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Home , Alexander Vlahos, Annabel Scholey, Danny Lee Wynter, David Mirvish, Ed Mirvish, Harry Lloyd

ANNUAL 2013/14

1 ANNUAL 2013/2014

The Year in Numbers ...... 2 Chief Executive’s Review ...... 4 Artistic Director’s Review...... 6 Board, Management and ...... 8 ...... 10 Fortune’s Fool...... 12 Other Desert Cities...... 14 Clarence Darrow...... 16 ...... 18 In The Round...... 20 The 24 Hour Plays® Celebrity Gala...... 24 Old Vic New Voices Housed...... 26 Talent...... 28 Education...... 30 Community...... 32 Beyond The Stage...... 34 Where We Began...... 36 Illuminating The Future...... 38 Sustainability and Income...... 40 Fundraising...... 42 Supporters...... 46 Cast, Creatives and Staff...... 48

THE YEAR IN NUMBERS 12.3m 244,938 total income total audience figure

406 3,165 4,587 17,795 11,096 3,063 60,000+ 39,000+ performances tickets sold at discounted free tickets to schools tickets sold at discounted tickets sold at discounted tickets sold at discounted followers Facebook likes rates to the local community rates to under 25s rates to senior citizens rates to patrons with access requirements

2 3 Chief Executive’s Review

Looking back over our tenth – yes tenth! The transformation of the auditorium into the round halfway specifications of our auditorium and expand and enhance We do all this without any subsidy – something that is often – season of work under ’s through the year, once again made possible by the generosity our front and back of house facilities. We now need to begin forgotten. Everything we do here – be it on stage or behind the of Sir Michael Hintze and his company CQS, allowed us to see fundraising to make it happen by 2020, something you will scenes with schools, the community or emerging talent – is glorious Artistic Directorship of The Old The Old Vic (quite literally) from new and exciting angles. A hear more about over the coming years. made possible through the loyalty of our audiences and the Vic, we have much to celebrate. personal highlight for me was seeing Kevin return to The Old Hot on the heels of this was the exciting news in May of generosity of our supporters. What’s so fabulous about that is Vic stage with a tour de force performance in the one-man the appointment of Matthew Warchus as our new Artistic that we have quickly become a family. Everyone who supports show Clarence Darrow. No one will forget his force of passion Director, succeeding Kevin in September 2015. Matthew is an us, at whatever level, is crucial and valued. The Old Vic is as he thundered across the stage, and woe betide you if you internally acclaimed director and a current Artistic Associate theirs, and yours and everyone’s. were one of his chosen members of the jury in the second act! of The Old Vic, who you will know of by reputation – perhaps This time next year Matthew will have opened his first ‘History repeats itself. That’s one of the things wrong mostly due to his inspired creation of Matilda. Kevin and I season, which is a thrilling prospect. Stay with us on the with history’, said Darrow. It’s a truism that feels incredibly are thrilled to have Matthew onboard. We feel strongly that journey – it’s going to be inspiring, brave, entertaining, pertinent right now. Whilst we could not be more fond of his talent, ambition and vision will further transform The Old thought-provoking and, above all, a lot of fun. our glorious historic theatre, we are aware of its limitations Vic, building on the bedrock that Kevin has so brilliantly laid as an 196-year-old building serving twenty-first century throughout his tenure. audiences and creative teams now more than ever. We are Kevin, our Board, and our staff have achieved much over the especially keen to address those aspects of the building that past decade: The Old Vic has been re-established as a major may impact its approachability and accessibility. We are a producing house, over 250,000 people visit our theatre each theatre for all, and we want to ensure our building allows us to year, and off stage we have engaged with 2,500 people each fully realise this principle. Rome was not built in a day, but in year. Looking forward, bold plans for securing the long term April 2014 we reached a significant milestone in our journey future of The Old Vic’s building and underpinning its financial to restore and open up the building when we were awarded sustainability as a charity and a theatre without regular public Sally Greene planning permission for a scheme to upgrade the technical subsidy will ensure our national treasure sustains. Chief Executive

4 5 Artistic Director’s Review

Legendary James Earl Jones and played too at Hotel Elephant. 1,368 people played The Old Vic for the auditioned and the Company eventually first time in Much Ado About Nothing, directed comprised 30 performers and 45 backstage by the remarkable . Talented participants. When I first started my tenure as made her directorial debut at our Artistic Director ten years ago, I knew I wanted theatre, bringing with her a rarely presented to engage the community and young people play by Turgenev, Fortune’s Fool, in a pitch in schools, as well as nurture young theatre perfect adaptation by . This talent. I am immensely proud to see how the turned out to be a great find. Sadly , work of Old Vic New Voices has gone from the fortune’s fool of the title had to withdraw strength to strength. through illness shortly after receiving The Old Vic is unlike any other theatre. It wonderful notices. At the end of the run, we is a charity. It has no subsidy. It has to raise became a theatre in-the-round again, thanks its own money from ticket sales, corporate once more to the generosity of philanthropist sponsorship and public generosity. When I Michael Hintze through his company CQS. In hand over the artistic directorship to Matthew Jon Robin Baitz’s Other Desert Cities director Warchus, I want to leave him with the legacy displayed the extraordinary of an endowment fund so that he doesn’t talents of Sinéad Cusack, Martha Plimpton have to spend as much time as I have on and Clare Higgins to advantage. The year fundraising. Arts Council , while ended with Yaël Farber’s compelling five-star choosing not to subsidise us regularly, has production of The Crucible, for which she endorsed our entrepreneurial approach of self was subsequently nominated for an Evening reliance by giving us £5 million, conditional on Standard Drama Award. The production was a our raising £15m ourselves. great success, earning ten 5-star reviews, and We are working hard to meet this target. Richard Armitage was deservedly acclaimed Thank you to our loyal audience and to the for his performance as John Proctor. generous individuals, companies and trusts Before The Crucible run, I was delighted to and foundations who have supported us. In play Clarence Darrow in a two-week fundraiser particular, I should like to thank our headline for The Old Vic. I have great admiration for sponsors: Bank of America Merrill Lynch, PwC Clarence Darrow and exploring the text with for the Under 25s Club and our in-the-round Thea Sharrock, Artistic Associate and my sponsor, CQS. Final thanks to my team at The director of choice for this piece, was a joy. Old Vic, who always go the extra mile. I’m full I was also very happy that we were able to of pride and excitement to enter into my final give stage time to The Old Vic Community season with you. Company’s production of Housed, which

Kevin Spacey Artistic Director

6 7 The Old Vic Theatre Trust Board of Trustees Matthew Warchus

Nick Clarry (Chairman) Sally Greene OBE (CEO) Kevin McGrath Nick Clarry is a Partner at the private equity firm CVC Sally Greene is renowned for rescuing and restoring The Kevin McGrath is a Chartered Surveyor who has worked Capital Partners, having joined in 2003. Prior to CVC Old Vic, Criterion and Richmond theatres. In 1998, she in the property industry for 25 years. He is currently he worked in the Mergers & Acquisitions department at formed The Old Vic Theatre Trust charity with Stephen Chairman of M&M Property Asset Management LLP Goldman Sachs and then Morgan Stanley. He holds an Daldry to The Old Vic’s iconic building. She is co-producer having previously been Senior Adviser to F&C REIT Asset Economics degree from the University of Cambridge. of the Tony Award-winning Billy Elliot the Musical and Management. He is Chair of the McGrath Charitable Trust Nick first joined The Old Vic in a fundraising capacity proprietor of the world-famous Soho jazz club, Ronnie and is involved with a number of charities and trusts, in 2011, and later joined the Board of The Old Vic Scott’s. In 2007 she launched Greene Light Films. She is including the Guildford School of Acting, the Lyric Theatre Theatre Trust and The Old Vic Endowment Trust. He was the recipient of an OBE and a Montblanc Arts and Culture Hammersmith, the National Education Trust, the Victoria appointed Chairman of The Old Vic Theatre Trust in 2014. Award, in recognition of her contribution to the arts in League for Commonwealth Friendship, The Prison Advice Nick also serves on the Corporate Board at Great Ormond Britain. Sally is patron of Pop-up Ltd, a community-based and Care Trust, the Howard league for Penal reform and Street Hospital Children’s Charity, and the Boards of The literature programme, and the acclaimed HighTide Festival. the Clink Restaurant Charity. Boat Race Company and Formula One. Anthony Horowitz OBE Lady Samuel Alan Banes Anthony Horowitz is one of the most prolific and successful Ann Samuel founded a successful conference company in Alan Banes is a Partner in the Corporate Department of writers working in the UK, working across a range of 1989 which she expanded into 11 offices overseas. Ann the law firm HowardkennedyFsi. Alan works with a wide mediums, writing books, TV series, films, plays and became involved with RADA in 1997 and helped found range of charities covering many sectors, including the journalism. Anthony has written over 40 books, including RADA Enterprises Ltd. She served as Managing Director of Arts and charities operating outside the UK. Alan is also the bestselling teen spy series Alex Rider, and Sherlock RADA Enterprises for the first three years and continues to trustee of The Old Vic Endowment Board and a number of Holmes novels House of Silk and Moriarty. Anthony is be involved with the as a non-executive Director other charities. responsible for creating and writing some of the UK’s of REL. In 2005 Ann joined The Old Vic on a consultancy most successful television series, producing the first seven basis. She retired from her position as Group Director at Robert Bourne episodes of Midsomer Murders, and creating and writing The Old Vic in 2009 and subsequently joined the Board Robert Bourne is a Chartered Accountant. He is Chairman award-winning drama series Foyle’s War and original of Trustees. of Bourne Capital, a property development and Leisure dramas including Collision and Injustice. Anthony is a Investment company. Over the past 10 years has invested patron of East Anglia Children’s Hospices and the anti- Executive in numerous successful property and leisure projects in bullying charity, Kidscape. He has an OBE for services central and Europe. He was instrumental in the to literature. Conor Marren Finance Director restoration of the Richmond and Criterion Theatres. John Richardson Producer It was announced in May 2014 that acclaimed Joyce Hytner OBE Kate Varah Chief Operating Officer director Matthew Warchus is to succeed Kevin CBE In 1998 Joyce launched ACT IV, an arts consultancy Vivien Wallace Development Director Spacey as Artistic Director of The Old Vic. Matthew Stephen Daldry is a celebrated theatre and film director working with clients from both the arts and corporate will take up the role in autumn 2015 when Kevin, whose appointments include Artistic Director of the Gate sector. Prior to this she was Head of Development at the currently presenting his tenth season of work as Theatre from 1989 to 1992 and the Royal Court theatre, and before that worked at Granada Artistic Director, steps down. from 1992 to 1998. His most recent theatre production TV. Throughout that period she was a member of various Matthew is currently an Artistic Associate at The is The Audience (West End and Broadway) and on film, Health Authorities. She currently sits on the Boards of the Old Vic having directed a number of productions Billy Elliott, The Hours, The Reader, Extremely Loud and Criterion Theatre, the Royal Court Theatre, the at the theatre, mostly recently in 2008 when he Incredibly Close and Trash. He was Creative Producer of the International Festival and the Q Foundation. directed Kevin Spacey and in Speed- London 2012 Olympic and Paralympic Games, overseeing the-Plow and also a revival of ’s the four opening and closing ceremonies. Sir Elton John CBE trilogy, . Matthew has now Sir Elton John is a pop singer and pianist – he has written mounted over 70 productions in London and on Susan Gilchrist (appointed December 2014) over 600 songs, released over 30 albums and has spent Broadway, from new plays to classics, modern Susan is Group Chief Executive of Brunswick Group, having more weeks in the UK chart than any other recording artist revivals, musicals and . His recent work previously served as US Managing Partner and Senior during the 1970s. He is founder of the Elton John Aids includes the hit musical Matilda and the feature Partner for Brunswick’s London Office. Prior to joining Foundation and is involved in many charities, including filmPride . Brunswick in 1995, Susan was the retail correspondent at Nordoff Robbins Music Therapy, Terrence Higgins Trust and On his appointment, Matthew said: ‘I am excited The Times and worked as a Management Consultant at London Lighthouse. and honoured to be following Kevin’s galvanising Bain & Company. She is a Founding Supporter in the US of tenure at this wonderful building. He has re- the 30% Club and a Governor of the Southbank Centre. established The Old Vic as a globally important theatre and I look forward to continuing to develop it as a hub of invigorating creativity’.

8 9 MUCH ADO ABOUT NOTHING ‘Vanessa Redgrave and James Earl Jones have an undeniable connection’ Evening Standard

7 SEPTEMBER – 96 64,913 878 5,228 2,886 680 30 NOVEMBER 2013 performances audience tickets sold at the discounted tickets sold at the discounted tickets sold at the discounted tickets sold at the rate to local community rate to under 25s rate to senior citizens discounted rate to patrons with access requirements

10 11 ‘The Old Vic have struck FORTUNE’S FOOL gold with a brilliant production’

The Observer Ivan Turgenev ‘wonderfully funny and deeply touching’ in a version by Mike Poulton

6 DECEMBER 2013 – 93 42,698 629 2,546 3,268 521 22 FEBRUARY 2014 performances audience tickets sold at the discounted tickets sold at the discounted tickets sold at the discounted tickets sold at the rate to local community rate to under 25s rate to senior citizens discounted rate to patrons with access requirements

12 13 ‘this outstanding play OTHER DESERT CITIES had me completely hooked’

The Daily Telegraph Jon Robin Baitz ‘a witty, blistering play’

The Independent

13 MARCH – 24 MAY 2014 98 37,117 629 1,881 2,615 605 performances audience tickets sold at the discounted tickets sold at the discounted tickets sold at the discounted tickets sold at the rate to local community rate to under 25s rate to senior citizens discounted rate to patrons with access requirements

14 15 ‘Kevin Spacey shines in CLARENCE DARROW barnstorming performance’

The Guardian David W Rintels ‘Spacey is spellbinding‘

The Daily Telegraph

28 MAY – 15 JUNE 2014 23 21,681 186 722 49 267 performances audience tickets sold at the discounted tickets sold at the discounted tickets sold at the discounted tickets sold at the rate to local community rate to under 25s rate to senior citizens discounted rate to patrons with access requirements

16 17 ‘a production of THE CRUCIBLE electrifying intensity’

The Daily Telegraph Arthur Miller ‘unmissable‘

The Independent

21 JUNE – 13 SEPTEMBER 2014 96 78,529 843 7,368 2,278 990 performances audience tickets sold at the discounted tickets sold at the discounted tickets sold at the discounted tickets sold at the discounted rate to local community rate to under 25s rate to senior citizens rate to patrons with access requirements

18 19 IN THE ROUND

What does it take to entirely reconfigure an auditorium? We find out from The Old Vic’s Production Manager

It is Saturday 22 February 2013 and the end of another successful run at The Old Vic. The cast may be celebrating closing night but the theatre’s production and stage management team are on full alert. The countdown has begun. They have just two weeks to transform the iconic auditorium, usually characterised by its proscenium arch, into a fully blown theatre in the round. Already the Fortune’s Fool set has been dismantled, seats are being stripped out, as are box fronts and floors. The next day, more of the same as existing overheads and technical bridges now make way. By the end of the weekend, the space is clear enough for large pieces of the alternative structure to be manoeuvred in. ‘We’re hitting it hard,’ admits The Old Vic’s Production Manager Dominic Fraser. ‘When we first tackled the transformation in 2008, we had three weeks in total. Now we’re relying on our previous experience coupled with the fact that many elements of the structure are already built to shave off a full week from the process.’ Six years ago, the CQS Space was actually constructed in several layers offsite and then delivered to the auditorium to be assembled. A season of plays, including Alan Ayckbourn’s The Norman Conquests and ’s Dancing at Lughnasa, was produced on the dynamic new central stage. Upon the season’s close, the specially constructed layers of the modified auditorium were carefully packed up and taken

20 21

The Old Vic’s familiar auditorium is stripped back, reconstructed and given the all-important finishing touches as it evolves into a theatre-in-the-round

into storage. Today they need to be dusted off this point, the end will be in sight. In the round transformation team Stage Chargehand CQS Space Toilets and brought out in exactly the right sequence for ‘There are not that many theatres in London where as of February 2014 James Boston Construction Team Igloos LTD reassembly. Fraser foresees a certain amount of you can achieve such a fundamental change,’ Fraser Bede Armstrong Project Director Head of Electrics Rezan Ahamed-Lebbe Disabled lift facelift and repair work that will need to be completed points out. ‘What audiences notice is that our in the Dominic Fraser Doug Currie Bud Beale Freeway Lifts in the days ahead. A team of between 20 and 30 staff round auditorium feels finished, rooted, permanent. Geoff Grint will be involved, with more hands onsite when bulky We’ve purposefully avoided a raw aesthetic, instead Design Consultant Deputy Head of Electrics Keith Hayes Consultant Structural Engineers steel needs to be shifted into place. selecting colours and finishes that chime with the rest Andrew Todd Miriam Spencer Denzil Keim Campbell Rieth Richard Latter For those who are familiar with the traditional of the theatre.’ Auditorium Construction Carpenters Lloyd McLean Drafting auditorium, it is hard to believe The Old Vic’s stage Weld-Fab Engineering Craig Emmerson Alistair Noonan Simon Jessel remains largely unchanged. Indeed it is the appearance Mick Fernandez Tom Patullo of 220 new seats on the stage, on two levels, that really Technical Bridge Construction Tony Harvey Dom Seeber Fire Risk Assessor Capital Scenery Graham Wells John Sherrard John Young plays tricks with the eye. There is a thrill to be seated Charlie Smith in the same spot where a succession of modern acting Rigging Technical Apprentice Kate Stokes Reconfiguration Photographs greats have very recently performed. Unusual Rigging Chantal Wilson Rory Thomson Matt Humphrey Carpets will need to be laid fresh for this season Brian Watson Carpeting Electricians Dugald Watt Thanks to and new bridges and positions installed for technical Show Flooring Alan Fotheringhame Rhys Aherne Charles Bateson equipment. The auditorium’s glittering chandelier also Olly Welsh Bar Design Eloisa Cuturi has to be retired, albeit temporarily. Then there’s the Assistant Production Manager Sam Fellows Paul Darcey finishing touches – or the window dressing – including Angela Barrett Sound Supervisor Estelle Hondier applying seat numbers. But once the team has reached Gary Giles Painters Head of Stage George Calderwood Petra Luckman Tom Humphrey Sound Engineers Patrícia Gilvaia Cecilia Montes David Gregory Patrick Jensen Matthew Warchus Deputy Head of Stage Neil Rose Sam Miller Steve Grant Conor Neaves

22 23 ® th THE 24 HOUR PLAYS CELEBRITY GALA 10 ANNIVERSARY

The 24 Hour Plays® Celebrity Gala is our annual public event that raises vital funds to support the work of Old Vic New Voices. In 2013, the Gala celebrated its 10th anniversary having run every year since 2004.

The unmissable event, produced in partnership with The 24 Hour Company, brought together 24 celebrity actors, including Douglas Booth, Anthony Head, Allen Leech, Harry Lloyd, Lesley Sharp, Robert Sheehan, Catherine Tate and Jack Whitehall. They were joined by 6 writers and 6 directors, including Jesse Armstrong, Cush Jumbo, Rebecca Lenkiewicz, Maria Friedman, James Grieve and Michael Longhurst The newly-formed company were challenged to write, rehearse and perform six new plays all in the space of 24 hours, culminating in the glamorous gala evening at The Old Vic presented to an audience of 1,000 on Sunday 24 November 2013 and hosted by the fantastic Rob Brydon. The performance was accompanied by The Craze Band from One Man Two Guv’nors, who provided live music throughout the evening. A glittering post-show party, The 25th Hour, was hosted by Rosewood London for guests and participants and was featured in the Evening Standard, i newspaper, , The Mail on Sunday, and Hello! Magazine. The evening raised a remarkable £182,000.

‘ It was one of the most enjoyable experiences I’ve had performing for a long time... I would love to do a play. If I didnt have the bug to do it before, I have it now’

Jack Whitehall, The 24 Hour Plays® 2013

24 25 OLD VIC NEW VOICES HOUSED

Whilst second homes lie empty, thousands Housed by David Watson was The Old Vic Community together for a full three years. As it grows, the In response to our evaluation survey: of Londoners are facing skyrocketing rents Company’s hugely ambitious and successful first production. Community Company will become London’s largest – 31% of the audience rarely or never go to the theatre and the threat of homelessness. As the gap Housed examined the capital’s housing crisis, and was inspired inclusive theatre company, with the aim of connecting – 80% of the audience felt their knowledge was broadened by the testimonies of Londoners who took part in workshops individuals, providing them with a creative outlet and by the production between home-owners and ‘generation ’ and interviews across the city. Over 200 individuals contributed empowering them to tackle social issues through theatre. – 85% of the participants felt their confidence had widens, Housed asked, ‘Who wins in the race their opinions and experiences, including landlords, housing increased as a result of taking part to get a place?’ officers and people who have first-hand experience Through Housed we: – 90% of the participants felt that taking part had of homelessness. – presented 6 performances in Hotel Elephant and at increased their wellbeing 1,368 people applied to be involved in the production, and The Old Vic – 96% of participants felt they had learnt new skills all of them took part in creative workshop auditions. We invited – gave 30 people experience of performing – 100% of participants rated the experience as Good to Excellent 30 performers and 45 backstage participants to form the final – trained 45 participants in backstage disciplines company. All of them selected for their talent and passion for – auditioned over 1,200 people aged 16 – 75 their community. – gave free tickets to 2,200 audience members The production was staged in the round at Hotel Elephant and The Old Vic, reaching different audiences for each show, and challenging the Company to learn about performing in two very different venues. Tickets were offered completely free of charge so there was no barrier to access the performances, and ‘ Community theatre as it should be. Diverse and interesting stories told to an a total of 2,200 people came to see the production – 40% of these were entirely new to The Old Vic. equally diverse audience’

THE OLD VIC COMMUNITY COMPANY The Old Vic Community Company is a pioneering new model of Audience member community theatre offering members the opportunity to work

26 27 OLD VIC NEW VOICES TALENT

Actors’ masterclass with Clare Higgins as part of Bloomingdale’s Classics Week in New York Research and Development workshop for the TS Eliot Commissions 2014

Professional support and development THE LAB covering essential costs such as wages, materials, and actors, directors, musicians and producers, all former initiatives for emerging theatre makers, We offered free rehearsal space for emerging companies to professional development. participants in our Talent programmes. stimulating creativity and rewarding talent experiment and explore new ideas without the pressure of One project which epitomised our approach is Mush The writers were: Daniel Andersen, Jon Barton, delivering a finished end-product. Companies supported and Me which explored a young couple’s experience Jake Brunger, Zoe Cooper, Matt Hartley, Steve Hevey, by the Lab this year have created work covering areas as of multicultural Britain. We supported the project with Cat Jones, Kieran Lynn and Nessah Muthy. In 2013/2014 we: diverse as family dynamics, bitcoin, the First World War, a Start Up fund and Lab space to enable the team to – mentored 60 new companies quantum mechanics and new forms of puppetry. We also develop it further with actors and the writer, who had THE MONO BOX expanded the programme across the UK, provided Lab previously only written one full-length play. After a We continued our partnership with The Mono Box provides – supported 845 participating emerging space to companies based in Wales and Scotland as well as hugely successful run at the Edinburgh Fringe Festival, access to 800 carefully curated monologues and audition theatre makers London and the South East, significantly contributing to the production was booked to perform at The Bush advice for aspiring actors. Over 300 performers attended The – provided 1,734 hours of free rehearsal space the theatre landscape in the UK. Theatre and also won the Holden Street Theatre Award, Mono Box events that we hosted this year, and we continue to – invested £16,000 in new projects and ideas which will fund a full run of the production at the support their team with ongoing mentoring and publicity. START UPS Adelaide Fringe Festival in Australia. Many emerging artists can struggle to transform their creative ideas into tangible projects, meaning there can TS ELIOT COMMISSIONS be a lack of innovation feeding into the wider theatre We are committed to promoting new writing and giving industry. To better support these new ideas, our Start writers the time and support needed to test and refine Ups programme provides early investment to inventive, their plays. We selected 9 writers from our pool of TS original theatre projects. This year we supported 20 Eliot Commissions recipients to develop their work with projects, investing a total of £16,000. This funding a full creative team. This included feedback on drafts ensured that each project progressed to its next stage, and up to four days in a rehearsal room with experienced

28 29 OLD VIC NEW VOICES EDUCATION

Old Vic New Voices Schools Club 2014 Puppetry workshop at The Old Vic as part of Kids Week 2014

Unique education projects that give SCHOOLS CLUB The schools that took part in 2013/2014 from across CHILDREN AND FAMILIES London were: Over the summer we ran inclusive storytelling and puppetry schools access to imaginative workshops Our fifth year of Schools Club gave students and educators from London schools a holistic and hands-on experience of a full workshops for Kids Week, an annual event organised by the for students and teachers and free tickets season at the Theatre entirely free of charge. Ark Academy, Aylward Academy, Blackheath and Bluecoat Society of London Theatres. One workshop was for children for every Old Vic production The year-long programme directly links to the Theatre’s Church of England School, Bonus Pastor Catholic College, aged 5–8 years, and the other for young people with autism season on stage and to GCSE and A-Level curriculum Burlington Danes Academy, Cardinal Wiseman School, or Asperger’s Syndrome and their siblings. We also ran an In 2013/2014, we: objectives. This year 1,045 students attended intensive Christ the King Sixth Form College, City and Islington Sixth Introduction to Theatre session with a group of Lambeth – worked with 44 London schools practical workshops in school before coming to see each Form College, Copthall School, Finchley Catholic High students in the first year of a new secondary school. production at The Old Vic. The workshops creatively explored School, Forest Gate Community School, Forest Hill School, – created 105 pages of education resources themes and characters from the show and also focused on Fortismere School, Greenshaw High School, Harris Academy PAGE TO STAGE – delivered 364 hours of workshops developing cross-curricular skills in team work, self-confidence, Upper Norwood, Havering Sixth Form College, Haydon Supported by Bank of America Merrill Lynch, we held a – engaged 1,178 young people public speaking and leadership. School, Hewens College, La Sainte Union Catholic School, one-off experience for three selected schools exploring – gave out 4,606 free theatre tickets Teachers were given preparatory resource packs for use in Leigh Technology Academy, Lister Community School, our production of Much Ado About Nothing. Over a day, lessons which included detailed notes and articles about the London Nautical School, Northumberland Park, Community students were challenged to create their own version of play and interviews with the cast and creative team. The packs School, Notre Dame RC Girls’ Secondary School, Our Lady’s the play with workshops in design, producing, marketing were made available online so any school visiting the Theatre Convent High School, , Robert and directing, guided by specialists in those areas. The day can access this informative resource. Since January 2014, Clack School, , St Bonaventures, St Mary’s culminated in a group presentation of their proposals on our education page has received over 200 hits. Throughout Catholic High School, St Paul’s Way Trust School, St Thomas The Old Vic stage, followed by watching the production the year, teachers also had access to bespoke professional More Language College, St Martin-in-the-Fields High School later that evening. development sessions, which focused on a range of techniques for Girls, The Crest Academies, The John Roan School, such as forum theatre and documentary theatre. The sessions , Wallington County Grammar School, focused on a range of techniques such as forum theatre Walthamstow School for Girls, Wembley High Technology and documentary theatre and how they can be used in the College, Woolwich Polytechnic School classroom to enrich the learning experiences of students.

30 31 OLD VIC NEW VOICES COMMUNITY

Rehearsals for The Old Vic Community Company’s first production, Housed Meet and Greet for The Old Vic Community Company’s production, Housed

Ambitious, innovative projects which inspire THE OLD VIC COMMUNITY COMPANY Community Housing Association. 3,165 people use our reduced and provided writing advice and feedback to 30 shortlisted hundreds of people to create and experience The Old Vic Community Company was created for Londoners cost community tickets which are available to anyone living or applicants. The seven writers selected to be part of the theatre first-hand from every background to explore shared social issues and working in the local area. programme attended writing masterclasses with highly regarded express themselves collectively as writers, performers and playwrights like Roy Williams, and have each had one-on-one production-makers. Throughout 2013/2014 we held six drop-in COMMUNITY WRITERS surgeries with Old Vic New Voices alumnus Kenny Emson to In 2013/2014, we: sessions that explored shared concerns through theatre. We Writing is a vital form of expression, but often it can be further develop their own style and technique. The seven writers – discovered 7 community writers also held bootcamps to enable first time performers to test and daunting to know how or where to start. This year we began collaborated to create a one-off Monologue Slam inspired by – recruited 75 Community Company members hone their acting abilities in a friendly and fun environment. a year long programme of support for writers with little or no Housed which was performed to an invited audience in The Old – welcomed 226 local group members into Workshops took place across London, linking into various local experience, but plenty of passion and opinions. We received Vic’s Rehearsal Room. groups and events including Streatham Festival, London Arts over 200 applications from a hugely diverse group of individuals, the theatre for the first time & Health Forum and Coin Street’s Waterloo Sights and Sounds – engaged 368 individuals through community Festival. We also created the first community production from drop-ins and theatre bootcamps the newly formed Community Company. The production was – offered 3,165 reduced price community tickets Housed by David Watson and explored Londoners attitudes to the housing crisis. ‘ It has enabled me to meet, work, and be inspired by a wonderful new community COMMUNITY ACCESS that I know I can feel part of’ Lambeth and Southwark are priority areas for us, and we are always looking to find new ways to engage with our neighbours. We worked with local community groups including Age UK: Lambeth, Waterloo Association of Groups and St Mungo’s Community Company member

32 33 BEYOND THE STAGE

ACCESS bring our productions to the stage, and hear some of the stories Pit Sessions artists were selected to perform at The 24 Hour commissioned articles to explore the themes of a show and The Old Vic is known for delivering an excellent service to all of of the acting greats and their experiences in this historic building. Plays® Celebrity Gala. As we continue to work to expand the provide further background on the play. For example, our Much our visitors, and we pride ourselves on the care and attention Our Christmas and 196th Birthday Tours proved extremely opportunities we offer and the range of acts we showcase, we Ado About Nothing programme saw Dr William Leahy investigate we give when responding to access requirements. The building popular this year. Responding to popular demand, we increased have started holding acoustic Pit Sessions on Monday evenings. why the thorny subject of the authorship of Shakespeare’s is nearly 200 years old, and some areas aren’t as accessible as our number of tours this year, holding 52 history tours and taking plays and poems is here to stay; for Fortune’s Fool Mike we hope they’ll become, but our staff receive regular training 843 people around the building and onto the stage. A diverse EXHIBITIONS Poulton discussed why rarely seen European masterpieces and understand the importance of ensuring that everyone who range of groups included The Frank Matcham Society, Coin We continued our long-term loan agreement with the Victoria are worth bringing back to life onstage; in our Other Desert comes through our doors has the best possible experience. Street Community Centre, and Lloyds. and Albert Museum this year, displaying beautiful prints of The Cities programme award-winning journalist Barbara Isenberg We programme regular assisted performances for every We continued our participation in Open House London Old Vic throughout its history and giving visitors a glimpse into explored the impossible glamour of America’s west coast; for main stage show, including captioned and audio described with a special tour, with nearly 50 people attending, our largest the theatre’s rich past. From September to November 2013, Clarence Darrow author John A. Farrell looked at the turbulent performances and touch tours for every production, and produce ever attendance. we hosted an exhibition by the Peter Glenville Foundation, life of the titular legal legend; and for The Crucible Professor braille and large print programmes. This year we captioned our displaying photographs and posters from the ’s numerous Sharon Monteith explored how The Crucible’s allegorical potency Old Vic Community Company production of Housed and hope to POST-SHOW TALKS films and theatre productions. Celebrating ten years of our continues to affect a twenty-first century audience. do the same for future Community Company productions. We Throughout the year, we offered our audiences behind-the- emerging talent, education and community programme, Old Vic also look forward to utilising funds kindly contributed by Boshier- scenes insights into each production. These included Vanessa New Voices, in 2014, we also showcased photographs from Old SPECIAL EVENTS Hinton Foundation towards upgrading our infra-red system of Redgrave talking about her role as Beatrice in Much Ado About Vic New Voices numerous productions. In October 2013 we hosted the Frank Matcham Society for a audio enhancement in the auditorium. Nothing and renowned theatre critic Matt Wolf in conversation morning of lectures and tours exploring the life and career of the with cast members of Fortune’s Fool and Other Desert Cities. PROGRAMMES architect, whose firm undertook major works at The Old Vic in HISTORY TOURS Matt also hosted Richard Armitage In Conversation where they Programmes add to the theatre experience by adding context the 1920s. Our tours offer members of the public the opportunity to gain discussed Richard’s role as John Proctor in The Crucible. to the play and its creative team and cast, providing information In May 2014 The Old Vic was honoured to host a memorial for a new insight into the long and eventful history of The Old about The Old Vic’s range of activities, and acting as a lasting Peter O’Toole. ‘Still Loitering’ was a celebration of Peter O’Toole’s Vic, one of London’s oldest working theatres. In 2013/14 local THE PIT SESSIONS memento of a great night out. To ensure that our programmes life, led by his daughter Kate O’Toole. The celebration included groups and those from further afield were able to learn more Launched in 2010, The Pit Sessions – downstairs in The Pit Bar are available to all, we provide copies in large print and braille. readings by Benedict Cumberbatch, Kevin Spacey and the Irish about the Theatre as it operates in its transformed in the round every Friday – offer theatre-goers and the local community the As well as giving audiences full information about the team President Michael D. Higgins. configuration, gain a greater understanding of what it takes to opportunity to see fresh music talent. For the first time this year behind the production, our programmes include specially

34 35 WHERE WE BEGAN The Old Vic has been a landmark for nearly 200 years. It’s one of London’s oldest working theatres and has provided a dramatic home for an extraordinary roll call of actors.

From left Edith Evans, The Country Wife; , Caesar and Cleopatra ; , ; Alec Guiness, ; Sinéad Cusack, The Winter’s Tale; Kevin Spacey, Richard III.

1818 1910–30s 1960–76 2004–14 The Theatre starts life as the Royal Coburg, promising the Under the management of Lilian Baylis, the Theatre flourishes Laurence Olivier is appointed the first director of the National The Theatre returns to its roots as a producing house, with nobility and gentry ‘entirely new entertainment... on a scale of and she adopts ‘The Old Vic’, a popular local nickname, as its Theatre in 1963 and The Old Vic becomes its temporary Spacey as the first Artistic Director of The Old Vic Theatre magnitude and great expense’. official title. She opens a second theatre, Sadler’s Wells, and home, initially for five years. The first production is Hamlet Company. Four or five shows are staged each season, including the two venues alternate drama, and ballet until 1934 with Peter O’Toole. Company regulars include , Ian McKellen in Aladdin, Robert Lindsay in The Entertainer, 1830–70s when opera and ballet move to Sadler’s Wells. Sybil Thorndike Anthony Hopkins, Joan Plowright and . In 1973, Anne-Marie Duff in Cause Célèbre, Eve Best in The Duchess of The Theatre is renamed The Royal Victoria, in honour of leads the company during the war years, with performances following his last stage performance, The Party, Olivier resigns Malfi, A Moon for the Misbegotten and The Norman Conquests Princess (later Queen) Victoria. It undergoes a number of continuing during air raids. Edith Evans becomes the first as director of the National and is succeeded by . The (both transfer to Broadway), Kim Catrall in Sweet Bird of Youth, changes of management. Dickens writes, ‘Whatever changes West End star to join the company. ’s Hamlet and National finally moves to the South Bank in 1976. Spacey in Richard II and Richard III, and the three-year The of fashion the drama knows elsewhere, it is always fashionable Richard II establish him as an exciting new Shakespearean star. Bridge Project directed by and tours worldwide. in the New Cut’. The Theatre’s twice put up for sale in the , Peggy Ashcroft and Charles Laughton join 1977–97 Yaël Farber’s The Crucible gained ten 5-star reviews, the most in 1870s, before closing down. the company, followed by Michael Redgrave, The Old Vic is leased to visiting companies. Canadian The Old Vic history and became the first production to be filmed and Laurence Olivier a couple of years before the Theatre businessman buys the Theatre in 1982 and restores and broadcast in UK and Irish cinemas. In May 2014, Matthew 1880–1900s closes at the outbreak of war. it to its former glory. Work during this period includes seasons Warchus is announced as Kevin Spacey’s successor as Artistic Emma Cons, a leading social reformer, re-opens The Old Vic as by and Peter Hall. Director, to assume the post when Spacey’s tenure ends in ‘a cheap and decent place of amusement on strict temperance 1940–50s Autumn 2015. lines’. Philanthropist Samuel Morley offers evening classes for The building re-opens in 1940 but is badly hit by bombs. 1998–2003 working men and women backstage. While the company move to a temporary home, the damaged The Theatre’s up for sale again. Suggestions for changing it auditorium is used by the newly established Old Vic School. into a themed pub, bingo hall or lap-dancing club provoke The Theatre re-opens in 1950 and the decade sees outrage and protests. It’s acquired by The Old Vic Theatre Trust, Richard Burton as Hamlet and in Zeffirelli’s set up by Sally Greene. The Iceman Cometh, with Kevin Spacey, . is a huge success.

36 37 ILLUMINATING THE FUTURE

We have bold plans to secure the future of We are working to provide long-term financial security for owners of the building, spent generously. The auditorium The Old Vic as a producing house. The Old Vic, aiming to enhance our position as a major remains magnificent but other parts of the building, while ‘ The historical significance of The Old Vic producing house and developing our historic, listed building safe, are in urgent need of transformation. We lack front-of- for generations to come. house facilities that audiences have come to expect elsewhere as a leading centre of opera, ballet and No matter how successful we are onstage, it can’t ensure and we’re in danger of losing the ability to attract creative serious theatre in the twentieth century the future viability of the theatre across the broad range talent if we don’t upgrade facilities backstage. of our work. As The Old Vic doesn’t receive a regular public In April 2014, we were awarded planning permission for a is exceptional in English theatre, though subsidy from any source – we’re entirely dependent on sensitive and visionary scheme to restore The Old Vic. As well it is in recognition of its architectural our Box Office, commercial income and the support of as offering a better experience for theatregoers, we want to individuals, companies, trusts and foundations – we have open up the front of house to everyone during the day, flood quality and rarity that it is listed in a started an endowment fund, allowing the theatre in effect to the foyers with light through some of the old side windows, high grade.’ create its own subsidy for the future. which were bricked up in the 1920s, and make the theatre The endowment fund, which we hope to grow over time, will totally accessible for the first time. We have already bought help us to stage exceptional productions, sustain our award- the building immediately to the south of the theatre, and we winning talent development, creative learning and community propose that this will become part of The Old Vic with a new English Heritage Grade II* Listed Building Entry engagement programme, and maintain our building. We studio auditorium seating 80 to 100 and a learning space for are grateful to Arts Council England for its support of match education and community work. funding (2012-15) to help start this fund through its Catalyst As our bicentenary approaches in 2018, a priority for programme. The Old Vic is to raise the money to realise these ambitious It is challenging to run a theatre today that was conceived plans to ensure that the next generation of actors and and built nearly 200 years ago. The most recent renovation audiences will continue to enjoy the theatre as so many was in the 1970s and 80s when Ed and , the then have done before.

38 39 SUSTAINABILITY AND INCOME

ENVIRONMENT Our recycling continues to climb and compared to the same Coin Street Community Builders and Blackfriars 2013/14 We are committed to reducing our carbon footprint and period in 2012/13 we are now recycling 150kg more per month, Settlement to ensure residents are able to access our 32% being an environmentally responsible theatre. Long-term and our paper recycling has saved 353 trees over the past year. services and productions. Box office goals include 100% recycled paper use and zero waste to £6.007m landfill or incinerator, as well as dramatically reducing our HOMEGROWN PEOPLE Trading & other income energy consumption. Our policy is to work wherever possible with local independent We are committed to being an equal opportunities employer £2.291m We have already replaced most of our front of house suppliers. Our ice cream is organic and produced by Roskilly’s, and providing on-going training and development to all staff. Fundraising & campaigns light bulbs with LEDS and are continuing to replace others an independent family-run farm in Cornwall. Belu provide This year we formally adopted the ‘ban the box’ policy, which £4.001m our bottled water – they use recycled packaging, are carbon wherever possible. From next year, we will produce an annual ensures a fair opportunity for ex-offenders to apply for jobs. We Total neutral and give 100% of their profits to WaterAid. Fairfield environmental report to assess progress with key statistics on continue to develop work opportunities for young people and 19% 49% £12.299m electricity, gas, water, paper, waste production and recycling. Farm Crisps are a small family-run farm on the Essex/Suffolk during 2013/14 employed a Technical Apprentice in partnership Achievements this year include: border that produces quality potatoes and crisps. We take with Tower , a BBC Fellow in Community Production 4919+32F+ pride in investing in small British sustainable businesses who and an Old Vic New Voices Intern in partnership with Southwark 2012/13 – 41% of our business consumables are now eco-friendly share our values. Borough Council. products and we are working to increase this percentage 24% Box office – 100% recycled paper made from post-consumer waste COMMUNITY INCOME £7.376m of FSC certified products is used as standard throughout We are committed to playing an active role within our The Old Vic is a charity and doesn’t receive a public subsidy. Trading & other income the building community and engaging with local residents. This year 2,868 All income goes towards £2.168m – All front of house waste is recycled as a matter of policy residents of Lambeth and Southwark benefited from £5/£10 Fundraising & campaigns – All desk lamps in the building being replaced with low tickets to our productions. The Old Vic Community Company – Bringing exceptional productions to the stage £3.078m energy 5W LED lamps held various free drop-in workshops and collaborated with – Sustaining the quality of our education and Talk to me London to encourage local people to get to know community programme Total one another. We have also cultivated strong relationships with – Maintaining our famous building for future generations 17% 59% £12.622m key community organisations such as Waterloo Action Centre, 5917+24F+ 40 41 FUNDRAISING

Thanks to the generosity of our INDIVIDUALS income grow by more than 10% and doubled over the past We are also delighted to be working with Bloomberg and supporters, in 2013/14 we raised a This year has seen us gain a number of Production Partners two years. to be continuing our partnerships with Coutts, American staggering £4 million. and we also launched a new tier of affordable membership, This season saw the transformation of our auditorium to Express, Aqua Financial Ltd and Centreground Political Premium Friends. The announcement of Clarence Darrow, an in the round configuration, which was made possible by Communications all of whom play such an important part in The Crucible and Electra resulted in a surge of new Friends, the generous support of CQS. We remain extremely grateful supporting our work. Associates and Patrons and contributed to increasing our to our Season Sponsor; Bank of America Merrill Lynch and to numbers to 345 members and over 3000 Friends. Thanks to PwC who support our Under 25’s Club, which enables us to our website upgrade, we experienced a markedly positive offer 100 £12 tickets to every performance. uptake in terms of supporters joining and renewing their donations online. The loyalty and engagement of our generous individual donors continues to represent a solid backbone to our philanthropic giving scheme.

CORPORATE ‘ The Old Vic is extraordinarily good at making its funders feel valued, which makes Companies engage with The Old Vic through structured membership options and bespoke sponsorship packages. it easy for us to continue our support’ Benefits include brand alignment, private entertaining around our productions, ticket allocations, invitations to exclusive events, staff engagement and training programmes and community engagement. This year, we have seen corporate Rena DeSisto, Bank of America Merrill Lynch

42 43

TRUSTS AND FOUNDATIONS Co-operative Community Fund, The Fidelio Charitable Trust, projects and commissions for exceptional new playwrights. We pride ourselves on being entrepreneurial in fundraising This year, we have been able to deliver a diverse range of The Hearn Foundation, Sandra Charitable Trust, Schroder This year’s Talent programme was supported by The TS Eliot initiatives and our event partnerships and this year, we outreach and education projects, thanks to the generous Charity Trust, Stavros Niarchos Foundation and Unity Estate, The Marina Kleinwort Charitable Trust, the Andrew successfully hosted our first ever online auction and raffle of support of trusts and foundations. Theatre Trust. Lloyd Webber Foundation and the Stanley Picker Trust. a neon by Tracey Emin in association with Christie’s.

Highlights include: Schools Club EVENTS THE AMERICAN ASSOCIATES OF THE OLD VIC This year, Schools Club was delivered to 40 secondary schools In the last year, we produced over 75 events for The Old Vic The American Associates of the Old Vic is comprised of Housed engaging over 100 14-18 year olds. Schools Club is supported supporters with more than 7,500 guests in attendance. theatre-lovers who have been instrumental in supporting The Old Vic Community Company created its first production, by the Dr Mortimer & Theresa Sackler Foundation. In addition to these events, we also hosted a number of The Old Vic, both onstage and off, on both sides of Housed. Over 1200 people auditioned and the final major annual fundraisers, including The Old Vic Lunch and the Atlantic. production was performed on The Old Vic stage, featuring a Emerging Talent The 24 Hour Plays® Celebrity Gala. cast of 30 and 45 backstage crew members. Old Vic New Voices Talent helps the next generation of Housed, was supported by The Andor Charitable Trust, theatre-makers build their careers. In 2013/14, we provided Big Lottery Fund, The Behrens Foundation, The Charlotte free rehearsal space, networking and mentoring with Bonham-Carter Charitable Trust, CHK Charities Ltd, industry professional, Start Up Awards to develop creative

44 45 SUPPORTERS

We’re extremely grateful to the many people and organisations who generously supported The Old Vic in 2013/14

INDIVIDUAL David & Manjy Sidoo Richard, Rebecca & Benjamin Sarah Gates & Michael Lane Miss Aman Sharma Victoria J Cochrane Jacqueline & Marc Leland Richard & Vivienne Windle Bell Pottinger (formerly The Foyle Foundation SUPPORT Jonathan & Lisa Swinney Lander & Sarah Barclay Hon William Gibson Karin Sherman* Beth & Michele Colocci Larry & Peggy Levy Pádraig & Marie Wright Centreground Political J Paul Getty Jr Charitable Adrian Teulon Andy Lennard Rachael Gilbert Tom & Helena Sikorski Kelly & Dimitri Constantinou Professor Ann Lloyd Keen Suki Yamamoto Communications) Trust PRODUCTION PARTNERS Edgar & Judith Wallner Dr Sara Levene Richard & Jan Grandison Diane Silverthorne Chuck Copeland Anne Lycett MVO Geri & Ron Yonover* Clifford Chance The GC Gibson Charitable Kevin & Alisa Burke Lisa West* Ric Lewis & Ilina Singh Mark W B Harms Anthony Simpson & Susan Ute Crede Andrew & Moira MacRae Simone Ziegert Neuberger Berman Trust Nick & Caroline Clarry Nigel Wilson Audrey Mandela & Sean Coreen R Hester Boster Felicia Crystal Brian Marcus & Gayatri Desai Runwild Media Group Peter Glenville Foundation* Wendy Fisher Poju & Anita Zabludowicz Phelan Soo & Jonathan Hitchin Tracy & Jay Snyder* Stefano & Joanne D’Andrea Glen McCarty And members of The Old Vic SG Hambros The Gosling Foundation Ian & Carol Sellars Lord & Lady Marks of Tracy Hofman Marion Speed Sandra Dennis Serrie Meakins Club who wish to remain Skadden The Hearn Foundation Scott & Kathleen Simpson PRODUCERS’ CIRCLE Broughton Preety & David Hudd Annie Spiers Brian & Estelle Doctor Daria Meshcherina anonymous The Moody’s Foundation The Hintze Family Charitable Bruno Wang Mary & Irwin Ackerman* Amy Nauiokas* Kate Hudspeth Mrs Kara Lemont Sportelli Dr Julie Doughty & Dr Paul Peter Mihalik & Andrea Foundation The Williams Charitable Trust John & Laura Banes David & Alessandra Newton Marion & Steven Jones Hugh & Catherine Stevenson Trafford Mihalikova CORPORATE GOLD The Holbeck Charitable Trust Claire Bullus Peter & May Nicol Steve Keller & Berry Adam & Sheri Sticpewich W & J Douglas Anthony Monaghan & SUPPORT Aqua Financial Solutions Ltd The Marina Kleinwort ARTISTIC DIRECTOR’S CIRCLE Michael & Blake Daffey Susan Pilcher Bloomingdale Francis Sultana Kendall Duesbury Stuart Hanbury Ashurst Charitable Trust Rod Aldridge OBE David & Sheila Hodgkinson Annemarie Platteau Nicola Kerr Stephen & Nancy Thorington Stephen Dunn Bela Mongia SEASON SPONSOR Autograph Lloyds Community Fund Louise & Jamie Arnell Maureen Gardner Lee & Michael Profenius* Latifa Kosta Sonia & Paul Tudor Jones* Robyn Durie Alexa Morton Bank of America Merrill DLA Piper The Celia & Edward Atkin CBE Susan Gilchrist* Toni A Ritzenberg* Mr & Mrs Herbert Kretzmer Margaret Turner Mark & Emma Elliott Paul & Alison Myners Lynch Grange Hotels Foundation Carolyn Bennett Cerys & Paul Hopkirk Wendi & Joseph B Rose David Kurtz Matthew & Jo Turner Linda Enfield Tamara Nance Lloyds Banking Group The Luscinus Trust Sir Peter Blake Samantha & John Hunt Foundation* Gordon Lee Bob & Anne Van Gieson David Fawkes & Family Ann Nealon THE OLD VIC IN THE ROUND The London General Practice The Lynn Foundation Isabelle de La Bruyère Simon & Nicki Philips Ruddock Foundation for Ann Lewis Anthony & Kit Van Tulleken Ileana & Michael Fidance Sam Newman & Jeff Jefford SPONSOR MAC John Lyon’s Charity Gordon Campbell Gray The David & Elaine Potter the Arts Molly Lowell & David Ines Varela-Silva Landgraf Fitting & Baroness Yoshi & Anica Nishio CQS Pi Capital Stavros Niarchos Foundation Richard Caring Foundation Bill & Julie Ryan Borthwick* Mr & Mrs Xavier de Viana Stern Jared & Amy Noering Quo Vadis The Stanley Picker Trust Dina De Luca Chartouni* Michael & Aileen Jim & Linda Scholes Lesley Jane Lynn Kevin & Susan Wallace Penelope Fitzherbert Annie Norris UNDER 25S CLUB Richmond Associates The Rose Foundation Sir Ronald & Lady Cohen Sandle-Brownlie Jon & NoraLee Sedmak* Robert & Sally MacGregor Monica Gerard-Sharp Mark Fothergill Georgia Oetker PwC Shaftesbury PLC Royal Norwegian Embassy Nick & Philippa Cooper Kenny & Ilona Schachter John & Ann Smith Mr & Mrs Edward Madara Wambold & Ali E Wambold* Mark & Karon Foxwell Katharina Ottmann UK Mail The Royal Victoria Hall Siri & Rob Cope The Peter J Solomon Family Sue & Stuart Stradling Stephen & Fiorella Massey Mr & Mrs Philip B Petra Frisch W A Philip & Kristi Thompson PREMIUM SPONSOR White Light Foundation Bob & Jennifer Diamond Foundation* Sir David Tang John McLaughlin Weymouth III* Dea Frydenlund Caroline Phitoussi* American Airlines Witherbys Lithoflow Printing The Sackler Trust Robert Earl Nicola Stanhope Jan E Taylor* Zofia McLoughlin Ailsa White Nicholas & Priscilla Garland George Pincus MBE & XL Video The Basil Samuel Charitable Tracey Emin Christian Sweeting Mr & Mrs Nick Wheeler James McNeill & Mark Ames Sue White Martha Gibbs Carolyn Pincus CORPORATE SPONSORS Trust Dr Paul Ettlinger Charles Wynn- Evans & Michelle Mercer & Bruce Mr Neil Whittingham Lynne Gillon Denise Ribaroff American Express TRUSTS & Sandra Charitable Trust Ralph & Anna Goldenberg BENEFACTORS Alex McColl Golden Prof David Wingate Marshall & Carolyn Gluck Philip & Sarah Richards Baltic FOUNDATIONS Schroder Charity Trust Lydia & Manfred Gorvy Jon & Julia Aisbitt The Donald & Barbara Zucker Cheryl & Philip Milstein* Andrew & Skye Witney Mary Godwin Elif & Michael Ridley Beluga Vodka The Bernard Sunley Philip & Tina Green Arthur G Altschul Jr* Family Foundation* Richard Mishaan* Danny & Alison Witter Angie Greenhalgh Louise Robson Brunswick Group* Andor Charitable Trust Charitable Foundation Peter & Andrea De Haan The Alec Baldwin Andrew & Charlotte Moffat Ann Wood & Don Kelly Rupert & Robin Hambro* Tristan Rogers Champagne Taittinger The Austin & Hope Unity Theatre Trust Richard & Susan Hayden Foundation* PATRONS Anne Monaghan The Wu Family Niamh Hayes & Joseph Elihu & Susan Rose* Cinnamon Candy Pilkington Trust Vandervell Foundation Michael & Dorothy Hintze Peter M Beckwith OBE Eddy Allebe Gabrielle & Marc Nohr Powderly Peter & Michelle Rosenbauer D&D London Barbara and Stanley Fink Wellcome Trust Sir Tom Hunter Dr Kate Best Fizzy Barclay Kate O’Neill ASSOCIATES Margaret Heffernan & Jackie & John Rothenberg Matthew Clark Foundation The Worshipful Company Badr Jafar Archer and Ashlee Bishop Countess Kelly Barel di Sant Jeff & Sally Onions Delya Allakhverdova Lindsay Nicholson Claudia Semerci McKinsey & Co* BBC Performing Arts Fund of Grocers Anita M Jaffe* Charlie & Lulu Bott Albano Kate O’Shaughnessy Elizabeth Allen & Andrew Michelle & Lawrence Jo Shelley Ovation* The Behrens Foundation The Worshipful Company of Eva & Ofir Kedar Roger Bradburn & Helen Ralph & Yasmine Bernstein* Robert Ouimette* Campbell Herbert* Dasha Shenkman Rosewood London Big Lottery Fund Spectacle Makers’ Charity Adam Kenwright Main Derek Betts William Pidduck Kemi Amondi Michael Herzog Neil Sherlock The Savoy Blyth Watson Charitable Stephen & Sigrid Kirk Nicole Bueermann Judith Bland Gordon Martin & Cathy Pluck Ian & Helen Andrews Dr David J Hill Belinda Spouse Trust OLD VIC NEW Evgeny Lebedev Vanessa & John Cackett Léon & Sylvie Bressler Rose Polidoro* Leena Ashby Tina Horler Mike & Susanne Stacey CORPORATE The Charlotte Bonham- VOICES Alan & Marsha Nuriya Lee Yvonne Chadwick Amjad & Suha Bseisu Richard Pone Vincent & Kate Aslangul Mr & Mrs C Hume Kevin Stewart MEMBERS Carter Charitable Trust Kenneth & Melissa Leet Karan A Chanana Jeanne & William Callanan The Porter Foundation Gavin Bishop Jane Ingram Leila Strauss* CHK Charities Limited SPECIAL PROJECTS Viscount & Viscountess Edward & Betsy Cohen* Josh Connor* Lauren Prakke Bruno Boesch Margaret A Jackson Ladislav V Suchopar PREMIUM City Bridge Trust SUPPORTED BY Linley Clare Cooper Monica Corsi* Kimberly Putzer* Prince Paolo Costantino Penny & Thomas Jackson* Robin Swid* Bloomberg Co-operative Community The Bloomingdale’s Fund of Annie & Steven Murphy Councillor Kevin Craig Chris & Chris Cox Patricia Ranken* Borghese* Karen Jensen-Jones Helen & Geoffrey Tanter Bourne Capital Fund the Macy’s Foundation* Mrs Glenys Palmer Scott M Delman* Paul Darling Lady Jane Rayne Lacey Andy & Liz Bradnam Jamil Jivanjee April Teeling Christie’s Delouvrier Family The T S Eliot Estate Stephen & Yana Peel Laura Gallo Avis Darzins & Tony Pusey Rosemary Reid Charitable Peter Braithwaite Jennie Jones David & Sayoko Teitelbaum Eversheds Foundation* The Dr Mortimer & Theresa Francesca Robinson Chris Hall Mr & Mrs Walford Davies Fund* David Bulteel M A Jones David Thomas QC & Victoria Strategy& (formerly Booz & The Eranda Foundation Sackler Foundation David Ross Foundation Terry & Nicola Hitchcock Susie & Kevin Davis* Clare Rich Reto Cantone* Ann Joseph Cochrane Company) The Ernest Cook Trust Time Warner* Sir Evelyn & Lynn Forester de Sophie Hughes* Mr Remmel T Dickinson* Marion Rubens Gabrielle & Marcel Cassard Steve Kingshott Steve Timothy The Mohamed S. Farsi Rothschild Mrs Vanzel Johnson Kelley & Gordon Eichhorst Robert Sadotti & Viveca Natasha Cheung Stephane Knauf Eric Tomsett PLATINUM Foundation * The American Associates of Dame Theresa Sackler Mr & Mrs Philip Kingsley Olivia Flatto* Thempo Tim & Caroline Clark Fred Landman Phill Ward Canary Wharf Group The Fidelio Charitable Trust The Old Vic Mrs Lily Safra Nick & Sue Francis Carol & Lawrence Saper* R N Clarke Esq Aron Landy Deborah Wilhelmi Cantate Communications

The Old Vic gratefully acknowledges an award of £5 million in 2012 from the Catalyst Arts Endowment Fund, conditional on our raising £15 million match funding by 2015.

46 47 CAST, CREATIVES & STAFF

CAST & CREATIVES Patrick Cremin Casting Cast BOARDS STAFF Individual Giving Assistant Ruth Piper Production Dyfan Dwyfor Camilla Evans Tina Hobley As of 31 August 2014 As of 31 August 2014 Head of Corporate Assistant to the Producer Tamsin Chmielowska 7 Sep – 30 Nov 2013 Janet Fullerlove Maggie Lunn Clive Rowe Partnerships Justin Pledger Assistant Producer Simon Fliegner MUCH ADO ABOUT Iain Glen Cast Lesley Sharp The Old Vic Theatre Trust Artistic Director Kevin Spacey CBE Assistant to the Executive Assistant NOTHING Paul Ham Richard Armitage Neil Stuke Board of Trustees Chief Executive Sally Greene OBE Development Director to Kevin Spacey Beau Gordon William Shakespeare Richard Henders Harry Attwell Nick Clarry, Chair Artistic Director and Associate Production Administrator Lydia Scott Director Samantha Colley The Garden of Ms Harriet Figg Alan Banes Designate (2015) Matthew Warchus Development Director Sarah Reuben Mark Rylance Simon Markey Marama Corlett Playwright Robert Bourne Events Coordinator Emma Robson Technical Designer John McAndrew Jack Ellis Matt Hartley Stephen Daldry CBE Executive Membership Manager Katherine Rothman Deputy Head of Wardrobe Louise Askins Richard McCabe Ann Firbank Director Sally Greene OBE Finance Director Conor Marren Stage Chargehand James Boston Lighting Bryonie Pritchard William Gaunt Lisa Spirling Susan Gilchrist* Producer John Richardson The American Associates Deputy Head of Stage Steve Grant Mimi Jordan Sherin Emily Tucker Natalie Gavin Assistant Director Anthony Horowitz OBE Chief Operating Officer Kate Varah of The Old Vic Head of Stage Tom Humphrey Music and Associate Director Christopher Godwin Richard Fitch Joyce Hytner OBE Development Director Vivien Wallace Director of The American Head of Wardrobe Fiona Lehmann Claire van Kampen Catherine Hammond Cast Sir Elton John CBE Associates of The Old Vic Gina Napoli Head of Electrics Miriam Spencer Sound 13 Mar – 24 May 2014 Hannah Hutch Kaya Scodelario Kevin McGrath Senior Management Group Deputy Head of Electrics Paul Davison Emma Laxton OTHER DESERT CITIES Lauren Lyle Robert Sheehan Lady Samuel Head of Financial Reporting Tessa Baker Finance Technical Apprentice Chantal Wilson Movement John Robin Baitz Anna Madeley Catherine Tate HR Manager Melinda Burton Senior Management Siân Williams Director Paddy Navin Jaime Winstone The Old Vic Endowment Director, Accountant Folahan Adegoke Theatre Management Casting Lindsay Posner Sarah Niles Trust Board of Trustees Old Vic New Voices Alexander Ferris Finance and Payroll Assistant Facilities Manager Tim Allwright Siobhan Bracke Designer Tom Peters Rosie, Adam, Kyle & Lois Sir Michael Hintze, Co-Chair Production Manager Dominic Fraser Coordinator Olga Barreto-Ibanez Executive Assistant to the Cast Robert Innes Hopkins Neil Salvage Playwright Kevin Spacey CBE, Co-Chair Associate Development Management Accountant Nadika Basnayake Chief Operating Officer Juliet Chippindale Tim Barlow Lighting Rebecca Saire Rebecca Lenkiewicz Alan Banes Director Natasha Harris Assistant to the Finance Administration Assistant Penelope Beaumont Peter Mumford Adrian Schiller Director Nick Clarry Head of Theatre Operations Dan Kujawski Director Nicola Chalmers to Sally Greene Kate Guest Kingsley Ben-Adir Music Michael Thomas James Grieve Marketing Director Becky Pepper Management Accountant Theatre Operations Katherine Carlton Michael Bruce Alan Vicary Assistant Director The Old Vic Theatre Theatre Operations Director Liz Sillett (maternity cover) Julie Harford Coordinator Pippa Howie Beth Cooke Sound Daisy Waterstone Edward Stambollouian Company Board of Directors General Manager Tara Wilkinson Finance Assistant Ron Levy Facilities Manager Deano McCullagh Alan David Christopher Shutt Matt Weyland Cast Sally Greene OBE, Chair Assistant Accountant Hamal Patel Stage Door Keeper Steve Nisbet Michael Elwyn Casting Zara White Ronni Ancona Conor Marren Box Office Box Office Assistant Theatre Administrator Alexandra Sayer Lloyd Everitt Lisa Makin Douglas Booth John Richardson Box Office Assistant Ian Bass Accountant Jasmine Patel Stage Door Manager Ned Seago James Garnon Cast 24 Nov 2013 Amanda Donohoe Kevin Spacey CBE Box Office Manager Sophie Beattie Management Accountant Alfred Sankoh Theatre Management Melody Grove Sinéad Cusack THE 24 HOUR PLAYS® Harry Lloyd Kate Varah Box Office Assistant Sarah Bradnum Management Accountant Bina Tankaria Executive Katie Sewell James Earl Jones Peter Egan CELEBRITY GALA Vivien Wallace Box Office Assistant Jenny Davies Finance Assistant Pavinder Virdi Theatre Management Trevor Laird Clare Higgins Hosted by Rob Brydon Intervention Box Office Supervisor Shona Davis Assistant Katy Smith Leroy Osei-Bonsu Daniel Lapaine Playwright The Old Vic Services Box Office Assistant Lynne Forbes Front of House Assistant to Sally Greene Sara White Vanessa Redgrave Martha Plimpton Why Aren’t They Laughing Matt Charman Company Board of Directors Box Office Systems and Stock and Operations Mark Ross Playwright Director Alan Banes, Chair Database Manager Debbie Harland Support George Calderwood IT provision supported by Cara Networks Peter Wight 28 May – 15 June 2014 Jesse Armstrong Lucy Kerbel Conor Marren Box Office Assistant Patrick Harris Duty Bar Manager David Dobson Media Consultant Freud Communications Danny Lee Wynter CLARENCE DARROW Director Assistant Director Kate Varah Box Office Assistant Conor Neaves Duty Bar Manager David Frias-Robles Press Agents Jo Allan PR With David W Rintels Michael Longhurst Julia McShane Box Office Assistant Fabiana Palladino Duty Bar Manager Simon Grujich Samuel Allum Based upon Assistant Director Cast The American Associates of Box Office Assistant Simon Paul Duty FOH Manager Katy Heavens Charlie Beazley-Clarke Irving Stone’s Clarence Mark Maughan Lily Cole The Old Vic Board of Trustees Box Office Assistant Tracy Rakira Stock and Operations Gene Gurie Darrow for the Defense Cast Lisa Dillon Dina DeLuca Chartouni, Chair Box Office Assistant Natalie Smith Support Patrick Jensen Artistic Associates Rob Ashford Tyler Hunter Director Anthony Head Alan Banes Box Office Assistant Katy Stephenson FOH and Bars Manager Danny Krohm Edward Hall Henry Markham Hare Thea Sharrock Jeff Fahey Nick Moran Susan Gilchrist Box Office Assistant Matthew Willis Duty Bar Manager Sarah Langrish-Smith David Liddiment Samuel Stembridge-King Designer Nathan Stewart-Jarrett Anne Keating Box Office Supervisor ‘Didi’ Teh Zahirah Stock and Operations Alan Macdonald Jack Whitehall 11 Jul – 20 Jul 2014 Marsha Lee Zuhuri Support Conor Neaves Thea Sharrock 6 Dec 2013 – 22 Feb 2014 Lighting HOUSED Conor Marren Duty FOH Manager John Noronha FORTUNE’S FOOL Guy Hoare So Much Once David Watson Frank Selvaggi Design Duty FOH Manager Caecilie Hougaard Ivan Turgenev Music Playwright Director Graphic Designer Peter Collins Pedersen In a version by Adrian Johnston Alice Birch Alexander Ferris Development Council Head of Design Stephen Long Duty Bar Manager Owen Roberts Mike Poulton Sound Director Designer Nick Clarry, Chair Duty FOH Manager Julian Ward Director Gregory Clarke Michael Buffong Francesca Reidy Stef Calcraft Development Lucy Bailey Cast Assistant Director Lighting Chris de Pury Trusts and Foundations Marketing Designer Kevin Spacey Kirsty Patrick Ward Doug Currie Dr Paul Ettlinger Executive Natasha Bloor Senior Marketing Executive Sophie Andrews William Dudley Cast Sound Matthew Freud Head of Trusts and Marketing Executive Liz Moon Lighting 21 Jun – 13 Sep 2014 Zawe Ashton David Gregory Sally Greene OBE Foundations Victoria Burton Marketing Assistant Laura Pryce Bruno Poet THE CRUCIBLE Tom Ellis Movement Director Nicola Howson Campaign Assistant Dominic Cooper Music Arthur Miller Allen Leech Vicki Manderson Sigrid Kirk Prospects Researcher Helen Gaffney Old Vic New Voices John Eacott Director Annabel Scholey Cast Caroline McCormick Corporate Partnerships BBC Fellow in Sound Yaël Farber The Old Vic Community Jonathan Norbury Manager Olivia Highland Community Production Clemmie Forfar Mic Pool Designer The Womb Company Scott Simpson Senior Events Manager Helen Hodge Education and Community Movement Soutra Gilmour Playwright Kevin Spacey CBE Special Advisor to the Manager Hannah Fosker Leah Hausman Lighting Cush Jumbo Dee Stirling Artistic Director Hamish Jenkinson Talent Officer Laura Humphrey Casting Tim Lutkin Director Sara Tate Senior Individual Giving Old Vic New Voices Intern Mirain Jones Sarah Bird Music and Sound Maria Friedman Manager Panni Kanyuk Cast Richard Hammarton Assistant Director *appointed December 2014 Campaign Manager Bhavna Malkani Lucy Briggs-Owen Movement Tara Robinson Daniel Cerqueira Imogen Knight

48 49 The Old Vic The Cut, London SE1 8NB +44 (0)20 7928 2651 www.oldvictheatre.com

© The Old Vic, 2014 The Old Vic Theatre Trust 2000 charity no 1072590. The Old Vic Endowment Trust charity no 1147946.

Design Stephen Long Editorial Juliet Chippindale and Sarah Reuben Images Catherine Ashmore, Gordon Bell, Alex Brenner, Jay Brooks, Ben Carpenter, Peter Collins, Manuel Harlan, Matt Humphrey, Tristram Kenton, Richard Lakos, Stephen Long, Mander & Mitcheson, Joan Marcus, Miller Hare, Jeff Moore, Stacey Newman, Alexander Newton, Guilherme Zühlke O’Connor, Ben Pruchnie/Getty Images, Victoria and Albert Museum, Philip Vile

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