandra Emmerson Mr Samuel A Haubold Martin Byman & Margaret Samson Mr Stuart Errington Dr Gordon Hay Georgia Byng Davide Erro Marc Hayton Andrew Cameron Mrs Eliane Fattal Helen Lee Henderson Miss Sarah Caplin David Fein Alan Herdman Michael Carpenter Lord Feldman Malcolm Herring Ms Susan Carpenter Dorothy Field Mrs Coreen R Hester Sir Roger & Lady Carr Mrs Hilary Finer Tim & Pippa Hincks Douglas & Joan Carter Claire Fisher Soo & Jonathan Hitchin Jason & Belinda Chaffer Tony Fisher Andrew Hochhauser Richard Clark Mr & Mrs William Fisher Rodney & Zmira Hornstein Tim & Caroline Clark Mr & Mrs Mortimer Fleishhacker Jane Hurt Michael & Susan Clasper Susan Fletcher Graham Hutton Adam Cleal The Gerald Fogel Charitable Trust John D Hyatt Thea Cleminshaw Helen Freeman Robin & Inge Hyman Daniel & Cornelia Clifford Adam & Victoria Freudenheim Richard & Rosie Hytner James & Maggie Cochrane Arnold Fulton Roda Infield The Denise Cohen Charitable Trust Mr Jonathan Gaisman Simon & Sally Jackson Michael & Arlene Cohrs Paul Gambaccini Barbara Johnson Mr John Coldman Johanna Garfield Mary Ellen Johnson & Geoffrey Collens Ms Lucy Garrett Richard Goeltz Ms V I Comba Brian Garrison Alan Jones Andrew & Polly Congreve North Street Trust Nicholas & Cherry Jones Carole & Neville Conrad Hon William & Lori Gibson Paul Kafka Kay Ellen Consolver Jon Gilmartin Ralph & Patricia Kanter Ricki & Robert Conway John & Indrani Gleave David Kaskel & Christopher Teano Mrs Jennifer Coombs Daniel Godfrey Donovan Kelly & Ann Wood Mark & Rebecca Coombs Mrs M C Godwin John & Jenny Kelly Dorothy Cory-Wright Mrs Carolyn Goldbart Mrs Helene Kessler Ms Sophie Coumantaros Emma Gomme David Killick Ms Elizabeth Crosoer Val Gooding & Crawford Neil King Mr T A R Curran Macdonald Steve Kingshott Deborah David & Paul & Kay Goswell Baroness Denise Kingsmill CBE Norman A Kurland Sarah Gough Mrs Frances Kirsh Mr & Mrs Jonathan Davie Dr Zoe Graham James Klosty Mr & Mrs Ian Hay Davison Margaret & Arthur Grandy

60 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 61 Supporters continued

Bill & Stephanie Knight Costas Michaelides & John Anthony & Ann Regan Judy & David Stewart Young Patron Julius Baer Precedent St Olave’s Foundation Fund David Knox Soderquist Christopher Marek Rencki Olive & Michael Stone Ambassadors J.P. Morgan Reed Elsevier Old Possum’s Practical Trust David & Linda Lakhdhir Nick & Suzie Miles Joyce Reuben Siân Stonehill Neptune Investment Management Regatta Ltd The Schneer Foundation Poppy & Ross Allonby Mr David Lanch Barbara Minto His Honour Michael Rich QC Sue & Stuart Stradling Philips Rio Tinto The Sobell Foundation Nicola Blake Martha Lane Fox Ashley & Elizabeth Mitchell Philip & Sarah Richards Andrew & Laura Sukawaty Radisson Blu Edwardian The Rose Foundation The Topinambour Trust Francesco Ciardi Steven Larcombe & Sonya The Lowy Mitchell Foundation Dennis Robins Sir John & Lady Sunderland Santander UK plc The Transformation Trust Joshua Davis Leydecker Mrs Barbara Modiano Mrs Lesley Robins Mrs Ann Susman National Theatre Education is Slaughter and May The Constance Travis Saul Doctor Mrs Rosanna Laurence Dr Donald Moir Caroline Roboh Robert & Patricia Swannell supported by Goldman Sachs Smith & Williamson Charitable Trust Charles Dorfman Nicola Leach Sir Mark Moody-Stuart Mr David Rocklin Richard Szpiro Societe Generale The Vandervell Foundation Virginia Garcia Esteban Sir Terry Leahy Peter Moran Kristina Rogge Bernard & Nadine Taylor Premium Members The Stanley Foundation The Harold Hyam Wingate William Gilpin Mark Lee Barbara Morgan Mr & Mrs Kenneth Rokison Eileen J Taylor Linklaters LLP Tesco plc Foundation Matthew Hayday Joanna Le Grice David & Sue Morley Sir John & Lady Rose Mr & Mrs Russell W Taylor UBS Unilever plc and 1 anonymous donor Lucy Loveday J Leon Charity Fund Mr & Mrs M D Moross Tim Rosenberg Ms Chantal Thompson G3 Zurich Insurance plc Sheryl Needham Mr & Mrs B Lesslie Gary Morris & Robert Mr & Mrs Harvey Rosenblatt Tony & Valerie Thompson American Associates James Nicola Sara Levene Venables QC Sue & Tony Rosner Henry Timnick Platinum Members Trusts & Foundation of the NT Sinead Ni Mhuircheartaigh Dr Mark Levesley Mr & Mrs Morrison Mr P M Roth Miklos Toth American Airlines – Annual Revenue Veronica Rivera & Will Sherling AANT Board Members Colette & Peter Levy Pat Morton Mr David Royds Mr & Mrs John C Tucker Bloomberg LP Support April 2013- Aliceson Robinson Leila Maw Straus, Chair Marc Lewell Gerald Moss Anthony Rudd Christopher & Julia Tugendhat BNP Paribas March 2014 April Robinson William G Bardel Mrs Lynn Lewis Jacqueline Mountain William & Hillary Russell Mrs Margaret K B Turner Cisco Bryan Taylor Major Trusts & Peter Brown Sir Gavin & Dr Naomi Lightman Randi Glass Murray Bonnie Sacerdote Jonathan Tyler Corbis Images Ian Tollett Foundations Timothy Childs Sam & Pam Lipfriend Mr & Mrs Peter Murray-Smith John & Jeremy Sacher Marina Vaizey and Lisa Valk The Band Trust Shawn M Donnelley Sir Sydney Lipworth QC & Lady Dr Ann Naylor Charitable Trust Debra Valentine General Trust plc Sam & Sally Munday-Webb The Behrens Foundation Alyce Faye Eichelberger-Cleese Lipworth CBE Stanley Newman & Dr Pushpinder Saini Peter Ventress Delta Airlines and 2 anonymous donors Columbia Foundation Lawton W Fitt Mrs Georgina Liverpool Brian Rosenthal Anthony & Sally Salz Mr & Mrs Eric Vezie GlaxoSmithKline The Dorset Foundation Barbara Fleischman Lady Lloyd of Berwick Andrew & Sue Nichols Ruth & Brian Sandelson Frank & Emily Vogl The National is also grateful for Goldman Sachs Edgerton Foundation Maxine Isaacs John Lockyer & Jane Creasey Sarah Nichols Michael Sayers QC Gary von Lehmden the support of our Supporting Pearson plc Sidney E Frank Foundation Suzie Kovner Victor & Marilyn Lownes Sir Charles & Lady Nunneley Michael & Beth Schneider Tim & Nadine Waddell Cast, Young Patrons, Priority Prudential plc Paul Hamlyn Foundation Debby Landesman Angela & Michael Lynch David C Olstein Mr & Mrs Richard J Schwartz Christopher Wade and Priority Plus Members Shell The Ingram Trust Jeanne Linnes Mrs Lesley Jane Lynn Sandy & Caroline Orr Rod & Sarah Selkirk Mr & Mrs Jeffrey Walker Smiths Group plc The Leverhulme Trust Lady Lyall Grant Mrs Felicity Lyons Sir Peter Osborne Eileen Serbutt Sally Warner Legacies Standard Chartered Bank John Lyon’s Charity Stephanie McClelland John Stuart Macara Mrs Kathrine Palmer Mr & Mrs Mark Shanker Denie & Frank Weil April 2013-March 2014 Mulberry Trust Carolyn MacDonald Ginny Macbeth Lord & Lady Pannick Ellen & Dan Shapiro Mr Nicholas Wells Gold Members Margaret Flatman The Laura Pels International Jeffrey Peek Gordon & Dena McCallum Tim Parker Philip & Rebecca Shelley Geoff Westmore Bartle Bogle Hegarty Norah Elizabeth Gilchrist Foundation for Theater Laura Pels Hugh MacDougald Carolyn & David Pascall CBE Linda & Stephen Simpson Mrs Ailsa White Bruntwood Phyllis Margaret Hammond Quercus Trust David Smalley David McGibney Mr R H C Pattison The Mike & Janet Graham & Sue White Cantate Moira Hearn The Rose Foundation Jay Stein Alistair Mackinnon-Musson Kristin M Paulus Slosberg Foundation Mrs Reba White Williams Carey Group plc Jean Holmes Archie Sherman Charitable Trust Joan Steinberg Ian McVeigh Countess Cosima Pavoncelli Mr Francis D Small Mr & Mrs Brian M Wides Storm Garrett Kelly Clifford Chance Monica Wambold Charles & Nicola Manby Oliver & Emma Pawle Christopher & Ingeborg Mary Willett Margaret Lowy CQS Trusts & Foundations Lady Westmacott Dr Anna Mann Gareth & Ginny Pearce Smallwood Ann Williams DAC Beachcroft Susan Wilen June Pike The E Dennis Armstrong Trust The Maplescombe Trust Gordon & Marian Pell Mr & Mrs R A H Smart Peter Williams Equity Invest Deryck Thornley Bill Belk Paul & Paula Marber Christina & Ben Perry Brian D Smith Marilyn & Geoffrey Wilson Finsbury Ltd Honorary Council The Chapman Charitable Trust David M Marks QC Roger & Virginia Phillimore John & Ann Smith Mr & Mrs Michael Wilson Corporate Support Forsters LLP Terri Childs The D’Oyly Carte Charitable Trust Mr & Mrs Jonathan Marks William Pidduck Tessa Smith Henry & Louise Windeler Cohen April 2013 – March 2014 Arthur J Gallagher Suzanne Elson The Gilbert and Eileen Edgar Lady Medina Marks Mr David Pike Sir Harry & Lady Solomon Richard & Susan Wolff KPMG LLP Richard Harding Partners Foundation Julian & Camilla Mash Andrew Pitt Stephen & Connie Spahn David & Vivienne Woolf Lazard Elliott F Kulick The Eranda Foundation Victoria Mather William Plapinger & Cassie Murray Janna Spark & Iko Meshoulam David Wormsley Travelex Lubbock Fine John Makinson Mohamed S Farsi Foundation Richard & Lara Max Pat & John Porter Ms Francesca Stanfill Nye Ms Cynthia Wu Accenture Macfarlanes LLP Stafford Matthews The Golden Bottle Trust Cornelius Medvei Jack & Noreen Poulson Mr & Mrs Don Starr David & Barbara Zalaznick American Airlines Markson Pianos Sir Deryck Maughan The Goldsmiths’ Company Charity David & Wendy Meller William Powar Mike Staunton Stephen & Laura Zimmerman American Express Moore Stephens LLP Lady Sheinwald Milton Grundy Foundation Sandy & Ed Meyer Andrew Powrie Alan & Ruth Stein Mr & Mrs Keith Zerdin Aviva Nyman Libson Paul Heritage of London Trust The National Theatre wishes Sue Meynell Mr & Mrs Michael Pragnell Gayfryd Steinberg and 38 anonymous donors Bank of America Merrill Lynch Penningtons Manches Jill & David Leuw to acknowledge its partner Mrs Kathryn Michael Mrs Marie Prutton Kathryn Steinberg Corbis Images Solicitors LLP Newcomen Collett Foundation National Angels Limited. David & Hilmary Quarmby George & Elizabeth Stevens Hugo Boss Pentland Group plc

62 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 63 Performers 2013–14

The Acting Company Tom Brennan Natalie Dew CJ Johnson Éva Magyar Eric Kofi Abrefa Michael Brett Sacha Dhawan Luke Johnson Katherine Manners Ben Addis Kevin Brewis Christopher Dickins Bettrys Jones Simon Manyonda Tobi Adetunji Audrey Brisson Drew Dillon Jesse Jones David Mara Kate Adler Stephanie Bron Hasan Dixon Ibrahim Kanu Naana Agyei-Ampadu To m Br o o ke Jo Dockery Scott Karim Nadine Marshall Aidarus Aidid Lorna Brown James Doherty Richard Katz Nathaniel Martello-White Mel Aigbogun Miquel Brown Reece Donn Charles Kay Abigail Matthews Holly Aird Gillian Budd James Donovan Rory Keenan Sinéad Matthews Gareth Aled Ian Burfield Amanda Drew Chris Kelham Anna Maxwell Martin Geraldine Alexander Kirsty Bushell Patrick Driver Dean Lennox Kelly Jesse Meadows Sam Alexander Rob Drummond Louise Kempton Dogan Mehmet Esh Alladi Dan Canham Patrick Drury Ella Kenion Roger Allam David Carr Jonathan Dryden Taylor Jamie Kenna Tom Meredith Nigel Allen Evie Carricker Jacqui Dubois Billy Kennedy Clive Merrison Samuel Anderson Nathalie Carrington Anne-Marie Duff Harry Kershaw Helena Middleton Anthony Antunes Mark Carter Sophie Duval Libby King Tahj Miles Jennifer Armour Vivien Carter Lisa Dwyer Hogg Rory Kinnear Daniel Millar Derek Arnold Daniel Casey Christopher Eccleston Barbara Kirby Dan Milne Owain Arthur Charles Edwards Helen Mirren Timothy X Atack Daniel Cerqueira Marc Elliott David Kirkbride Iain Mitchell Delroy Atkinson Martin Chamberlain Elmi Rashid Elmi Kadiff Kirwan Justine Mitchell Alex Avery James Charlton Derek Elroy Daniel Kitson Miles Mitchell Ashleigh Cheadle David Emmings Thomas Mittelheuser Ayishat Babatunde Gerald Kyd Bunmi Mojekwu Vera Chok Gershwyn Eustache Jr Sarah Lam Zackary Momoh Heather Christian Damon Falck Jane Lambert Gerard Monaco Matthew Barker William Chubb Georgie Farmer David Langham Gertrude Montgomery Carys Barnes Eke Chukwu Samuel Fava Carla Langley Claire Moore Jason Barnett Matthew Churcher Jenny Fennessy Jason Langley Ian Morgan Martin Barrass Sharon D Clarke Jake Ferretti Ian Lassiter Victoria Moseley Edward Baruwa Oliver Clement Tamsin Fessey Pieter Lawman Lucian Msamati Iain Batchelor Richard Clothier Theo Fewell Gemma Lawrence Ben Murray Sandy Batchelor Darren Cockrill Ralph Fiennes Penny Layden To b y Murr a y Greg Baxter Michaela Coel Stephen Leask Jamie Muscato Oliver Beamish Judith Coke Zac Fitzgerald Izzy Lee Emily Mytton Alex Beckett Kate Colebrook Gabriel Fleary Nicholas le Prevost Nadim Naaman Katrina Beckford Dominic Conway Kate Fleetwood Adrian Lester Michael Nardone Mensah Bediako Tommy Fletcher McMeekin Katie Leung Aaron Neil Gina Bellman Jonathan Coote Judy Flynn Avye Leventis Frederick Neilson Alan Bennett Matthew Flynn Chris Lew Kum Hoi David Nellist David Benson Philip Correia Gus Fontaine Tim Lewis James Newton Paul Bentall Sophie Cosson Olwen Fouéré Dylan Llewellyn Roxanna Nic Liam Clare Beresford Oliver Cotton Jayden Fowora-Knight Rosaleen Linehan Sarah Niles Adam Berry Rosalie Craig Tre vor Fox Loré Lixenberg Lorenzo Niyongabo Nathan Bessell Sophie Crawford Gabrielle Lloyd Cecilia Noble Anne Bird Rhona Croker Christian From Andrew London Mike Noble Lucy Black Matt Cross Michael Gambon Brian Emma Norin Donovan F Blackwood Felix Crutchley Trevor Michael Georges Tom Lorcan Steve North Steven Blake Laura Cubitt Rokhsaneh Ghawam-Shahidi Kerry Lovell Anthony O’Donnell Jacqueline Boatswain Amy Cudden Johnny Gibbon Richard Lowe Kate O’Flynn Richard Booth Jonathan Cullen Robert Gilbert Emma Lowndes Anna O’Grady Amy Booth-Steel Benedict Cumberbatch Sean Gleeson Jack Loxton Toby Olié Sophie Bould Ewen Cummins Jonathan Glew Nicholas Lumley Rhiannon Oliver Caroline Bowman Adam Godley Tommy Luther Landi Oshinowo Danny Dalton Gawn Grainger Lashana Lynch Aisling O’Sullivan Cassie Bradley Jessica Daugirda Serena Grant Maggie McCarthy Charlotte Bradley Josie Daxter Tiffany Graves Joshua McCord Alexis Owen Hobbs Alistair Brammer Elliot Day Amber Gray To ny Mc G e e v e r Will Palmer Michael Brandon Frances de la Tour Emily Greenslade Niamh McGowan Johnny Panchaud Peter Bray Anthony Delaney Alex Jennings Ashley McGuire Demi Papaminas Owen Brazendale Robert Demeger Emma Jerrold Tim McMullan Neil Paris Judi Dench Alison Jiear Stuart McQuarrie Alastair Parker

64 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 65 Performers 2013–14 ‘How can I create this continued panaroma of character? It is not just about charting the years. These people have

Jamie Parker Chook Sibtain Russell Wilcox Clive Brown Katherine Rockhill extraordinary colours Aimee Parkes Nuno Silva Joseph Wilkins Lisa Bucknell Kelyon Ross Malinda Parris Nick Sidi Heather Williams Sam Cable Lawrence Rowe that you are trying to find Kane Oliver Parry Alisdair Simpson Kelly Williams Andrew Callard Matt Senior Jon Parsonage Malcolm Sinclair Shen Williams Gordon Campbell Oliver Seymour Marsh every day in rehearsal.’ Umar Pasha Cherrelle Skeete Aimee Wilmot Toby Coles Ross Sharkey Anne-Marie Duff quoted in The Observer Eugenie Pastor Claire Skinner Sam Wilmott Richard Coughlan Caroline Sheen Daniel Patten Nicola Sloane Stephen Wilson Allan Cox David Shrubsole Katie Elizabeth Payne Maggie Smith Penelope Wilton Jay Craig Bryan Smith Adam Pearce Nathaniel Smith Thomas Wilton Sarah Crisp Steve Smith Johnny Peat Karren Winchester Geneta Crooke Barnaby Smyth Lewis Peploe Gay Soper Claire Winsper Andrew Crowley Josh Sneesby Jane Perry Sophie Stanton Dan Winter Jonathan Eddie Anna Stokes Tom Peters Joseph Stembridge-King Duncan Wisbey Rachel Elliott Billy Stookes Darren Pettie Max Stephens Susannah Wise Paul Englishby Chris Storr Lisa Davina Phillip Lisa Stevenson Simon Wolfe Andy Findon Ruth Sullivan Caspar Phillipson Paul Stocker Edith Woolley Chris Fish Tim Sutton Matthew Pidgeon Julian Stolzenberg Sophie Wu John Francis Seila Tammisola Tim Pigott-Smith Hannah Stokely Angela Wynter Monica George Fraser Tannock Laura Pitt-Pulford Thomas Yarrow Tom Green Becky Thomas Emily Plumtree Phoebe Street Bob Yates Tily Matthew Gunner Sarah Thurlow Gary Powell David Summer Miles Yekinni George Hadjineophytou Marcus Tilt Kelly Price Michael Taibi Daniel York Nicola Hands Helen Tunstall Sergio Priftis Matt Tait Eben Young Cliff Hardie Rutledge Turnlund Ryan Quartley Rebecca Tanwen Sion Young Kimberly Jill Harrenstein Gareth Valentine Sarah Quist Jack Tarlton Douglas Harrison Andy Vinter Tom Radford James Alexander Taylor Supernumeraries Richie Hart Bozidar Vukotic Archana Ramaswamy Saif Al-Warith, Jon Alagoa, James Hastings ByronWallen Jeff Rawle Sarah Thom Waj Ali, Natham Ampofo, David Holt Philip Murray Warson Mark Rawlings Antonia Thomas Paul Anthoney, James S Barnes, Joe Hood Sarah Willson Ben Thompson Mat Betteridge, Navinder Elena Hull Ben Woodgate Jessica Regan Zoe Thorne Bhatti, Jonathan Blakeley, Karl Jeremy Isaac Michael Xavier Guy Remmers Emma Thornett Brown, Sebastian Canciglia, Mark Kavuma Mari Yamamoto Tom Robertson Paul Thornley Matthew Darcy, Amit Dhut, Jenny la Touche Barbara Zdziarska Oliver Rosario Jason Thorpe Noor Dillan-Knight, Dexter Ennis Langdon Mark Rose Dominic Thorburn Jermaine Flanders, Matt Martin Lowe Golda Rosheuvel Chris Towner-Jones Gardner, Cameron Harris, Lydia Lowndes-Northcott Stanley Townsend John Hastings, James Inkson, Peter McCarthy Simon Russell Beale Luke Treadaway Kojo Kamara, Owen Lindsay, Marcia McEachron William Rycroft Tilly Tremayne Rebecca Meyer, Shane Noone, Howard McGill Hugh Sachs John Trindle Joseph Ogeleka, Gary Phoenix, Gavin Mallet Gemma Salter Sam Troughton Javier Rasero, Anthony Steele, Melanie Marshall Nick Sampson Shamira Turner Andrew Thompson, Maxwell Joan Martinez Tim Samuels Tim Van Eyken Tyler, Grace Willis Neresa Maye Jack Sandle Ben Vardy Gaelle-Anne Michel Tom Sargent Olivia Vinall Foley Artists Jamie Satterthwaite Emily Wachter Barnaby Smyth, Ruth Sullivan Laura Moody Grace Savage Ross Waiton Jeff Moore Henri Scanlon Cathy Wa l ker The Show Musicians Louise Morgan Josie Walker Leonie Adams Nick Moss Luke Scholefield Brendan Wall Simon Allen Grant Olding Wilf Scolding Sue Wallace Robert Ames Stephanie Oyerinde Alex Scott Daniel Walsh Kevin Amos Lena Palmer Andrew Scott Eileen Walsh Neyire Ashworth John Parricelli Maggie Service Everal A Walsh Lois Au Adam Pleeth Michael Shaeffer Daniel Ward John Barclay Nick Powell Shakka Howard Ward Angenita Blackwood Stuart Matthew Price Lesley Sharp Patrick Warner Mark Bousie Verity Quade Ian Shaw Annette Bowen Colin Rae Ruth Sheen Tilly Webber Tom Brady Nerys Richards Anthony Welsh Martin Briggs Don Richardson David Sibley Toby Wharton Ben Brooker Joseph Roberts Joe Sibley Sharlene Whyte Martin Robertson

66 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2012–2013 67 NT Associates, Committee Membership

NT Associates NT Future Fundraising National Theatre NT Heads of Department Committee Productions Overseas Alison Chitty Artistic Administration Bob Crowley Clive Sherling, Chair Limited Robin Hawkes Graham Barker Directors Broadcast & Digital Jonathan Dove Lisa Burger Peter Bennett-Jones David Sabel Edward Hall Susan Chinn Lisa Burger Casting Mark Henderson Tim Clark Nick Starr Wendy Spon Alex Jennings Glenn Earle Peter Taylor Commercial Operations Kwame Kwei-Armah David Hall Patrick Harrison Adrian Lester John Makinson National Theatre North Development John Rodgers America LLC John Rodgers Nick Starr Directors Engineering Helen Mirren Peter Bennett-Jones Kieron Lillis NT Future Project Lisa Burger External Relationships & Partnerships Committee Tim Clark John Langley Simon Russell Beale Glenn Earle, Chair Nick Starr Finance Zoë Wanamaker Lisa Burger Peter Taylor Kate Barraball Dominic Casserley Lindsay Morgan Associate Producer Tim Clark Royal National Theatre General Counsel Pádraig Cusack Lloyd Dorfman CBE Enterprises Limited Peter Taylor Ros Haigh Directors Human Resources Alan Leibowitz Ros Haigh, Chair Tony Peers Committee Membership John Makinson Alex Bayley Information Technology at 30 March 2014 Clive Sherling Lisa Burger Joe McFadden Development Council Nick Starr Farah Ramzan Golant CBE Learning Patrick Harrison Alice King-Farlow Susan Chinn, Chair Nominations Committee Mark Hix Marketing Clive Sherling, Vice Chair Tim Clark, Chair Karen Jones Alex Bayley Graham Barker Peter Bennett-Jones John Langley Music Royce Bell James Purnell Geoffrey Matthews Matthew Scott Dr Neil Brener Kate Mosse NT Studio Sarah Brener Remuneration Committee Nick Starr Laura Collier Russ Carr Sarah Jane Murray Tim Clark Howard Davies, Chair Dame Ursula Brennan DCB Honorary Council Planning Simon Dingemans Jo Hornsby Charles Dorfman Tim Clark Sir David Bell Lloyd Dorfman CBE Tony Bloom Platforms & WTS David Hall Angus MacKechnie Caroline Hoare Ros Haigh Dr David Cohen CBE John Makinson Justin Dowley Press Madeline Hodgkin Lucinda Morrison Rosie Hytner David Dutton National Theatre Michael Gee Print & Publications Elizabeth Offord Productions Limited Lyn Haill Oliver Pawle Michael Grade CBE Directors Robert Norbury Technical & Production Charlotte Warshaw Mark Dakin Charlotte Weston Peter Bennett-Jones, Chair Oliver Prenn Lisa Burger Lois Sieff OBE Mark Davies Finance & Audit Committee Tim Clark Max Ulfane Sacha Milroy Chris Harper Edgar Wallner Technical Producer Howard Davies, Chair Katrina Gilroy Dame Ursula Brennan DCB André Ptaszynski Tessa Ross Board and Committee Voice Tim Clark Secretary Jeannette Nelson Lloyd Dorfman CBE David Sabel Nick Starr Donna Parker Ros Haigh NT Productions John Makinson Chris Harper Steve Rebbeck

NT America Tim Levy

68 National Theatre Annual Report 2013–2014 Photo captions NT Live broadcast: 20 43 ‘…the National Theatre must… bulk large in the social and and Rory Kinnear in The Last of the Lesley Sharp and Kate O’Flynn Above: Max Rayne Centre under 3 Haussmans, 2012 in A Taste of Honey construction John Heffernan and Kyle Soller Photo Ludovic Des Cognets Photo Marc Brenner Middle: New Props workshop intellectual life of London… It must not even have the air Below: Dorfman Theatre under in Edward II Martina Laird and Jade Anouka in 24 refurbishment Photo Johan Persson 2012 Nick Hendrix and Rosalie Craig of appealing to a specially literary and cultured class. It must Moon on a Rainbow Shawl, Photos Ludovic Des Cognets 4 Photo Jonathan Keenan in The Light Princess Photo Brinkhoff Mögenburg 45 National Theatre staff on its Simon Russell Beale and be visibly and unmistakably a popular institution, making a 50th Anniversary Avye Leventis, David Emmings and Zoë Wanamaker in Much Ado About 26 Audrey Brisson in The Elephantom Photo Ellie Kurttz , 2007 The National Theatre at 50 Nothing Photo Lena Zimmer large appeal to the whole community. 7 Photo Catherine Ashmore with The Shed Sharon D. Clarke and Marianne Jean- Photo Philip Vile 47 James Corden in One Man, Two Baptiste in Michaela Coel in Chewing Gum The Amen Corner Guvnors, 2011 27 Photo Richard Hubert Smith Dreams Photo Johan Persson HM The Queen greeted by Nicholas ‘It will be seen that the Theatre we propose would be a Photo Oliver Prout 9 Hytner and Nick Starr in the Double Feature Photo Ellie Kurttz National Theatre in this sense, that it would be from the first in Happy Now?, 2008 Paintframe, 2011 48 Photo Stephen Cummiskey Photo Johan Persson Derek Jacobi and Michael Gambon in Antonia Thomas inHome Rory Kinnear as Hamlet, 2010 No Man’s Land for National Theatre: Photo Ellie Kurttz conditionally – and, in the event of success, would become Photo Johan Persson Jonny Lee Miller and Benedict 50 Years on Stage Cumberbatch in Frankenstein, 2011 Photo Catherine Ashmore 51 Lesley Sharp and Susan Brown Photo Catherine Ashmore Adam Godley and members of absolutely – the property of the nation.’ in Harper Regan, 2008 28 the company in 2007 From Morning To Photo Kevin Cummins Rafta, Rafta, HM The Queen tours the Photo Catherine Ashmore Above: Midnight Preface (1904) to A National Theatre: Scheme and Estimates Dominic Cooper and Helen Props workshop Photo Johan Persson Mirren in , 2009 and Marion Bailey in Photo Ellie Kurttz by William Archer and Harley Granville Barker, London 1907 Phèdre 52 Photo Catherine Ashmore Grief, 2011 Below: Judi Dench, Derek Jacobi, Photo John Haynes Penelope Wilton, Maggie Smith, Left: Ian Lassiter and Amber Gray in Alex Jennings and Simon Russell Charles Kay and Roger Allam at the Mission Drift Beale in Collaborators, 2011 13 curtain call for National Theatre: Photo Robert Day Photo Johan Persson Jamie Ballard in War Horse, 2007 50 Years on Stage Right: Nadine Marshall in nut Photo Simon Annand Photo Catherine Ashmore Photo Stephen Cummiskey Vincent Franklin, Philip Glenister ‘The particular genius of stems from the fact that and Lauren O’Neil in This House, and Jonjo O’Neill 29 53 2012 in The Effect, 2012 Clockwise from left: Above: Riot on the one hand, it was founded in conscious imitation of Photo Johan Persson Photo Ellie Kurttz Judi Dench as Cleopatra for National Photo Chris Collier Anne-Marie Duff in Saint Joan, 2007 and Roger Allam in Theatre: 50 Years on Stage Left: Daniel York inThe World of Photo Kevin Cummins Democracy, 2003 Photo Catherine Ashmore Extreme Happiness the great European state theatres, with classical repertoires Photo Conrad Blakemore Photo Richard Hubert Smith 10 Backstage staff at the curtain call for Right: Tobias Menzies in The Hush

Nancy Carroll and Benedict The Curious Incident of the Dog in the National Theatre: 50 Years on Stage Photo Simon Kane of high seriousness, dedicated to the guardianship of the 2012 Photo Catherine Ashmore Cumberbatch in After The Dance, Night-Time, 54 Photo Brinkhoff Mögenburg sacred flame of each individual state’s theatrical tradition. 2010 Nicholas Le Prevost and Penelope Rosalie Craig and Michael Shaeffer Photo Johan Persson The History Boys, 2004 Wilton in Bedroom Farce for National in Table

Deanna Dunagan in Photo Ivan Kyncl Theatre: 50 Years on Stage Photo Richard Hubert Smith On the other hand, it was made by people who were not August, Osage Photo Catherine Ashmore County, 2008 Conleth Hill and Justine Mitchell in 57 Photo Michael Brosilow The White Guard, 2010 Dominic Cooper, Sacha Dhawan, Above: Emma Lowndes, Geoffrey James Corden and Philip Correia in part of that tradition at all. Those seasons which Olivier Anna Maxwell Martin and Dominic Photo Catherine Ashmore Streatfeild and Lucy Black in Children The History Boys for National Theatre: of the Sun Cooper in , 2003 The Pitmen Painters, 2008 Photo Ivan Kyncl 50 Years on Stage Photo Richard Hubert Smith and his contemporaries presented at the Old Vic and Photo Keith Pattison Photo Catherine Ashmore Susannah Wise, Michaela Lesley Manville and Alex Jennings in , 2004 Below: Stuff Happens 31 Coel, Sinead Matthews and Lorna in the West End were part of a theatre scene which for in Her Naked Skin, 2008 Photo Ivan Kyncl Photo Catherine Ashmore Above: Rory Keenan and Carla Brown in Blurred Lines 14 Langley in Liolà Photo Simon Kane 400 years had never recognised a rigid divide between Adrian Lester in , 2003 Photo Catherine Ashmore Photo Ivan Kyncl Daniel Patten in Emil 61 and the Detectives Below: National Theatre honey high art and entertainment. , 2010 Photo Marc Brenner Photo Tom Dykes Above left: Rhys Ifans in Protest Song Photo Catherine Ashmore 32 Photo Kwame Lestrade 17 Rory Kinnear and Adrian Lester in Below left: Olwen Fouéré in riverrun Michael Brandon in Jerry Simon Russell Beale in King Lear Photo Colm Hogan Springer The Opera, 2003 Othello ‘And that’s what I think has made the National special. Photo Mark Douet Photo Johan Persson Right: Rob Drummond Photo Catherine Ashmore in Bullet Catch 18 The Royal National Theatre, 39 Photo Niall Walker We have never felt it to be impossible to be challenging Matthew Morris in Mike Noble in The Curious Incident of Upper Ground, Just For Show, 2005 Tendayi Jembere and Natalie Dew in London. the Dog in the Night-Time at Stratford Romeo and Juliet 65 Photo Jiri Volek To wn Ha l l and entertaining at the same time.’ SE1 9PX Photo Ludovic des Cognets Above: Andrew Scott in Sea Wall London Road, 2011 Photo Ellie Kurttz + 44 (0)20 7452 3333 40 Photo Simon Annand Photo Vikki Peter 19 Nicholas Hytner, Daily Telegraph, October 2013 Ana Inés Jabares Pita, winner of the Below: Bristol Old Vic Young Company in Company registration number 11 War Horse at the Technology 2013 Linbury Prize The Grandfathers Investors Forum in Qingdao, Photo Simon Annand 749504. Liz Kettle in , 2006 Photo Sheila Burnett Wa v e s China 2014 Registered charity number Photo Stephen Cummiskey 67 Photo courtesy of UK Trade 224223. Anne-Marie Duff inStrange Interlude in , 2008 and Investment Never So Good Photo Johan Persson Registered in England. Photo Catherine Ashmore

2 National Theatre Annual Report 2010–2011

Financial Statements 2013-2014

National

Theatre

Page 1 of 49

National

Theatre

Public Benefit Statement

In developing the objectives for the year, The Royal National Theatre is a and in planning activities, the Trustees company limited by guarantee, have considered the Charity Commission’s and a registered charity. The general guidance on public benefit liability of members is limited to including the guidance on public benefit £1. It was established in 1963 for and fee charging. The repertoire is the advancement of education planned so that across a full year it will and, in particular, to procure and cover a wide range of theatre, appealing to increase the appreciation and a broad audience. Particular regard is understanding of the dramatic art given to ticket-pricing, affordability, access in all its forms as a memorial to and audience development, both through William Shakespeare. the Travelex season and more generally in

the provision of lower price tickets for all These objects are set out in the performances. Geographical reach is governing document, which is its achieved through touring and NT Live Memorandum and Articles of broadcasts to cinemas in the UK and Association, and have been overseas. The NT also seeks to develop developed into a set of aims and new audiences and deepen engagement objectives as described in the through its NT Learning programme and Annual Report document on other activities, both on-site and via the pages 4-5 and 15-68. website.

The Annual Report and Financial Statements are available to download at www.nationaltheatre.org.uk/annualreport

If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Board Secretary at the National Theatre.

The Royal National Theatre, Upper Ground, London. SE1 9PX +44 (0)20 7452 3333

Company registration number 749504.

Registered charity number 224223.

Registered in England. Financial Statements

Page 2 of 49

FINANCIAL STATEMENTS FOR THE 52 WEEKS ENDED 30 MARCH 2014

2 Public Benefit Statement

4 Reference and Administrative Details of the Charity, Trustees and Advisors

5 Structure, Governance and Management

8 Strategic Report

21 Independent Auditors’ Report

23 Financial Statements

27 Notes to the Financial Statements

In this document The Royal National Theatre is referred to as “the NT”, “the National”, and “the National Theatre”.

The Trustees’ Report comprises those items on pages 2-20 of the Financial Statements and pages 1-5 and 15-68 of the Annual Report.

Page 3 of 49

REFERENCE AND ADMINISTRATIVE DETAILS OF THE CHARITY, TRUSTEES AND ADVISORS

Board Members John Makinson (Chairman) Kate Mosse OBE (Deputy Chair) Peter Bennett-Jones Dame Ursula Brennan DCB Dominic Casserley Susan Chinn CBE Tim Clark Howard Davies Lloyd Dorfman CBE Glenn Earle Aminatta Forna Farah Ramzan Golant CBE Ros Haigh Neil MacGregor James Purnell Tessa Ross (resigned 24 February 2014) Clive Sherling

Executive Director* Nicholas Hytner Executive Director Nick Starr CBE Chief Operating Officer Lisa Burger Deputy Executive Director Kate Horton (resigned September 2013) Chief Executive Designate Tessa Ross (Chief Executive from April 2015) Director Designate Rufus Norris (Director from April 2015)

Associate Directors Sebastian Born Howard Davies Marianne Elliott Rufus Norris Ben Power Bijan Sheibani

Bankers Coutts & Co 440 Strand, London WC2R 0QS

Auditors PricewaterhouseCoopers LLP 7 More London Riverside London SE1 2RT

*The term “Director” is a traditional title used at the National. Neither the Director, the Associate Directors, nor other members of the Executive are directors under the Companies Act, 2006

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STRUCTURE, GOVERNANCE AND MANAGEMENT

Management of the National Theatre

The Board The Board is the non-executive and unpaid governing body of the National. Board members are both directors of the company and charity trustees and under company and charity law are responsible for policy, administration and general control. The Board works with the Executive to ensure that the National’s remit is fulfilled, its work remains of the highest quality, and it is managed efficiently and cost effectively. The Board delegates to the Director the selection and staging of all productions and does not interfere in repertoire decisions. Following its normal practice an annual review of the year’s artistic output was held in June 2013 with the Director, to reflect on the effectiveness of the artistic programme as against the National’s remit. During 2013-14 the Board met seven times, with the Executive present, to ensure it was maintaining effective control over strategic, financial, organisational and compliance issues. The Board received and considered regular reports from its Committees and subsidiary companies.

The Executive The Director*, Nicholas Hytner, is formally responsible for furthering the artistic reputation of the National and ensuring its efficient and effective management. He works closely with the Executive Director Nick Starr and Chief Operating Officer Lisa Burger. Deputy Executive Director, Kate Horton, left the NT in November 2013. The Board appoints the Director and is directly involved in the appointment of the Executive.

During the prior year Nicholas Hytner announced he would leave the National Theatre in March 2015, and Nick Starr announced he would be leaving in October 2014. The Board formed a Succession Committee to manage the appointment of the new Director and Rufus Norris was appointed Director Designate in November 2013 and Tessa Ross appointed as Chief Executive Designate in April 2014 to work alongside Rufus Norris from November 2014.

Associate Directors* and NT Associates Nicholas Hytner is supported in making repertoire decisions by the National’s Associate Directors (listed on page 4), and NT Associates comprising actors, directors, designers, writers and producers (listed on page 68 of the Annual Report).

*The term “Director” is a traditional title used at the National. Neither the Director, the Associate Directors nor other members of the Executive, are directors under the Companies Act 2006.

Board Membership The Board is chaired by John Makinson and a list of Board members at the date of this Report is listed on page 4. Board members are appointed for an initial term of four years. Members may be appointed for a second term of up to four years which is extended only in exceptional circumstances.

Board Committees and Subsidiary Companies The membership of the Committees is listed on page 68 of the Annual Report and details of the subsidiaries are set out in Note 23 to the financial statements

Finance and Audit Committee Members of the Finance and Audit Committee are appointed by and from the Board. Key responsibilities are for Finance and Control, Audit and Risk. The Committee met five times during the year and also met as the Remuneration Committee to set the remuneration of the Executive.

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NT Future Fundraising and NT Future Project Committees The Committees have responsibility for fundraising for the NT Future project and delivery of the building works. The Committees comprise members of the Board, co-opted external members with particular expertise, the Executive and members of Senior Management.

The Nominations Committee The Nominations Committee is appointed by and from the Board and reviews the structure, size and composition of the Board and, in the light of that review, makes recommendations to the Board with regard to the appointment of new members.

Development Council The Development Council assists in fundraising for the National. Its members, who are mainly co-opted onto the Council, are appointed by the Board for a specified term. It meets at least three times a year and reports regularly to the Board through its Chair who is a member of the main Board.

Royal National Theatre Enterprises Limited (“RNTE”) RNTE is a wholly owned trading subsidiary responsible for the National’s trading activities. The National’s Board appoints the directors of RNTE which comprise Board members, external experts and senior members of staff responsible for the trading areas.

National Theatre Productions Limited (“NTP”) NTPL is a wholly owned trading subsidiary of the National Theatre whose primary remit is responsibility for the commercial exploitation of NT productions and the exploitation of rights in any production via digital, broadcast or other media. The National’s Board appoints the directors of NTP which comprise Board members, external experts, and senior members of staff. The commercial activities have necessitated the creation of two additional subsidiaries National Theatre North America LLC (formerly named War Horse US LLC) which was active during the year, and National Theatre Productions Overseas Limited which was active in 2012/13 but is now dormant.

Connected Charities Details of Connected Charities are set out in Note 21 to the Financial Statements.

Executive Management at the National The review of activities shows that the National has many facets. Each area has a Head of Department who reports to a member of the Executive who in turn report to the Board. In addition to a weekly meeting of the Executive and all the Heads of Department, efficient cross- departmental working is managed through a series of groups meeting on a regular basis. The key decision-making groups include repertoire planning, capital projects, digital and IT projects, NT Future, Enterprises and Health and Safety.

Communication is key and the National aims to engage all its employees and others working at the National in its activities and achievements. All staff are invited to a weekly company meeting led by Nicholas Hytner and information from these meetings and other new developments and policies are available on the National’s intranet.

The National has a diversity action plan. All staff are required to cooperate with the National’s policies and procedures to promote inclusivity and diversity but particular focus has been given to understanding why the National’s workforce is not better representative of the UK population, what barriers if any there might be and what measures might be taken to improve diversity. The Health and Safety team is closely involved in the key risk areas of the organisation and advises and assists with health and safety aspects of productions, special events, accident investigations and training.

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Other Matters Trustees’ Transactions The trustees are not remunerated for their work as Trustees of the National Theatre. From time to time, members of the Board or persons connected with them enter into transactions with the National in the normal course of business of both parties. Such transactions are conducted on an arm’s length basis, on normal commercial terms, and are in accordance with the specific provisions of clause 5 of the Memorandum of Association. It is the Board’s policy that they should be disclosed to and approved by the Board and disclosed in the financial statements.

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STRATEGIC REPORT

A. ACHIEVEMENTS AND PERFORMANCE i. Introduction 2013-14 saw the National Theatre mark its 50th anniversary with a celebration of the work of artists across the last fifty years whilst looking forward to the next chapter in its history. This event, which was also broadcast on BBC2, was seen by over one million people, and across the year, the National hit a new landmark reaching total paying audiences of 4.3m worldwide. In the financial year, incoming resources were £124.1m with £103.4m of expenditure. Net assets at 30 March 2014 were £68.2m

ii. Review The National achieved a break even result for the year reflecting strong ticket sales at the NT, in the West End and on tour and for NT Live but offset by the abrupt closure of the production of The Curious Incident of the Dog in the Night-time following the collapse of the ceiling at the Apollo Theatre. The production had been running at 100% capacity and were it not for the closure, the National would have delivered a surplus of £1.3m.

The NT Future building works which started in July 2012 have continued throughout the year. Pledged funding towards the £80m fundraising target reached £76m by 30 March 2014 and £23m was received during the year, with £23.1m being spent on project expenditure. Performances have continued as normal throughout the year with the temporary performance space, The Shed replacing the Cottesloe during its refurbishment. The building works have however inevitably impacted on operating costs and trading income.

The funding received from the Arts Council is vitally important to maintain the innovation and accessibility of which the NT is proud. This income is also multiplied several times over in order to vastly expand the reach of the NT beyond the South Bank. Arts Council funding was held at the same level as the prior year, at £17.5m. This represents 17% of the income received by the NT with the remainder coming from Box Office, Commercial Transfers, Fundraising and Trading.

Income from commercial transfers has significantly increased to offset the impact of the real term cut (25% since 2010-11) in Arts Council funding and delivered £5.5m net earnings in 2013/14 which were used in full to support activity at the NT. Over the last few years £7.5m of income from commercial transfers has been used to seed fund NT Future, with £1.7m being used to finance the Shed and £1m funding the Inside Out Festival.

The Trustees have reviewed the financial outlook and, whilst acknowledging the risk surrounding box office income and earnings from commercial transfers, consider the recent financial performance and level of reserves to indicate that the National will be able to sustain current activity levels.

Page 8 of 49

iii Performance

The table below shows the five year trend of attendances.

National Theatre paid attendances (thousands) 2013/14 2012/13 2011/12 2010/11 2009/10

Olivier 364 342 353 355 364 Lyttelton 269 314 286 285 322 The Shed / Cottesloe 75 103 108 104 98 West End 778 705 630 408 398 UK Touring 392 97 63 79 56 International Touring 869 770 - 2 38 Other 32 16 8 - - Total 2,779 2,347 1,448 1,233 1,276

NT Attendance as % of capacity 86% 90% 90% 92% 90%

Number of performances: 2013/14 2012/13 2011/12 2010/11 2009/10

Olivier 339 339 357 343 384 Lyttelton 360 394 391 373 393 The Shed / Cottesloe 369 325 368 373 355 West End 1,005 409 421 414 414 UK Touring 251 96 70 98 70 International Touring 727 476 - 2 15 Other 98 61 50 - - Total 3,149 2,100 1,657 1,603 1,631

33% of all attendees to the NT at the South Bank were first time bookers, and a total of 156,000 under-18s and college groups attended performances at the NT and in the West End.

Half-price tickets for under-18s continued to be available for all productions outside the Travelex season and the tickets sold represented a discount of £2.2m against average ticket price. Membership of the Entry Pass scheme providing discounted tickets for under-25s grew by 11% to 47,062 people.

The major access initiative continued to be the Travelex scheme. £12 tickets were made available for all productions at the NT during the year

Number of productions (new in brackets): 2013/14 2012/13 2011/12 2010/11 2009/10

Olivier 8 (6) 9 (6) 8 (7) 7 (6) 7 (5) Lyttelton 8 (6) 10 (7) 11 (9) 9 (6) 10 (8) Shed / Cottesloe 17 (12) 7 (5) 8 (7) 9 (9) 9 (7)

33 (24) 26 (18) 27 (23) 25 (21) 26 (20)

There were 33 productions in repertoire at the National during the year.

In addition to the 24 new productions built and staged at the National there were productions of War Horse at the New London and on tour in North America, a production of One Man, Two Guvnors at the Haymarket and Curious Incident at the Apollo.

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NT Live and touring The NT continued to reach wider audiences who cannot come to the theatre in London through live broadcast into cinemas, touring and its overseas productions. There were seven NT Live broadcasts during the year including the NT 50th Anniversary performance, to audiences of 0.8m in the UK and 0.6m overseas.

National Theatre Live Audiences

1600

1400

1200

1000 UK Audience ('000)

800 International Audience ('000) Total Audience ('000) 600

400

200

2009-10 2010-11 2011-12 2012-13 2013-14

Audiences watching NT productions on tour in the UK have grown from 35,000 in 2008-09 to 0.4m in 2013-14 and the total number of UK and International touring weeks increased from 23 to 132. This brings total paying audiences for NT productions to 4.3m people (compared to 3.6m in 2012-13).

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Touring Trends

1,400

1,200 Tickets sold ('000) 1,000 No of performances 800 No of touring weeks 600

400

200

- 2010-11 2011-12 2012-13 2013-14

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B. FINANCIAL REVIEW

Set out below is a summary statement of income and expenditure. It combines the National’s unrestricted income and expenditure with short term project expenditure funded by earmarked donations (restricted funds) and the element of the regular ACE grant which has been restricted to capital expenditure (£1.9m). It excludes NT Future income and expenditure which is treated as a long term project, as well as movements in any other long term restricted funds.

2014 2013 £m £m Income Box Office at NT 18.3 18% 18.3 21% Box Office on tour, in the West End and Internationally 39.7 40% 30.8 35% NT Live 6.7 7% 2.4 3% Trading and other income 11.2 11% 11.1 13% Fundraising 6.5 7% 7.0 8% ACE grants 17.5 17% 17.5 20% 99.9 100% 87.1 100%

Expenditure Production costs – NT South Bank 36.5 37% 36.1 43% Production costs – Touring, West End, and International 36.7 38% 25.5 30% NT Learning, NT Live and Public Engagement 9.1 9% 6.7 8% Research 1.9 2% 1.7 2% Trading 10.7 11% 11.6 14% Fundraising 1.6 2% 1.5 2% Irrecoverable VAT 0.8 1% 1.0 1% Governance 0.2 - 0.2 - 97.5 100% 84.2 100%

The NT makes an annual transfer to the Buildings and Equipment Fund of £2.5m to fund routine capital purchases. In 2012-13 (prior year), an additional £1.7m was designated to this fund for The Shed.

Net result after transfers - -

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PRINCIPAL FUNDING SOURCES The National maintains a balance between self generated income – box office, fundraising, exploitation of National Theatre productions in UK and internationally, catering and front of house trading – and public subsidy from Arts Council England (ACE).

ACE, 17% Box Office at NT, 18%

Fundraising, 7%

Trading , 11% Box Office on tour, West End and NT Live, International, 7% 40%

Box Office Income Box office income at the National, on tour and from the run of War Horse at the New London Theatre, One Man, Two Guvnors at the and The Curious Incident of the Dog in the Night Time at the Apollo, as well as other UK transfers represented 57% of the National’s total income. An additional 1% was generated by War Horse internationally.

Arts Council England Funding The core revenue grant for 2013-14 was £15.1m and in addition £1.9m of core grant was received in the form of a capital grant for regular major building maintenance. This element was therefore restricted as long term income and has been fully utilised for capital expenditure in the year. An additional £0.5m was received in Lottery funding for Touring.

The total grant of £17.5m is in line with the amount received in the previous year. However since 2010-11 the grant has been cut by £2.1m a real terms reduction of 25%.

During the year, the NT was awarded a further £2.5m from the Arts Council’s Capital Lottery Fund towards NT Future building works taking the total received during the year to £7.7m bringing the total grant to £20m.

Fundraising The development department had a strong year raising £16.4m for NT Future as well as £6.5m for revenue activity, of which £0.6m was in relation to commercial promotion and is recorded within RNTE.

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Trading and Other Income Trading operations, including catering, bookshop, programmes, car park, costume hire and commercial promotion, are conducted through the National’s wholly owned subsidiary Royal National Theatre Enterprises Limited. The car park is operated under a franchise but the other businesses are operated directly by the National.

Trading was affected this year by continuing NT Future works and as a result the total profit before the management charge payable to the National was £1.2m, in line with last year.

Other income included bank interest receivable and income from education activities.

The National Theatre continues to benefit from its culturally exempt VAT status, which means that there is no VAT on ticket income at the National Theatre but that a proportion of VAT on expenditure is irrecoverable.

REVENUE EXPENDITURE

Production Costs Production expenditure at the National Theatre and on tour represented 39% of total expenditure for the year which can be analysed as follows:

Writers, Directors and Designers, 9% Touring, 6%

Performance Running, 29% Planning and Direction, 13%

Production Actors and Build, 21% Musicians, 22%

A further 36% of expenditure was for UK and international commercial productions.

NT Learning and Public Engagement Total spend for the year for the NT Learning (Education) programme was £1.8m. £0.3m was covered by fundraising, £0.3m generated through ticket and fee income and the remainder covered by core funding.

Spend for other public engagement activities was £7.3m. This included £6.2m for NT Live and £0.5m for Digital Projects.

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Research and Development Expenditure on research and development totalled £1.9m, including £1.1m expenditure in the NT Studio.

Support Costs Support costs cover expenditure on front of house staff responsible for contact with the audience; marketing, box office and press; management and maintenance of the building including insurance and energy costs; and finance, HR and IT. These costs are allocated against the activities listed above. Costs increased by £0.5m to £15.5m in the year primarily due to increased IT costs and increased utility costs as a result of the building works.

Capital Expenditure Total capital expenditure for the year (excluding NT Future) was £3.4m. This spend includes several major projects, including refurbishment of the Drum revolve (£0.8m) as well as improvements to the IT infrastructure, the new Dorfman dimmer system and upgrades to the Lyttelton sound infrastructure.

Capital expenditure in relation to NT Future totalled £21.6m in 2013-14 (2012-13 £12.3m) with both Phase A and Phase B fully underway. In addition works in relation to the Technical and Environmental Master Plans continued (£0.5m expenditure in the year). Pledged donations and grant awards of £8.6m were made in 2013-14 and brought total pledges to £76.3m. Of these £44.1m has been received to date including £23m in 2013-14 and reflected as restricted or designated income.

The annual transfer from the operations fund to the designated funds for capital and NT Future was £2.5m compared with £2.7m in 2012-13. Irrecoverable VAT capitalised in the year was £0.9m (2012-13 £0.8m).

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RESERVES AND OTHER FINANCIAL POLICIES Unrestricted Operations Fund The policy for budgeting annual income and expenditure is, taking account of the level of grant receivable from the Arts Council, to seek each year to match income and expenditure, and to avoid accumulating a deficit, so that the National is able to continue successfully its present level and quality of activity.

The unrestricted reserves target is held at £2.8m to reflect the impact from cuts in public funding on the National’s sources of income. £1.8m is held to recognise the volatility in box office revenue between budget and actual out-turn. A further £0.5m reflects the knock-on impact of a reduction in box office attendance on catering profits and £0.5m for the effect on fundraising.

Buildings and Equipment Designated Fund The policy is to ensure that sufficient money is set aside in the reserve so that over a three-year period the National is able to maintain and renew the building in accordance with its rolling capital plan. Expenditure planned beyond 2013-14 is in excess of the sum which could be reasonably anticipated to be covered from recurring surpluses and fundraising sources; however this is being addressed within NT Future.

NT Future Designated Fund In addition to the new building and refurbishment works, the NT Future project includes two strands to address the essential technical and infrastructure works to be completed in the next five years - the Technical Master Plan and Environmental and Engineering Master Plan.

NT Future capital project work will generate irrecoverable VAT which will be covered by the VAT repayments received in 2010-11 and designated to offset this cost.

The Shed Designated Fund £1.7m was designated in 2012-13 to provide funds for The Shed. £1.6m was spent during 2012- 13, leaving a balance of £0.1m in the fund which will be held for closure costs.

Restricted Funds These are funds which have been earmarked by the donor for specific purposes within the overall aims of the organisation. The funds are analysed between long-term and short-term – long-term being mostly for capital purposes, including NT Future, and short-term for project activity, as set out in note 18 of the accounts. Short term funds will be spent in full in the next 18 months. The balance on the long-term capital funds represents funds received from donors to purchase fixed assets less the depreciation charged on an annual basis. Over time these reserves will reduce to zero as the assets are fully depreciated.

Investment Policy The policy is to hold investments in liquid funds so they are available to meet predicted cash- flow needs. In selecting suitable cash deposits the policy is to maximise the return and maintain low transaction costs whilst ensuring high levels of capital security by minimising credit risk, and minimising interest rate risk. The policy was reviewed by the Finance and Audit Committee on 31 May 2013 and deposits and interest rates are reviewed each time the Finance and Audit Committee meets. At 30 March 2014 the cash deposits were spread between five major clearing banks and CCLA. The bank interest earned for the year was £0.2m (2012-13 £0.5m).

Creditor Payment Policy It is the National’s policy to pay creditors in accordance with terms of payment agreed at the start of business with each supplier.

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C. PRINCIPAL RISKS AND UNCERTAINTIES

Financial Risk Management The following statements summarise the Board’s policy in managing identified forms of financial risk.

Price risk: Payments to employees or individuals represent 48% of total expenditure at the National and higher levels of inflation represent a risk as 20% of the National’s income, which comes from the Arts Council, has fallen for the past three years and is not expected to reach 2010-11 levels in the next two years. The National has freedom over its ticket pricing, and ticket income represents 63% of revenue. However the aim is to limit ticket price increases to no more than inflation and hold the lowest ticket price at an accessible level as this has been found to be the best way of maximising revenue and increasing access.

Credit risk: Risk on amounts owed to the charity by its customers is low as payment for ticket sales and operations through the trading subsidiary are mostly settled at point of purchase.

Liquidity risk: The National has no long-term borrowings.

Interest rate cash flow risks: The National places surplus funds on short-term deposit split between five major clearing banks and CCLA. Interest rates available on longer term deposits are kept under review but longer term deposits will only be made for specific major project funds where the term of the deposit matches the anticipated cash flow requirement.

Property Interests The National has a lease of its building on the South Bank site from Arts Council England for a term expiring in March 2138. The Building is Grade 2* listed. The freehold of the Old Vic Annexe (the Studio), The Cut, London SE1 is owned by the National and this building was listed in March 2006. The Studio building has been provided as security in the form of a 30 year legal mortgage in relation to a grant for refurbishment of the Studio.

In 2012 a fixed and floating charge lasting 30 years was provided as security for the potential repayment obligations under a grant of £17.5m from Arts Council England for the NT Future project. In addition in 2013 a fixed and floating charge lasting 25 years will be provided as security for the potential repayment obligations under a grant of £2.5m from Heritage Lottery Fund for the NT Future project.

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D. FUTURE PLANS

The National Theatre strives to be a national centre of theatre arts, with education and public engagement being the founding principles that are central to the vision for the future. To this end, the NT sets specific objectives for the following financial year, to be worked on alongside the core objectives for the organisation. These core objectives can be found on page 4 of the Annual Report, and progress against the 2013-14 objectives is reviewed throughout the Annual Report.

2014-15 Objectives

The following objectives have been set for the 2014-15 financial year

 The completion of NT Future building works and the opening of the Dorfman Theatre, Clore Learning Centre and Max Rayne Centre

 The smooth transition of leadership from Nicholas Hytner and Nick Starr to Rufus Norris and Tessa Ross

 Further expansion of UK touring and National Theatre Live

 The co-production with the National Theatre of Scotland and Edinburgh International Festival of Rona Munro’s The James Plays

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STATEMENT OF TRUSTEES’ RESPONSIBILITIES IN RESPECT OF THE ANNUAL REPORT AND THE FINANCIAL STATEMENTS

The trustees (who are also directors of Royal National Theatre for the purposes of company law) are responsible for preparing the Trustees’ Annual Report (including the Strategic Report) and the financial statements in accordance with applicable law and Accounting Standards (United Kingdom Generally Accepted Accounting Practice). Company law requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charitable company and the group and of the incoming resources and application of resources, including the income and expenditure, of the charitable group for that period. In preparing these financial statements, the trustees are required to:

 select suitable accounting policies and then apply them consistently;  observe the methods and principles in the Charities SORP;  make judgments and estimates that are reasonable and prudent;  state whether applicable UK Accounting Standards have been followed, subject to any material departures disclosed and explained in the financial statements; and  prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitable company will continue in business.

The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and the group and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

In so far as the trustees are aware:

 there is no relevant audit information of which the charitable company’s auditor is unaware; and  the trustees have taken all steps that they ought to have taken to make themselves aware of any relevant audit information and to establish that the auditor is aware of that information.

The trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions.

Trustees Indemnities As permitted by the Articles of Association, the Trustees have the benefit of an indemnity which is a qualifying third party indemnity provision as defined by Section 234 of the Companies Act 2006. The indemnity was in force throughout the last financial year and is currently in force. The Company also purchased and maintained throughout the financial year Trustees’ and Officers’ liability insurance in respect of itself and its Trustees.

Statement on disclosure of information to the auditors In so far as the trustees are aware:

 there is no relevant audit information of which the charitable company’s auditor is unaware; and

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 the trustees have taken all steps that they ought to have taken to make themselves aware of any relevant audit information and to establish that the auditor is aware of that information.

The trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions.

Auditors PricewaterhouseCoopers LLP will continue in office as auditors of the Charity for the next financial year.

The Trustees’ report (comprising pages 2 to 20 of these Financial Statements and pages 1-4 and 15-68 of the Annual Report) including the Strategic Report (pages 8 to 20) was approved by the Board of Directors and authorised for issue on 29 September 2014 and signed on its behalf by

John Makinson Chairman 29 September 2014

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INDEPENDENT AUDITORS’ REPORT TO THE MEMBERS AND TRUSTEES OF THE ROYAL NATIONAL THEATRE

Report on the financial statements

Our opinion

In our opinion the financial statements, defined below:

 give a true and fair view of the state of the group’s and of the parent charitable company’s affairs as at 30 March 2014 and of the group’s incoming resources and application of resources, including its income and expenditure and the group’s cash flows for the year then ended;  have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice; and  have been prepared in accordance with the requirements of the Companies Act 2006.

This opinion is to be read in the context of what we say in the remainder of this report.

What we have audited

The group financial statements and parent company financial statements (the “financial statements”), which are prepared by The Royal National Theatre Group, comprise:

 the Group and Company Balance Sheets as at 30 March 2014;  the Group Statement of Financial Activities (Including an Income and Expenditure account) for the year then ended;  the Group Cash flow statement for the year then ended; and  the notes to the financial statements, which include a summary of significant accounting policies and other explanatory information.

The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

In applying the financial reporting framework, the trustees have made a number of subjective judgements, for example in respect of significant accounting estimates. In making such estimates, they have made assumptions and considered future events.

What an audit of financial statements involves

We conducted our audit in accordance with International Standards on Auditing (UK and Ireland) (“ISAs (UK & Ireland)”). An audit involves obtaining evidence about the amounts and disclosures in the financial statements sufficient to give reasonable assurance that the financial statements are free from material misstatement, whether caused by fraud or error. This includes an assessment of:

 whether the accounting policies are appropriate to the group’s and the parent charitable company’s circumstances and have been consistently applied and adequately disclosed;  the reasonableness of significant accounting estimates made by the trustees; and  the overall presentation of the financial statements.

In addition, we read all the financial and non-financial information in the Annual Report and Financial Review (incorporating the Strategic Report) to identify material inconsistencies with the audited financial statements and to identify any information that is apparently materially incorrect based on, or materially inconsistent with, the knowledge acquired by us in the course of performing the audit. If we become aware of any apparent material misstatements or inconsistencies we consider the implications for our report.

Opinion on other matter prescribed by the Companies Act 2006 In our opinion the information given in the Strategic Report, the Annual Report and the Financial Review for the financial year for which the financial statements are prepared is consistent with the financial statements.

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Other matters on which we are required to report by exception Adequacy of accounting records and information and explanations received

Under the Companies Act 2006 we are required to report to you if, in our opinion:

 we have not received all the information and explanations we require for our audit; or  adequate accounting records have not been kept by the parent company, or returns adequate for our audit have not been received from branches not visited by us; or  the parent company financial statements are not in agreement with the accounting records and returns.

We have no exceptions to report arising from this responsibility.

Trustees’ remuneration

Under the Companies Act 2006 we are required to report to you if, in our opinion, certain disclosures of trustees’ remuneration specified by law are not made. We have no exceptions to report arising from this responsibility.

Responsibilities for the financial statements and the audit Our responsibilities and those of the trustees

As explained more fully in the Statement of Trustees’ Responsibilities, the trustees are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view.

Our responsibility is to audit and express an opinion on the financial statements in accordance with applicable law and ISAs (UK & Ireland). Those standards require us to comply with the Auditing Practices Board’s Ethical Standards for Auditors.

This report, including the opinions, has been prepared for and only for the charity’s members and trustees as a body in accordance with Chapter 3 of Part 16 of the Companies Act 2006 and for no other purpose.

We do not, in giving these opinions, accept or assume responsibility for any other purpose or to any other person to whom this report is shown or into whose hands it may come save where expressly agreed by our prior consent in writing.

Jill Halford (Senior Statutory Auditor) for and on behalf of PricewaterhouseCoopers LLP Chartered Accountants and Statutory Auditors London 29th September 2014

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GROUP STATEMENT OF FINANCIAL ACTIVITIES (INCLUDING AN INCOME AND EXPENDITURE ACCOUNT) for the 52 weeks ended 30 March 2014

52 52 Weeks to Weeks to 30 March 31 March 2014 2013 Unrestricted Funds Restricted Funds Long Operations Designated Projects Term Total Total £m £m £m £m £m £m Incoming resources Note Incoming resources from generated funds: Voluntary income 2(a)/(b) 20.1 - 1.4 26.1 47.6 34.3 Activities for generating funds 23 11.3 - - - 11.3 12.7 Investment income 0.2 - - - 0.2 0.5 Incoming resources from charitable activities 2(c) 65.0 - - - 65.0 50.1

TOTAL incoming resources 18 96.6 - 1.4 26.1 124.1 97.6

Resources expended Costs of generating funds: Costs of generating voluntary income (1.6) - - - (1.6) (1.5) Costs of commercial activities 23 (10.7) - - - (10.7) (11.6) Charitable activities 3(a) (83.5) (5.0) (1.4) (1.0) (90.9) (78.3) Governance costs 3(b) (0.2) - - - (0.2) (0.2)

TOTAL resources expended 18 (96.0) (5.0) (1.4) (1.0) (103.4) (91.6)

Net incoming / (outgoing) resources before transfers 0.6 (5.0) - 25.1 20.7 6.0

Transfers 18 (0.6) 2.5 - (1.9) - -

Net movement in funds - (2.5) - 23.2 20.7 6.0

Reconciliation of funds Fund balances brought forward at 1 April 18 2.6 19.5 0.2 25.2 47.5 41.5

Fund balances carried forward at 30 March 18 2.6 17.0 0.2 48.4 68.2 47.5

All incoming resources and resources expended are derived from continuing activities. A Statement of Total Recognised Gains and Losses is not required as all gains and losses are included in the Statement of Financial Activities. There is no difference between the net income for the period and its historical cost equivalent. Accordingly no separate income and expenditure statement has been presented.

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BALANCE SHEETS Company Registration Number: 749504

Group Company Group Company as at 30 as at 30 as at 31 as at 31 March March March March 2014 2014 2013 2013 Note £m £m £m £m Fixed assets Tangible fixed assets 11 53.4 53.4 32.9 32.9 Investments 12 0.2 0.2 0.2 0.2 Total fixed assets 53.6 53.6 33.1 33.1

Current assets Stocks 13 0.5 0.1 0.8 0.2 Cost of productions not yet opened 14 1.3 0.6 1.1 1.1 Debtors 15 7.9 9.2 6.9 9.1 Cash at bank and in hand 16 20.0 18.9 21.8 19.7 Total current assets 29.7 28.8 30.6 30.1

Creditors: amounts falling due within one year 17 (15.1) (14.2) (16.2) (15.7)

Net current assets 14.6 14.6 14.4 14.4

Total assets less current liabilities 68.2 68.2 47.5 47.5

NET ASSETS 18/19 68.2 68.2 47.5 47.5

Represented by: Operations fund 18/19 2.6 2.6 2.6 2.6 Designated funds 18/19 17.0 17.0 19.5 19.5

Total unrestricted funds 19.6 19.6 22.1 22.1

Restricted funds 18/19 48.6 48.6 25.4 25.4

TOTAL FUNDS 18/19 68.2 68.2 47.5 47.5

The Notes on pages 27 to 49 constitute part of the financial statements.

The financial statements were approved by the Board of Trustees on 29 September 2014 and signed on its behalf by:

John Makinson Howard Davies Chair Trustee

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GROUP CASH FLOW STATEMENT

Group Group 52 Weeks to 52 Weeks to 30 March 31 March 2014 2013 Note £m £m

Net cash inflow from operating activities i 23.8 7.4

Returns on investments Interest received 0.3 0.6

Capital expenditure and financial investment Purchase of tangible fixed assets 11 (25.9) (12.6)

Management of liquid resources Decrease /(increase) in short term deposits 16 11.0 4.0

Increase in cash in the period ii 9.2 (0.6)

i NET CASH INFLOW FROM OPERATING ACTIVITIES

2014 2013 £m £m

Net incoming resources before transfers 20.7 6.0 Depreciation and amortisation charge 4.2 4.0 Investment income (0.2) (0.5)

Net operating income 24.7 9.5

Decrease in stock 0.3 (0.3) Increase in work in progress (0.2) (0.6) Increase in debtors ( 0 . 9 ) (0.3 ) Decrease in creditors (less capital accruals) (0.1) (0.9) Net cash inflow from operating activities 23.8 7.4

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GROUP CASH FLOW STATEMENT

ii ANALYSIS OF NET CASH RESOURCES As at 31 As at 30 March 2013 Cashflow March 2014 £m £m £m

Cash 16 8.8 9.2 18.0 Short term deposits 16 13.0 (11) 2.0 TOTAL 21.8 (1.8) 20.0

iii RECONCILIATION OF NET CASHFLOW TO MOVEMENT IN NET FUNDS

2014 2013 £m £m

Decrease in cash in the period 16 9.2 (0.6) Cash (outflow)/ inflow from increase in liquid resources 16 (11) (4.0) Movement in net funds in the period (1.8) (4.6)

Net funds at 31 March 2013 21.8 26.4 Net funds at 30 March 2014 20.0 21.8

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Notes to the Financial Statements

1 PRINCIPAL ACCOUNTING POLICIES

The following accounting policies have been applied consistently in dealing with items which are considered material in relation to the financial statements.

A BASIS OF PREPARATION

The financial statements have been prepared on the going concern basis, under the historical cost convention and in accordance with applicable United Kingdom accounting standards, the Companies Act 2006, the Charities Act 2011, and the recommendations of the Statement of Recommended Practice "Accounting and Reporting by Charities" (“the SORP”) issued in March 2005. The Charity has adapted the Companies Act formats to reflect the Charities SORP and the special nature of its activities.

A separate statement of financial activities and income and expenditure account are not presented for the Charity itself as permitted by Section 408 of the Companies Act 2006 and paragraph 397 of SORP 2005. The net income of the company for the period was £19.3m (2013: £4.1m).

The principal accounting policies adopted in the preparation of the financial statements are set out below.

B BASIS OF CONSOLIDATION

The Group financial statements consolidate those of The Royal National Theatre (“the National” or “the NT”) and its wholly owned non-charitable subsidiaries (as set out in note 23) on a line by line basis in accordance with FRS 2. The results of Royal National Theatre Enterprises Limited, National Theatre Productions Limited, National Theatre Productions Overseas Ltd and National Theatre North America LLC (formally War Horse US LLC) have been included in the group statement of financial activities throughout the period.

Transactions and balances outstanding between the entities are eliminated on consolidation.

The National Theatre has taken advantage of the exemption given by Financial Reporting Standard 8, Related Party Disclosures, from disclosing transactions with its wholly owned subsidiaries.

C FUND ACCOUNTING

Unrestricted funds are those funds which can be used for any charitable purpose at the discretion of the trustees; designated funds are those funds which have been set aside by the trustees for particular purposes; restricted funds may only be used in accordance with the specific wishes of donors.

The expendable endowment fund is held in long term restricted funds. Under the terms of donation this will be converted at the trustees’ discretion into expendable income at the end of the 20 year term.

D INCOMING RESOURCES

All incoming resources are included in the Statement of Financial Activities when the Charity has legal entitlement, there is reasonable certainty over receipt and the amount of income can be quantified with reasonable accuracy.

Voluntary Income Voluntary income comprises all incoming resources from sponsorships, donations, legacies, grants, membership subscriptions. Voluntary income is recognised in the appropriate fund on a receivable basis and when any conditions for receipt are met. Income in respect to the NT Future project is recognised on a cash basis. Any income from connected charities is recognised at the point at which the amount payable is confirmed.

Where the donor imposed conditions require that the resource is expended in a future accounting period, income is recorded as deferred income at the balance sheet date.

Income from individual membership schemes eligible for Gift Aid is recognised in full on receipt. Corporate and Advance Membership income is apportioned over the period of the subscription and the element relating to a future period is recorded as deferred income at the balance sheet date.

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Notes to the Financial Statements

Gift Aid is included in the financial statements based on amounts recoverable at the balance sheet date.

Goods and services received in kind, where material, are included within ‘Voluntary Income’ and under the appropriate expenditure heading, depending on the nature of goods and services provided. These are recognised at an estimated value to the charity at the time of receipt.

Activities for Generating Funds Activities for generating funds comprise:  income generated by Royal National Theatre Enterprises Limited from trading activities  royalty and profit share income generated by other National Theatre subsidiaries from the commercial exploitation of the NT’s productions overseas

Income is recognised on a receivable basis.

Incoming Resources from Charitable Activities Incoming resources from charitable activities comprises:

Box office income:  income from performances at the South Bank  income from touring activities (excluding grants)  ticket sales for productions which have transferred to the West End under direct NT management

All other income:  income from NT Learning performances, NT Live ticket income, events and workshops  exploitations and rights, advance members subscription and other sundry income

Box office income and income generated by NT Learning projects and NT Live is recognised in the Statement of Financial Activities on maturity of the performance or event. Advance bookings comprise ticket sales for future performances.

Income from exploitations and rights, and other income, is recognised on a receivable basis. Income from advance members is recognised on a straight line basis over the period of subscription.

Investment Income Investment income comprises interest receivable on cash balances and short-term deposits.

E RESOURCES EXPENDED

All expenditure is accounted for on an accruals basis and is classified under the relevant activity within the Statement of Financial Activities.

Resources expended which relate directly to the National’s charitable objectives are analysed between:

 performances at the South Bank or elsewhere under direct management  performances on tour  NT Learning (education and participation work) and Public Engagement (including Archive, NT Live, Inside Out, Platforms, Foyer Music and Digital)  research and development (including the NT Studio and commissioning costs)

Resources expended which form part of the Group’s trading activities and commercial exploitations are separately disclosed as costs of commercial activities.

The costs of generating voluntary income represent the costs of securing sponsorship and donations including the costs of providing membership benefits.

Governance costs include the costs of the Legal Counsel and their support, board expenses, internal audit and external audit fees.

Support costs relating to a single activity are allocated directly to that activity. Where support costs relate to several activities, they have been apportioned as set out in note 3(c). Staff canteen costs are shown net of contributions.

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Notes to the Financial Statements

Provision has been made, where appropriate, for expenses where a present obligation exists at the balance sheet date in accordance with the requirements of FRS 12.

F LEASE OF THE NATIONAL

The National holds a lease on its building from its freeholder, Arts Council England, at a peppercorn . This lease expires in 2138. Under the terms of the lease, the National is responsible for maintaining the fabric of the building and its mechanical and electrical equipment. In order to meet this obligation, funds are transferred from the National’s own resources, namely the operations fund, to a building and equipment fund (see note 18).

G FIXED ASSETS AND DEPRECIATION

Fixed assets are held at cost less accumulated depreciation within the relevant fund. Only assets over £2,000 are capitalised.

Depreciation is provided on a straight line basis to write off the assets over their anticipated useful economic lives and is charged to the relevant fund as follows:

Freehold land & buildings 50 years (excluding land, which is not depreciated) Leasehold improvements 10 years Equipment 3 years and 10 years

The carrying values of tangible fixed assets are reviewed for impairment when events or changes in circumstances indicate the carrying value may not be recoverable.

Assets within work in progress are not depreciated until they are brought into use.

H STOCKS

Stocks held by the National’s trading subsidiary comprises catering, bookshop and programme supplies for resale. Other stock (“production stock”) comprises consumables for use in the making of sets and costumes.

All stock is valued at the lower of cost and net realisable value. Cost is based on the latest purchase price for catering, bookshop and programme stock, and on actual cost for production stock.

I COSTS OF NEW PRODUCTIONS NOT YET OPENED

The cost of materials for new productions and associated creative team fees are carried forward on the balance sheet until they are expensed on the date of the press night performance. Internal labour and rehearsal costs are expensed as incurred.

J OPERATING LEASES

Rentals payable under operating leases are charged to the Statement of Financial Activities on a straight line basis over the term of the lease.

K PENSIONS

The National offers a stakeholder scheme to its employees and contributes to defined contribution schemes for certain of its other employees (see note 9). These costs are expensed in the Statement of Financial Activities as they become payable.

L TAXATION

The National is a culturally exempt organisation under Schedule 9 of the VAT Act 1994 and during the period VAT returns have been submitted on a culturally exempt basis. Irrecoverable VAT is charged against the cost of charitable activities, where it is incurred. Irrecoverable VAT on capital expenditure has been capitalised and will be written off over the life of the assets. The National is a registered charity and therefore

Page 29 of 49

Notes to the Financial Statements

is not liable to income tax and corporation tax on income and gains derived from its charitable activities as it falls within the various exemptions available to registered charities.

The National’s UK subsidiaries pay any taxable profits to the charity under Gift Aid.

National Theatre North America LLC pays a profit distribution to the Charity. The National is awaiting confirmation for the relevant dispensations in the US that the profit distributions received by National Theatre North America LLC can be paid to the NT without being liable to income tax and corporation tax. Management believe that such dispensations will be granted and no provision for tax has been made.

M FOREIGN CURRENCIES

Transactions in foreign currencies undertaken during the period have been translated at the prevailing rate of exchange at the date of the transaction. Non-monetary assets are recorded at the prevailing rate of exchange at the date of the original transaction. Monetary assets and liabilities in foreign currencies are translated at rates of exchange prevailing at the balance sheet date.

Foreign exchange differences incurred in respect of overseas operations are recorded in the Statement of Financial Activities within the charitable activity income or expenditure for the period in which they are incurred.

The results of foreign operations consolidated within the Group financial statements are translated using the temporal method described above. Any exchange gains or losses are accounted for in the Statement of Financial Activities.

Page 30 of 49

Notes to the Financial Statements

2 INCOMING RESOURCES

(a) Voluntary income – analysis by fund type 52 Weeks to 52 Weeks to

30 March 31 March Unrestricted Funds Restricted Funds 2014 2013

Operations Designated Projects Long Term Total Total £m £m £m £m £m £m Arts Council England: Revenue grant 15.0 - - - 15.0 15.6 Capital and other grants - - 0.5 9.7 10.2 3.8 (including Lottery)

Total Arts Council 15.0 - 0.5 9.7 25.2 19.4

Performances 0.6 - 0.2 - 0.8 0.8

NT Learning - - 0.3 - 0.3 0.4

Public Engagement - - 0.3 - 0.3 0.4

Research & development - - 0.1 - 0.1 0.1

NT Future - - - 16.4 16.4 8.6

General activity 4.5 - - - 4.5 4.6

Total other 5.1 - 0.9 16.4 22.4 14.9

TOTAL voluntary income 20.1 - 1.4 26.1 47.6 34.3

(b) Voluntary income – analysis by income type 2014 2013 Sponsorship Donations, Grants Total Total subscriptions & legacies £m £m £m £m £m

Arts Council England - - 25.2 25.2 19.4

Performances 0.7 - 0.1 0.8 0.8 NT Learning - - 0.3 0.3 0.4 Public Engagement 0.2 - 0.1 0.3 0.4 Research & development - - 0.1 0.1 0.1 NT Future - 16.4 - 16.4 8.6 General activity 1.3 3.2 - 4.5 4.6 TOTAL other 2.2 19.6 0.6 22.4 14.9

TOTAL voluntary income 2.2 19.6 25.8 47.6 34.3

Page 31 of 49

Notes to the Financial Statements

Income of £0.6m (2013: £0.8m) in relation to commercial promotion is recognised in Activities for Generating Funds. In total, the fundraising department raised £6.0m in annual giving and £16.4m for NT Future.

(c) Total incoming resources from charitable activities

2014 2013 Total Total £m £m National Theatre box office Olivier 10.2 7.8 Lyttelton 6.5 8.4 The Shed / Cottesloe 1.1 2.1 War Horse - New London 13.1 15.1 War Horse – UK Tour 9.3 0.0 One Man Two Guvnors - Theatre Royal Haymarket 6.4 9.2 Curious Incident of the Dog in the Night Time – Apollo Theatre 6.8 0.6 Other Commercial Transfers 0.7 0.3 54.1 43.5

NT Live 7.1 2.3 Touring – England & Wales 0.9 1.1 Touring – other countries 1.0 0.7 Other box office 0.1 0.1 9.1 4.2

War Horse International 0.6 1.0 One Man Two Guvnors International - 0.2 NT Learning 0.4 0.3 Exploitation and rights 0.1 0.1 Other income 0.7 0.8 1.8 2.4

TOTAL incoming resources from charitable activities 65.0 50.1

All income from charitable activities is unrestricted.

Touring income includes co-production and touring fees where appropriate.

Page 32 of 49

Notes to the Financial Statements

3 RESOURCES EXPENDED

(a) Costs of charitable activities

2014 2013 Unrestricted Unrestricted Unrestricted Restricted Total Total Operations Operations Designated Direct Support Total Project Long term £m £m £m £m £m £m £m

Performances: National Theatre 26.7 9.5 36.2 - 0.2 - 36.4 35.4 War Horse - New London 11.2 1.2 12.4 - - - 12.4 13.9 War Horse - International 1.1 (0.1) 1.0 - - - 1.0 1.6 War Horse – UK Tour 6.8 0.6 7.4 - - - 7.4 - One Man Two Guvnors – Theatre Royal Haymarket and International 6.6 0.6 7.2 - - - 7.2 8.3 The Curious Incident of the Dog in the Night Time - Apollo 5.8 0.3 6.1 - - - 6.1 1.5 Other Commercial Transfers 0.7 0.1 0.8 - - - 0.8 0.2 Touring 1.2 0.1 1.3 - 0.5 - 1.8 2.2 60.1 12.3 72.4 - 0.7 - 73.1 63.1

NT Learning & Public Engagement 7.4 1.2 8.6 - 0.5 - 9.1 6.8 NT Future - - - 1.6 - - 1.6 0.9 Research & development 1.3 0.4 1.7 - 0.2 - 1.9 1.6 68.8 13.9 82.7 1.6 1.4 - 85.7 72.4

Depreciation - - - 3.2 - 1.0 4.2 4.0 Asset disposals and other charges to the buildings and equipment fund - - - 0.2 - - 0.2 0.9 Non recoverable VAT * 0.8 - 0.8 - - - 0.8 1.0 0.8 - 0.8 3.4 - 1.0 5.2 5.9

TOTAL costs of charitable activities 69.6 13.9 83.5 5.0 1.4 1.0 90.9 78.3

Further analysis of expenditure by fund type is given in Notes 4, 5 and 6. * Under cultural exemption, the National is not able to fully recover input VAT.

(b) Governance costs

Unrestricted Unrestricted Unrestricted Operations Operations Designated Restricted 2014 2013 Direct Support Total Project Long term Total Total £m £m £m £m £m £m £m £m

Governance Costs 0.2 - 0.2 - - - 0.2 0.2

Page 33 of 49

Notes to the Financial Statements

Included within Governance costs are the auditors’ remuneration which consists of the group audit fee £48,000 (2013: £51,000) and tax and other fees due to PricewaterhouseCoopers of £8,000 (2013: £11,000).

Page 34 of 49

Notes to the Financial Statements

(c) Analysis of support costs

2014 2013 Promotion Theatre Support Total Total operations services £m £m £m £m £m

Trading operations - 0.6 1.0 1.6 1.9

Charitable activities: Performances: National Theatre 2.1 5.0 2.5 9.6 9.1 War Horse New London 0.5 - 0.7 1.2 1.4 War Horse International (0.1) - - (0.1) 0.1 War Horse UK Tour 0.2 - 0.4 0.6 One Man Two Guvnors – Theatre Royal Haymarket and International 0.3 - 0.3 0.6 0.8 The Curious Incident of the Dog in the Night Time – Apollo - - 0.3 0.3 0.2 Touring - - 0.1 0.1 0.1 NT Learning & Public Engagement 0.3 0.5 0.4 1.2 1.1 Research & development 0.1 0.2 0.1 0.4 0.3 3.4 5.7 4.8 13.9 13.1

Total support costs 3.4 6.3 5.8 15.5 15.0

Promotion comprises Marketing and Press. Theatre Operations comprises Front of House, Building Services, Insurance, Cleaning and Security. Support Services comprises Finance, IT, HR, Pensions, and Staff Canteen net of cost recoveries of £0.6m (2013: £0.6m).

Support costs relating to trading activities are included in costs of trading operations (Note 23).

Support costs are allocated using the following bases: For Marketing, Front of House, Finance, and IT – Management review of estimated usage Human Resources – Headcount Building Services – Management review of estimated space usage

Page 35 of 49

Notes to the Financial Statements

4 ANALYSIS OF EXPENDITURE ON PERFORMANCES BY FUND TYPE

2014 2013 Unrestricted Designated Restricted Total Total Operations Direct Costs Projects £m £m £m £m £m National Theatre: Capitalisation & running costs 16.9 - 0.2 17.1 14.8 Workshops & stages 12.5 - - 12.5 12.6 Producing & direction 6.8 - - 6.8 6.4 The Shed - - - - 1.6 36.2 - 0.2 36.4 35.4

War Horse New London 12.4 - - 12.4 13.9 War Horse International 1.0 - - 1.0 1.6 War Horse UK Tour 7.4 - - 7.4 One Man Two Guvnors – Theatre Royal Haymarket and International 7.2 - - 7.2 8.3 The Curious Incident of the Dog in the Night Time – Apollo 6.1 - - 6.1 1.5 Other Commercial Transfers 0.8 - - 0.8 0.2 Touring - England & Wales 0.3 - 0.5 0.8 1.4 Touring - other countries 1.0 - - 1.0 0.8 36.2 - 0.5 36.7 27.7

TOTAL expenditure 72.4 - 0.7 73.1 63.1

5 ANALYSIS OF EXPENDITURE ON NT LEARNING AND PUBLIC ENGAGEMENT BY FUND TYPE 2014 2013 Unrestricted Designated Restricted Total Total Operations Direct Costs Projects £m £m £m £m £m

Connections 0.4 - - 0.4 0.5 Primary education & early years 0.2 - 0.1 0.3 0.2 Secondary & further education 0.2 - - 0.2 0.2 Training & development 0.1 - - 0.1 0.1 Digital & other (including department costs) 0.6 - 0.2 0.8 0.7 TOTAL NT Learning expenditure 1.5 - 0.3 1.8 1.7

NT Live 6.2 - - 6.2 2.3 Inside Out (including Watch This Space) - - 0.1 0.1 1.8 Platforms & Foyer Music 0.2 - - 0.2 0.3 Archive 0.2 - - 0.2 0.1 Access 0.1 - - 0.1 0.1 Digital & other initiatives 0.4 - 0.1 0.5 0.5 TOTAL Public Engagement 7.1 - 0.2 7.3 5.1 TOTAL NT Learning & Public Engagement expenditure 8.6 - 0.5 9.1 6.8

Page 36 of 49

Notes to the Financial Statements

6 ANALYSIS OF EXPENDITURE ON RESEARCH AND DEVELOPMENT BY FUND TYPE

2014 2013 Unrestricted Restricted Total Total Operations Projects Long Term £m £m £m £m £m

NT Studio 0.9 0.2 - 1.1 1.0 Commissioning new scripts 0.5 - - 0.5 0.4 Associates and other 0.3 - - 0.3 0.2 TOTAL expenditure 1.7 0.2 - 1.9 1.6

7 STAFF COSTS AND NUMBERS

Group 2014 2013 £m £m

Wages and salaries 41.5 37.3 Social security costs 4.2 3.8 Other pension costs 1.2 0.9 46.9 42.0

Average monthly full time equivalents employed in the period: * 2014 2013 Number Number

Artistic 236 221 Technical and production 441 377 Trading and front of house 225 250 Education, touring, NT Studio and other projects 42 40 Marketing and box office 63 58 Support services 71 58 Engineering 25 24 Fundraising 31 28 1,134 1,056

* All staff are employed by the National Theatre and the cost of their employment is recharged to the NT’s subsidiaries where relevant.

Page 37 of 49

Notes to the Financial Statements

7 STAFF COSTS AND NUMBERS (cont’d)

The number of employees with emoluments greater than £60,000 was as follows:

2014 2013 Number Number

£60,000-£70,000 23 24 £70,001-£80,000 7 3 £80,001-£90,000 3 5 £90,001-£100,000 1 - £100,001-£110,000 1 - £110,001-£120,000 - 1 £120,001-£130,000 1 1 £130,001-£140,000 - 1 £140,001-£150,000 1 1 £150,001-£160,000 - - £160,001-£170,000 1 - £170,001-£180,000 1 1 39 37

Pension contributions of £0.2m (2013: £0.1m) were made to defined contribution schemes for the above members of staff during the period.

8 TRUSTEES’ EMOLUMENTS

No trustees of the company received any remuneration during the period or in the previous period. Expenses for travel and entertainment totalling £401 (2013: £152) were incurred by two trustees wholly and necessarily on the National's business and were reimbursed during the period. Trustees are offered two tickets for each production to enable them to carry out their duties.

9 PENSION CONTRIBUTIONS

The National makes payments to defined contribution schemes which are available to all permanent employees on completion of their probationary period. The charge for the period was £1.2m (2013: £0.9m) with £0.1m (2013: £0.1m) payable at the balance sheet date.

10 TAXATION

The National's charitable activities fall within the exemptions afforded by Part 11 Corporation Taxes Act 2010. The trading and commercial subsidiaries, RNTE, NTPL and NTPL Overseas, passes profits on which tax would be payable to the National under a Gift Aid arrangement. Accordingly, there is no corporation tax charge in these financial statements. Similarly, because of the Gift Aid, there is no difference in the net movement in funds for the National and the Group as a whole.

National Theatre North America LLC pays a profit distribution to the National. The National is awaiting the relevant dispensations in the US to be treated as a charity. Management believe such dispensations will be granted and as such, there is no corporation tax charge on the distribution.

Page 38 of 49

Notes to the Financial Statements

11 TANGIBLE FIXED ASSETS Group and Company

Work in Freehold Progress Work in Land & Leasehold Equipment Equipment (NT Progress Buildings Improvements (10 years) (3 years) Future) (Other) Total £m £m £m £m £m £m £m

Cost

As at 31 March 2013 6.6 35.3 - 32.5 19.3 0.7 94.4

Additions - - - 0.1 21.5 3.3 24.9

Disposals - (1.0) - (0.2) - - (1.2) Transfers from work - 0.5 0.2 2.4 (0.3) (2.8) - in progress As at 30 March 2014 6.6 34.8 0.2 34.8 40.5 1.2 118.1

Accumulated

Depreciation As at 31 March 2013 0.7 33.3 - 27.5 - - 61.5 - Charge for period 0.1 0.4 3.7 - - 4.2 - Disposals - (0.8) (0.2) - - (1.0)

As at 30 March 2014 0.8 32.9 - 31.0 - - 64.7

Net book value As at 30 March 2014 5.8 1.9 0.2 3.8 40.5 1.2 53.4

As at 31 March 2013 5.9 2.0 - 5.0 19.3 0.7 32.9

Freehold land and buildings include NT Studio land at a cost of £0.7m (2013: £0.7m) and the NT Studio building refurbishment at a cost of £5.7m (2013: £5.7m). The Studio building has been provided as security in the form of a 30 year legal mortgage in relation to a grant for refurbishment of the Studio, of £0.9m from Arts Council England in 2010. The mortgage is 14% of the cost of the NT Studio land and building (excluding the NT Studio car park land).

In 2012 a fixed and floating charge lasting 30 years was provided as security for the potential repayment obligations under a grant of £17.5m from Arts Council England for the NT Future project.

Page 39 of 49

Notes to the Financial Statements

12 INVESTMENTS

Group Company Group Company 2014 2014 2013 2013 £m £m £m £m

Expendable endowment (20-year gilt) 0.2 0.2 0.2 0.2

In 2008, the Charity invested £200,000 into a 20-year gilt in accordance with the terms of a donation received from a long-term benefactor. At the end of the 20-year term, the capital sum (£166,000) will become available for use by the National Theatre. Interest on the gilt accrues to the Theatre on a received basis. The initial premium on the gilt is amortised over the life of the gilt. The trustees believe that the carrying value of the investments is supported by their underlying net assets.

See Note 23 for details of investments in subsidiary undertakings.

13 STOCKS Group Company Group Company 2014 2014 2013 2013 £m £m £m £m

Goods for resale 0.4 - 0.6 - Consumable items 0.1 0.1 0.2 0.2 0.5 0.1 0.8 0.2

14 COST OF PRODUCTIONS NOT YET OPENED

Group Company Group Company 2014 2014 2013 2013 £m £m £m £m

War Horse – UK Tour - - 0.3 0.3 War Horse – International - - 0.3 0.3 Other Commercial Transfers 0.2 0.2 0.2 0.2 National Theatre 0.4 0.4 0.3 0.3 London Road (film) 0.7 - - - 1.3 0.6 1.1 1.1

Page 40 of 49

Notes to the Financial Statements

15 DEBTORS Group Company Group Company 2014 2014 2013 2013 £m £m £m £m

Trade debtors 2.4 2.4 1.9 1.8 Amounts owed by group undertakings - 1.8 - 2.9 Other debtors 0.7 0.6 0.8 0.8 Prepayments and accrued income 4.8 4.4 4.2 3.6 7.9 9.2 6.9 9.1

16 CASH AT BANK AND IN HAND Group Company Group Company 2014 2014 2013 2013 £m £m £m £m

Cash and bank balances 18.0 16.9 8.8 6.7 Short-term deposit 2.0 2.0 13.0 13.0 20.0 18.9 21.8 19.7

17 CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR

Group Company Group Company 2014 2014 2013 2013 £m £m £m £m

Trade creditors 0.6 0.5 2.0 1.7 Taxation and social security 1.1 1.1 1.4 1.4 Advance bookings 2.8 2.8 2.4 2.4 Other creditors and accruals 9.1 8.8 8.5 8.4 Deferred income – all utilised in the year 1.4 0.9 1.9 1.8 Provisions 0.1 0.1 - - 15.1 14.2 16.2 15.7

Page 41 of 49

Notes to the Financial Statements

18 FUNDS Balance as Balance as at 31 March at 30 March 2013 Income Expenditure Transfers 2014 £m £m £m £m £m UNRESTRICTED: Operations fund * 2.6 96.6 96.0 (0.6) 2.6

Designated: NT Future 11.5 - 1.6 - 9.9 Building and equipment fund 7.8 - 3.3 2.5 7.0 Front of house capital fund 0.1 - 0.1 - - The Shed 0.1 - - - 0.1 TOTAL Designated funds 19.5 - 5.0 2.5 17

TOTAL Unrestricted funds 22.1 96.6 101 1.9 19.6

RESTRICTED: Project funds NT LEARNING Connections - - - - - Primary & Early Years - 0.1 0.1 - - Secondary & Further Education - - - - - Other - 0.2 0.2 - -

PUBLIC ENGAGEMENT Inside Out - 0.2 0.1 - 0.1 Other 0.1 0.1 0.1 - 0.1

PERFORMANCE Productions - 0.2 0.2 - - Touring - 0.5 0.5 - -

RESEARCH & DEVELOPMENT Studio projects 0.1 0.1 0.2 - - TOTAL Project funds 0.2 1.4 1.4 - 0.2

RESTRICTED: Long term funds NT Future fund 16.5 16.4 0.6 - 32.3 ACE NT Future fund 1.9 7.8 - - 9.7 ACE Lottery fund 1.6 - 0.3 - 1.3 ACE Capital fund - 1.9 - (1.9) - Studio refurbishment fund 5.0 - 0.1 - 4.9 Expendable endowment 0.2 - - - 0.2 TOTAL Long term funds 25.2 26.1 1.0 (1.9) 48.4

TOTAL Restricted funds 25.4 27.5 2.4 (1.9) 48.6

47.5 124.1 103.4 - 68.2 TOTAL FUNDS

Page 42 of 49

Notes to the Financial Statements

£m * Analysis of unrestricted funds held between parent and subsidiaries: Unrestricted retained surplus held by the Charity 2.6 Unrestricted retained surplus/deficit held by trading subsidiaries - Group unrestricted operations fund 2.6

DESIGNATED FUNDS NT Future Fund Expenditure against this fund in the year was costs associated with the NT Future project which were not capitalised, primarily decant costs and staff salaries.

£nil (2013: £nil) was transferred from the operations fund for the development of the NT Future project.

Buildings and Equipment Fund The buildings and equipment fund is a designated fund set aside by the Board in order to enable monies to be made available over a three year period for the renewal and maintenance of the National's buildings and mechanical and electrical equipment in accordance with its lease and obligations under Lottery funding.

£0.6m (2013: £1.3m) was transferred from the operations fund and £1.9m (2013: £1.4m) was transferred from the ACE Capital Fund into the buildings and equipment fund during the period. The expenditure for the current period represents depreciation on assets acquired through this fund and spend on refurbishment of the Drum Revolve, the Pillinger pump and Dorfman Theatre dimmers.

Front of House Capital Fund The expenditure in the period represents depreciation on assets acquired through this fund.

The Shed The Shed opened in March 2012 and was originally planned to operate whilst the Cottesloe Theatre was closed. Planning permission has now been extended with The Temporary Theatre remaining open until 2017.

£nil (2013: £1.7m) was transferred from the operations fund during the year and no expenditure was incurred during the year. The balance on the fund remains to fund costs associated with the closure of the Theatre.

RESTRICTED FUNDS: PROJECT FUNDS These represent funds made available for projects generally completed within two years or activities funded on an annual basis.

NT Learning and Public Engagement Projects The NT Learning and Public Engagement Project Fund represents restricted funding and related expenditure, for participation projects and training initiatives, along with funds received in support of activities in the external public spaces at the NT and various access, archive and digital initiatives.

NT Studio Projects The NT Studio projects fund represents restricted funding for activity at the NT Studio, including new writing and directing initiatives.

Page 43 of 49

Notes to the Financial Statements

RESTRICTED FUNDS: LONG-TERM FUNDS: Long-term funds represent funds used for capital or where there is an expectation that the fund will be used over the longer term.

NT Future Fund £16.4m was received in the year as grants and donations for the NT Future project. Expenditure was £0.6m and represents depreciation on NT Future assets.

ACE NT Future Fund £7.8m was received in the year from Arts Council England for the NT Future project.

ACE Lottery Fund The expenditure in the period represents depreciation on assets acquired through this fund.

ACE Capital Fund A £1.9m (2013: £1.4m) grant was received in the period for capital expenditure from Arts Council England. This was fully spent during the period on fixed assets which have an unrestricted use and as such is transferred to the Buildings and Equipment Fund.

Studio Refurbishment Fund This fund was created to support a major refurbishment of the NT Studio, completed in 2008. The balance reflects future depreciation on the assets acquired through this fund.

Page 44 of 49

Notes to the Financial Statements

19 ANALYSIS OF NET ASSETS BETWEEN FUNDS

Total net Total net Tangible Other net assets at assets at fixed assets / 30 March 31 March assets Cash (liabilities) 2014 2013 £m £m £m £m £m

UNRESTRICTED: Operations fund - 8.0 (5.4) 2.6 2.6

Designated: NT Future - 9.9 - 9.9 11.5 Building and equipment fund 3.4 3.6 - 7.0 7.8 Front of house capital fund - - - - 0.1 The Shed - 0.1 - 0.1 0.1 TOTAL Designated funds 3.4 13.6 - 17.0 19.5

3.4 21.6 (5.4) 19.6 22.1 TOTAL Unrestricted funds

RESTRICTED: Project funds

NT LEARNING & PUBLIC ENGAGEMENT Connections - - - - - Other NT Learning & Public Engagement - 0.2 - 0.2 0.1

RESEARCH & DEVELOPMENT Studio projects - - - - 0.1 TOTAL Project funds - 0.2 - 0.2 0.2

RESTRICTED: Long term funds

NT Future fund 34.2 (1.9) - 32.3 16.5 ACE NT Future fund 9.7 - - 9.7 1.9 ACE Lottery fund 1.2 0.1 - 1.3 1.6 Studio refurbishment fund 4.9 - - 4.9 5.0 Expendable endowment - - 0.2 0.2 0.2 TOTAL Long term funds 50.0 (1.8) 0.2 48.4 25.2

50.0 (1.6) 0.2 48.6 25.4 TOTAL Restricted funds

53.4 20.0 (5.2) 68.2 47.5 TOTAL FUNDS

Page 45 of 49

Notes to the Financial Statements

20 CAPITAL COMMITMENTS: GROUP AND COMPANY 2014 2013 £m £m NT Future related commitments: Fitting out 1.4 3.8 Mechanical and Electrical services 4.6 3.7 Building work 2.1 1.5 Cladding 0.7 1.4 Steelwork 0.2 0.7 Roofing work 0.2 0.6 Logistics 0.6 0.5 Metalwork 0.1 0.5 External Works 2.9 - Other NT Future 0.4 0.9 Olivier Fly System 0.2 -

Other commitments: Cooling Tower safe access - 0.1 LAN improvement - 0.1 Drum works 0.8 - Other commitments (<100k) 0.6 - Approved and contracted 14.8 13.8

The amount payable within one year is £14.8m (2013: £13.8m).

Page 46 of 49

Notes to the Financial Statements

21 CONNECTED CHARITIES AND OTHER RELATED PARTY TRANSACTIONS

Connected Charities Royal National Theatre Foundation The Royal National Theatre Foundation has objects related to those of the National and makes grants to the NT from time to time. The foundation has 11 trustees, three of whom have a direct connection to the NT.

The National Theatre entered into a joint arrangement in March 2012 to create a new Education endowment fund within the Royal National Theatre Foundation to further the NT’s national remit in terms of education. A legacy campaign has been launched by the NT and all unrestricted legacies directed to the NT will in future go to the Royal National Theatre Foundation. The Foundation is structured so that a regular income will come to the NT to finance both its Education work and programmes for the development of the profession for example bursaries, apprenticeships and training. During the period, the NT received legacy income of £25,000 (2013: £11,000) which will be paid to the Royal National Theatre Foundation.

A pledge of £2m was made in 2011 for the NT Future project. £2.1m was received during this financial year which included an additional grant of £100,000. The Foundation also made benevolent grants to members and former members of the staff and company.

American Associates of the Royal National Theatre The American Associates of the Royal National Theatre is an independent s.501c3 not-for-profit charity registered in New York. In the period, $2.6m (2013: $2.6m) was due to the NT.

Other Related Party Transactions Lloyd Dorfman is a trustee of the Dorfman Foundation and a trustee of the National Theatre. In 2010/11, the Foundation pledged a leadership gift of £10m for the NT Future project. During the period £2.9m (2013: £2.7m) was paid to the National Theatre. Lloyd Dorfman is also the Founder, Chairman and a major shareholder of Travelex, sponsors of the National Theatre £12 Travelex season.

The National has a limited power to enter into transactions with its Trustees. This power is in its governing document, the Memorandum of Association, and it is limited by conditions which protect the interests of the National as a charity.

See Note 23 for details of transactions with subsidiaries.

Page 47 of 49

Notes to the Financial Statements

22 OPERATING LEASE COMMITMENTS: GROUP AND COMPANY

At 30 March 2014 the National was committed under non-cancellable operating leases to make the following payments during the next period:

2014 2013 £m £m

Property leases which expire within one to two years 0.3 0.2 Property leases which expire within two to five years - 0.2

Property lease commitments relate to lease contracts for the rental of properties at Park, London SW9 and Malt Street, SE1.

23 SUBSIDIARIES & JOINT ARRANGEMENTS

All subsidiaries have coterminous period ends with the parent company.

As at 30 March 2014, The National had an interest in the following subsidiary undertakings and joint arrangements:

Organisation Country of Nature of Class of Issued Parent Consolidation Name Incorporation Business share capital Share company Method held Capital interest

Royal National UK Trading Ordinary 2 x £1 Ord 100% Yes Theatre activities Shares (Line-by-line) Enterprise Limited

National UK Commercial Ordinary 2 x £1 Ord 100% Yes Theatre exploitation of Shares (Line-by-line) Productions productions Limited

NTPL UK Commercial Ordinary 1 x £1 Ord 100% Yes Overseas exploitation of Share (Indirect (Line-by-line) Limited+ productions holding)

National US Commercial Ordinary 2 x $1 Ord 100% Yes Theatre North exploitation of Shares (Line-by-line) America LLC* productions

NT War Horse US Commercial N/A N/A 55.35% Yes LP* exploitation of (Indirect (Proportionate) productions holding)

+NTPL Overseas Limited (incorporated on 16 December 2011) is a 100% owned subsidiary of National Theatre Productions Limited. The company was dormant in 2013-14 and no further activity is anticipated.

* The National Theatre is the sole Managing Member of National Theatre North America LLC. National Theatre North America LLC is the sole General Partner for NT War Horse LP which represents a joint arrangement between National Theatre North America LLC and National Angels.

Page 48 of 49

Notes to the Financial Statements

23 SUBSIDIARIES & JOINT ARRANGEMENTS (cont’d)

The financial results for the period were:

Royal National National Theatre Theatre NTPL National Theatre Enterprises Productions Overseas North America Limited Limited Limited LLC Total** Total**

2014 2013 2014 2013 2014 2013 2014 2013 2014 2013

£m £m £m £m £m £m £m £m £m £m

Activities for generating funds: Trading operations 9.8 10.2 1.1 0.8 - 0.1 0.4 1.6 11.3 12.7 Cost of trading operations+ (10.0) (9.4) (0.5) (0.5) - - (0.2) (1.7) (10.7) (11.6)

Net Surplus (0.2) 0.8 0.6 0.3 - 0.1 0.2 (0.1) 0.6 1.1

Add back consolidation adjustments 0.8 0.8 ------0.8 0.8

Net Surplus for the period 0.6 1.6 0.6 0.3 - 0.1 0.2 (0.1) 1.4 1.9

Gift aid/Profit distribution due to parent company (0.6) (1.6) (0.6) (0.3) - (0.1) (0.2) - (1.4) (2.0)

Retained in the subsidiary ------(0.1) - (0.1)

Net Assets / (Liabilities) ------

** The financial results for NT War Horse LP are immaterial and have therefore not been detailed above.

+Include in cost of trading operations are administration expenses charged by the National Theatre as follows:

Entity Basis Payments to National Theatre 2014 (£m) 2013 (£m)

Royal National Theatre Enterprises Limited Turnover (11%) 1.2 1.2

National Theatre Productions Limited Usage 0.5 0.5

National Theatre North America LLC Usage 0.1 0.2

NTPL Overseas Ltd Usage - -

1.8 1.9

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