sign in sign up
<<
Home , Angus Wright (actor), Atandwa Kani, David Dawson (actor), Dyfan Dwyfor, Edward Bennett (actor), Forbes Masson

ANNUAL REPORT AND ACCOUNTS Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon CV37 6BB 2008/ Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk 2009 133rd report of the Board Facts and figures 02 – 03

To be submitted to the Annual Chairman’s report 05 General Meeting of the Governors convened for Friday 2 October 2009. To the Governors of the Royal Voices 06 – 13 Shakespeare Company, Stratford-upon-Avon, notice is Artistic Director’s report 15 hereby given that the Annual General Meeting of the Governors will be held in The Courtyard Voices 16 – 23 Theatre, Stratford-upon-Avon on Friday 2 October 2009 commencing at 3.30pm, to Executive Director’s report 24 consider the report of the Board and the Statement of Financial Voices 26 – 33 Activities and the Balance Sheet of the Corporation at 31 March 2009, to elect the Board for the Special report by Director of Education 35 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Voices 36 – 39 the Royal Shakespeare Company. Finance Director’s report 40 – 45 By order of the Board

Vikki Heywood Summary accounts 46 – 47 Secretary to the Governors Supporting our work 48 – 49

Year in performance 50 – 53

Acting Companies 54 – 55

The Company 56 – 57

Corporate Governance 58

Associate Artists/Advisors 59

Photo: Ellie Kurttz Photo: Constitution 60 Front cover: company Photo: Ellie Kurttz Queen’s Park Primary School during the Regional Schools Celebration Facts and figures Audiences came from 70 different countries worldwide 15% 9 awards for The Histories to see us in Stratford-upon-Avon of our 311,238 tickets including the Olivier for audience was from a sold in Stratford-uon-Avon, Best Company Performance black or minority ethnic background 90% ticket capacity

17,443 family tickets sold 2,500 teachers took part in our 4,238 professional development programmes followers on (www.twitter.com/theRSC) 300 schools are part of our 5,793 fans Learning and Performance of our new Facebook site Network (www.facebook.com/theRSC)

116,935 people saw our work in

1 Gold Award for innovation for RSC Lightlock, a new invention for the theatre, television and live entertainment industries 4 awards for Hamlet, including Theatre Event of the Year from Whatsonstage.com Over 35 audio described 90,000 231free theatre tours for 5,000 people performances and 28 1in 5 of the Novello Theatre tickets sold for captioned performances audience were under 25 the Newcastle in Stratford-upon-Avon, Season and London and on tour on tour 02 /05/ 03 Chairman’s report

It has been the RSC’s rediscovered aim to return to its founding principles as an ensemble theatre company, to connect our audiences with Shakespeare and to engage with the world. These last twelve months have seen this aim bear fruit.

The year began with an ending – the conclusion of our first two and a half year acting ensemble as we took all eight of Shakespeare’s history plays to the in London, directed by Michael Boyd with Richard Twyman.

And it ended with a beginning – when we cast the next long ensemble of actors, who will be with us for the opening of the new Royal Shakespeare and Swan Theatres in 2010/11.

We are very proud of what we have achieved along the way. We sold over half a million tickets in Stratford-upon-Avon, London, and across the UK on tour. We worked with over 2,000 teachers, bringing Shakespeare alive to more than 30,000 children. And we involved many thousands of people in events and activities which opened up the way we make theatre.

Our audiences have been enormously supportive and we have had extraordinary success at the Box Office, playing to 85% capacity. Fundraising continues to operate in a tough climate, but over 7000 people have already supported our capital campaign for our new home.

Photo: Ellie Photo: Ellie Kurttz This annual report is intended to give a flavour of our work through the voices of the many people who have shared our year.

Sir Christopher Bland as Ariel in 05 The fascinating thing about the Roundhouse was whether we could recreate the intimacy of The Courtyard Theatre 30,000 tickets sold for 47 performances of The Histories for The Histories, and could we make the auditorium part at the Roundhouse in London of the existing building. The result was the Roundyard where the design of the shows and the auditorium became one. The exciting thing was watching members of the technical team take the project on and create their own elements. The planning and the realisation were extraordinary, so much so we finished technical rehearsals early, and that’s unbelievable.

Tom Piper, Associate Designer and Designer for The Histories Photo: Stewart Hemley Stewart Photo:

Creating the auditorium inside the Roundhouse 06 07 My experience at the RSC was life-changing. To share Over70,000 tickets sold for18 weeks of touring to15 different a rehearsal room, let alone a stage, with and towns and cities was something unique. The tour was incredible and the crew, and for want of a better collective noun, family were outstanding. If were to single out one moment that will live with me forever, it was walking onto The Courtyard Theatre stage for the first time: to breathe that air and breathe the play, half erupting with excitement, half charged with pride, half giggling, half anxious, and whole happy. It was simply sublime.

Nick Pauling, Brett Goldin Bursary recipient, played Sebastian in The Tempest, produced in association with The Baxter Theatre Centre at the . Photo: Ellie Kurttz Ellie Photo:

John Kani and Antony Sher alongside Nick Pauling in The Tempest, which performed in , Stratford-upon-Avon and on tour in the UK 08 09 I came to Open Day last year and had my photo taken 10,000 people joined us in Stratford-upon-Avon for our Open Day for a Hamlet poster, it was great fun. Open Day was fantastic, I made a video of the day’s events which I edited to music. It was shown to and he was impressed, which made me feel very proud.

Nat Barber, aged 15 Photo: Stewart Hemley

Hardeep Singh Kohli hosts one of the Open Day events 10 11 The RSC Literary Department is generously supported by THE DRUE HEINZ TRUST 40 writers under commission

The RSC’s New Work is generously supported by CHRISTOPHER SETON ABELE on behalf of THE ARGOSY FOUNDATION

I was one of six young writers given free rein to write a piece for any of the theatre's spaces. I wrote a foul mouthed comedy about two old sailors, rehearsing and performing it over an intense two days. It was fun and a great opportunity to work with other writers of my generation. It's unusual to be given the time,

space and to develop your skills in this Photo: SimonAnnand way. It was a real adrenalin rush.

Phil Porter, writer and participant in the Wilton’s Photo: Liza Frank Liza Photo: Winter Writing project as part of the London Season Michelle Gomez in Marina Carr’s at Wilton's Music Hall. new play The Cordelia Dream 12 13 Artistic Director’s report

Live theatre is in rude health. The sociable act of gathering in the same space, to share an imaginative journey through real time, and the same air with performers and other audience members has never been more popular, or seemed more important.

We have learnt a huge amount from our first experience with a two and a half year ensemble. We are now sharing those lessons with a new team of Associate Directors and our next long ensemble of 44 actors, who began rehearsals in January for their journey to the opening of our transformed Stratford home in 2010/11.

Our Artist Development Programme remains a core part of an actor’s time with us, mixing voice, verse and rhetoric to mine Shakespeare’s plays and explore new work. The establishment of a new Movement Department is a demonstration that old barriers between text-based and physical theatre traditions in Britain are no longer relevant at the RSC. I have never seen the RSC as an exclusive place. Of course, we want to make great work, but it’s our job to connect people with Shakespeare and engage with the world. We have made enormous strides this year in reaching new audiences, from Greg Doran’s acclaimed production of Hamlet to our manifesto Stand up for Shakespeare, which has helped change the way Shakespeare is taught in schools. We are in good heart for the coming epic years during which we move back to our new home, celebrate our 50th anniversary, and produce the centrepiece for the Cultural Olympiad in 2012: The World Shakespeare Festival. Photo: Ellie Kurttz Ellie Photo:

The ensemble in rehearsal Michael Boyd 15 The first three weeks were fascinating, getting to know actors working together for years 44 actors working together for 33years people and being very aware that you’re going to be with them for three years. The workshops were for me inspirational. When you have people who are passionate about what they do you can’t help but let their enthusiasm infect you with creative possibilities or challenge the way you work. We’ll work with at least six different directors, a different process and vision each time. I’m exhausted but right now I don’t want to be anywhere else.

Noma Dumezweni, member of the acting ensemble and RSC Board member

Photo: Ellie Kurttz Ellie Photo: The RSC Ensemble is generously supported by THE GATSBY CHARITABLE FOUNDATION and in THE KOVNER FOUNDATION 16 01 17 It was one of the most memorable experiences I have had as an actor, something I'll never forget. We had 532,764 tickets sold in Stratford-upon-Avon, London, a long time to build a really fantastic ensemble. Newcastle upon Tyne and on tour I wanted to come back because of the quality of the work here. There are people who can unlock this incredible writing in ways I have never come across. The Courtyard Theatre is such an exciting space to perform in. The actors' connection with the audience is electric. I can't wait to play Juliet next year.

Mariah Gale, actor in Hamlet, Love’s Labour’s Lost and A Midsummer Night’s Dream and a member of the acting ensemble 2009 – 2011 Photo: Ellie Kurttz Ellie Photo:

Mariah Gale in Love’s Labour’s Lost 18 19 Staging a zombie invasion on a theatre was never going to be easy. people saw a live performance of Shakespeare for the first time But with the help of a strong production team, including stage manager, 46,000 make-up, costume and wigs supervisors, actors and zombie volunteers, our Latitude debut showcased the talent and ingenuity available at the RSC. The Big Lie laid bare our willingness to experiment and made audiences think again about what they expect from the Company. Festivals like Latitude challenge the boundaries of performance, giving us the opportunity to reach new audiences in new surroundings and to test the limits of what we can achieve.

Dan Usztan, Literary Assistant Photo: Liza Frank Liza Photo: Festival goers at Latitude enjoying Anthony Neilson and Nick Powell’s The Big Lie, devised for the festival

20 /19/ 21 I was chosen along with 22 other young people from schools all over the country to be a part of the RSC's first Youth Ensemble. 65,000 children and young people were reached through Over two weeks we stayed in Stratford and put on a public our Learning and Performance Network performance of A Midsummer Night’s Dream and I played Bottom. During the two weeks I met a lot of great people and in September we did another performance in The Courtyard Theatre in front of HRH The Prince of Wales and we got to meet him after the performance. I will never forget that day. I feel really lucky to be a part of the RSC!

Kim, age 16 years, Icknield Community College, – part of our Learning and Performance Network Photo: Rob Frreman Rob Photo:

22 23 Executive Director’s report

The story of our year is also a story about extending the relationship with our audiences, who are at the heart of everything we do, working towards the completion of our new Stratford-upon-Avon home and looking to the future by investing time in teaching young people about theatre craft.

The variety of work we offer is growing all the time, from our Shakespeare repertoire, to regular new work seasons, touring and residencies, as well as a wide range of events and exhibitions to complement our productions. This allows us to reach new audiences all over the country, with 92,000 people new to the RSC this year.

A shared experience with our audiences is also increasing. Our expansion into digital media has paid enormous dividends this year, with growing social media communities on our website, Facebook and Twitter.

The transformation of our theatres in Stratford-upon-Avon continues on time and budget, with considerable interest generated in the region, nationally and internationally. It has been incredibly exciting to watch the new Royal Shakespeare Theatre auditorium take shape before the eyes of the world.

We have begun to focus on promoting theatre as a career, sharing what we do through an extensive programme of open days, work placements and apprenticeship schemes, to ensure that we attract the best staff from the widest communities.

Thank you to all those who have supported our Photo: EllieKurttz work this year. I hope you will join us – in the theatre, at our events or online, on our journey to our new home in 2010.

Vikki Heywood Patrice Naiambana and Natalia Tena in , which toured to five UK cities 24 Photo: Simon Wilding 27 different countries have countries different 42 This last year I was asked to support the I was asked year This last transformation Shakespeare of the Royal appealed The project Theatre. directly to me and to preservation with its commitment with such When combined restoration. design, innovative how could I resist? de Rothschild, The ErandaSir Evelyn Foundation visit about the project information more For www.rsc.org.uk/transformation supporters from supporters 7,000 contributed so far of our theatres to the transformation Over Over We look after the electrical side of the project. side of the project. after the electrical look We my for and studying training on site whilst Working has been really Management HNC in Construction and experience the practical Having valuable. has helped my development it to my studies applying with my ambition help and will ultimately enormously landed have I couldn’t manager. to be a project a better job. Sarah Reeves,Document Controller, Michael J Lonsdale

26 Photo: Stewart Hemley Stewart Photo: Over 150 people joined us for one of our career development opportunities

The entire event was invaluable. It provided me with some fantastic advice and has inspired me to chasing my dreams. Thank you so, so much. Thank you for inspiring me! This experience has set my decisions for my future in the theatre. Thank you. It is lovely that theatre doors are open to all!

Photos: Stewart Hemley Stewart Photos: It opened my eyes to what work in the theatre Participants at the Open Doors careers event is really like. for young people 28 29 We worked with the RSC to engage with young people who would not ordinarily get the opportunity to visit 13,354 £5 tickets for 16–25s sold the theatre. We put on coach trips to the theatre, doing workshops and also giving the young people the chance to be on stage and meet members of the cast!

It was a truly amazing experience for all those who attended! From the start to the finish, the coach journey, the company, the food and the play!! Great work RSC and First Class Youth!!!

Melisha Fuller, Client Care Officer at First Class Youth

30 31 The work of the RSC needs to be accessible to everyone – whether students, teachers, first-time attendees or 1,173,071 unique web users visited 19 million pages veteran theatregoers. I am proud to support the RSC's on our website ongoing development of the internet and digital media, enabling anyone to explore Shakespeare.

Dr Leonard Polonsky, RSC donor Photo: Ellie Kurttz Photo:

Romeo and Juliet played in Stratford-upon-Avon and toured the UK 32 33 Special report

We started the year launching Stand up for Shakespeare, our manifesto to transform the way young people experience Shakespeare in schools. Its call for children and young people to Start Shakespeare Earlier, See Shakespeare Live, and Do Shakespeare on their Feet generated interest across the world.

Every school in received a Stand up for Shakespeare DVD, with an invitation to participate in a special Shakespeare Assemblies Week. The DVD showed children and young people aged 8–18 taking part in practical workshops and talking with passion, pride and insight about the plays they were rehearsing and performing.

We finished the year with nearly 15,000 signatories; from policy makers and politicians to teachers, children and families interested in the unique ability Shakespeare’s plays have to help young people’s educational achievements and enrich their lives. Our special partnerships with Ohio State University, the University of Warwick and the University of Melbourne are producing powerful evidence of the impact that Shakespeare can have on young people’s lives.

For me, the campaign celebrates the ability that Shakespeare has to inspire, challenge and surprise children and young people. Listen to a group of ten year olds discussing the rights and wrongs of the assassination of Julius Caesar and you find out a lot more than just the story of the play. In the hands

Photo: Ellie Kurttz Ellie Photo: of young people, Shakespeare acquires a new resonance and generates a thirst for learning that can last for life.

Icknield Secondary School, one of the 300 Learning and Performance Jacqui O’Hanlon, Director of Education Network Schools, at the Regional Schools Celebration 35 I’m a teacher at Fred Nicholson Special School and 15,000 people support our Stand up for Shakespeare Manifesto we were invited to perform at the Regional Schools Celebration at The Courtyard Theatre. This was the first time this group of students had performed Shakespeare and only our second performance in front of an audience! My lasting memories are of witnessing a group of young boys, many of whom had failed in education by the time they arrived with us, take on an ambitious project and succeed! The whole experience has been the highlight of my teaching career so far; every step has been exciting and energizing.

Sandra Money, teacher, Fred Nicholson Special School, Norfolk – part of our Learning and Performance Network

The Learning and Performance Network is supported by NFU MUTUAL, Photo: EllieKurttz an RSC Community Partner and THE ERNEST COOK TRUST

36 37 I think that getting young people to learn and understand schools tickets sold Shakespeare is a big feat in itself, so my hat goes off to 47,667 you. Today, people don't know how to talk, but through Shakespeare, people learn how to talk about love; they learn how to talk about anger without using a gun. It’s lovely to hear kids talk with feeling.

Audience member at one of our School Festivals in Cornwall

We took part in the Stand up for Shakespeare assemblies week and it was fun. We found out Shakespeare invented lots of words and wrote insults, like "Do you bite your thumb at me sir?

Simran, Dylon and Omar, aged 11, Photo: Stewart Hemley Stewart Photo: Allen’s Croft Primary School, – part of our Learning and Performance Network 38 39 Income and expenditure (excluding Transformation) Finance Director’s report

Income £m % Statement of Financial Activities

15.2 48.4% Grants Training and Summary development The net inflow across all funds for the year was £8.9m, being predominantly 0.9 3.0% Transition subsidy 0.8m the combination of net receipts of £12.6m for the Transformation Project, £1.3m in unrealised investment losses, an actuarial loss on the defined benefit 1.5 4.5% Learning and 2.4% pension scheme of £1.5m, and capital expenditure/refurbishment of £0.5m. participation 0.7m 2.1% The Transformation Project continued to be on time and on budget. Total 1.1 3.6% Interest and other expenditure as at the 31 March 2009 was £61.3m, representing 54% of the Participation total budget of £112.8m. 1.0 3.3% Trading income from subsidiary Unrestricted operating fund The operating result for the year (after transfers) was break even. 1.5 4.9% Sponsorship and donations Box Office income was strong across the board, finishing £1.4m, (19%) better than planned. Michael Boyd’s hugely successful Histories ensemble at the 10.1 32.3% Box Office Roundhouse in London got the year off to an excellent start. The momentum was maintained including The Courtyard Theatre summer season with ’s productions of Hamlet, Love’s Labour’s Lost, and his revival 31.3 of A Midsummer Night’s Dream, which performed alongside Conall Morrison’s and , directed by Tim Carroll. Expenditure £m % The subsequent winter season was boosted by the success of The Baxter Training and Theatre Centre’s The Tempest, which also enjoyed a well received tour. Kathryn 19.6 60.9% Productions development Hunter’s Othello and Romeo and Juliet, directed by Neil Bartlett, also flew 0.8m the RSC flag on the road with ten weeks of touring. Finally, the 14 week 2.4% 2.3 7.0% Learning and London season at the Novello Theatre with Hamlet, A Midsummer Night’s Dream participation and The Taming of the Shrew exceeded its target by almost a third, whilst the 1.5m two shows at Wilton’s Music Hall, Thomas Hobbes and The Cordelia Dream, 4.6% 0.9 2.7% Trading expenditure exceeded their target. by subsidiary Participation This Box Office success, perhaps not unrelated to David Tennant, fed 5.0 15.5% Theatre operations through into an excellent year for our membership scheme and our retail, programmes and catering businesses

Fundraising 0.8 2.4% Our operating expenditure of £31m was well controlled across the company, and finished the year marginally below plan. 0.2 0.5% Reorganisation costs and Governance costs The combination of all these factors meant that, in achieving this result, the company only needed to draw down £0.9m of additional revenue subsidy 3.5 11.0% Marketing from the Transformation Project, rather than the £2.5m that had been originally planned.

32.3 The two other significant movements on this fund during the year were unrealised investment losses of £0.4m and an actuarial loss on the defined The figures for the previous year have been restated as a result of the reclassification of the income and expenditure relating to Learning and Participation. benefit pension scheme of £1.5m (which put the deficit on a FRS 17 basis In previous years, the Statement of Financial Activities disclosed Education income and Education expenditure relating to the Education Department. The new classification of Learning and Participation is intended to reflect the Company as a learning organisation as stated in the Trustees’ Report 40 and the wider learning and participation activity of the Company as a whole. 41 at £0.2m). The last full actuarial valuation, at March 2008, valued the deficit at £1.5m and the company is putting in additional contributions of £150,000 a year as part of its plan to clear this deficit well within ten years.

Designated funds The net outflow of £0.4m on our designated funds was made up of £0.3m in earnings from the Arden Hotel and interest earned on Transformation Project cash, and a legacy receipt of £0.2m designated to the Transformation Project. This was offset by £0.5m of capital expenditure on our domestic properties and Clapham rehearsal rooms, and £0.4m in additional pension fund contributions (as part of the deficit recovery plan).

Restricted funds Unsurprisingly, the movement on our restricted funds was dominated by the Transformation Project. Total inflow into the project during the year was £15.2m with £9.5m coming from Arts Council England and £4.1m from Advantage West Midlands, the regional development agency.

Net income from sponsorship and donations was £5.2m lower than in 2007/08, mainly because of £5m in advance funding received from the Gatsby Foundation in March 2008.

Net expenditure against the Transformation Project fund in the year was £2.3m, being mainly depreciation of The Courtyard Theatre, Chapel Lane offices and Arden Street rehearsal rooms.

The other significant movement on restricted funds was matching income and expenditure of £0.7m, relating to our extensive Artist Development Programme.

Balance Sheet

The balance sheet strengthened by £8.9m in the year, due to the net inflow into the Transformation Project Fund of £12.6m.

Within fixed assets capital expenditure during the year was £18.8m, of which £17.6m related to the Transformation Project. Total capitalised spend on the project to the end of March 2009 stood at £50.7m.

Stocks reduced by £0.5m in the year because the Roundhouse auditorium, which was held as work in progress in March 2008, was written off as part of the

Roundhouse costs during the year. The £0.5m increase in debtors related to Photo: SimonAnnand higher accrued income relating to the Transformation Project, and the £5.8m increase in current liabilities was the result of higher project expenditure accruals, together with £5m in revenue subsidy for 2009/10 and 2010/11 received from Arts Council England, which has been treated as deferred income.

Andrew Parker Jack Laskey in The Taming of the Shrew which performed in Stratford-upon-Avon, Newcastle upon Tyne and London 42 43 Chairman’s note Independent auditors’ statement to the Board of the Summary accounts Royal Shakespeare Company These summarised accounts represent a summary of information extracted from the Trustees’ report and the full statutory consolidated accounts of the Royal Shakespeare Company for the year ended 31 March 2009. They may not We have examined the summarised financial statements set out contain sufficient information to allow for a full understanding on pages 46 to 47. of the financial affairs of the Corporation. For further information, the full accounts, the auditors’ report on those Respective responsibilities of trustees and auditors accounts and the Trustees’ Annual Report should be consulted. The trustees are responsible for preparing the summarised Copies of these can be obtained from: financial statements in accordance with the recommendations of the charities SORP. Royal Shakespeare Company The Courtyard Theatre Our responsibility is to report to you our opinion on the Southern Lane consistency of the summarised financial statements within the Stratford-upon-Avon summarised Annual Report with the full annual financial Warwickshire statements and its compliance with the relevant requirements CV37 6BB of the charities SORP.

We also read the other information contained in the summarised Basis of preparation of summary accounts Annual Report and consider the implications for our report if The summary accounts have been prepared under the we become aware of any apparent misstatements or material historical cost convention as modified for the revaluation of inconsistencies with the summarised financial statements. certain investments and in accordance with the Charities Act, Accounting and Reporting by Charities: Statement of Basis of opinion Recommended Practice revised 2005, applicable UK Accounting We conducted our work in accordance with Bulletin 1999/6 “The Standards, and the Royal Charter of Incorporation on the auditors’ statement on the summary financial statement” issued basis of a going concern which assumes that sufficient funds by the Auditing Practices Board. Our report on the charity’s full will continue to be forthcoming from Arts Council England annual financial statements describes the basis of our audit to enable the Royal Shakespeare Company to continue opinion on those financial statements. as a financially viable concern. Opinion The full annual accounts were approved on 9 July 2009 and In our opinion the summarised financial statements are were delivered to the Charity Commission on 5 August 2009. consistent with the full financial statements of The Royal The accounts have been audited by a qualified auditor, Shakespeare Company for the year ended 31 March 2009 and Baker Tilly UK Audit LLP, who gave an audit opinion which complies with the recommendations of the charities SORP. We was unqualified. have not considered the effects of any events between the date on which we signed our report on the full annual financial The summarised accounts set out on pages 46 and 47 are statements (10 July 2009) and the date of this statement. the responsibility of the Board. Baker Tilly UK Audit LLP Chartered Accountants Sir Christopher Bland St Philips Point RSC Chairman of the Board Temple Row Birmingham B2 5AF 2 October 2009 2 October 2009

44 45 Consolidated statement of financial activities Consolidated balance sheet of the Corporation for the year ended 31 March 2009 Operations/ Unrestricted at 31 March 2009 unrestricted designated Restricted Endowment Total funds Total funds 2009 2008 funds funds funds funds 2009 2008 restated £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 Incoming resources Incoming resources from charitable activities Fixed assets Grants receivable 15,181 - - - 15,181 14,781 Tangible fixed assets 50,734 34,480 Income from productions, tours Investments 6,157 7,426 and theatre operations 10,133 - - - 10,133 10,525 Learning and participation income 531 - 891 - 1,422 923 56,891 41,906 Current assets Incoming resources from generated funds Stock and work in progress 1,938 2,451 Voluntary income Debtors 5,711 5,248 Grants receivable - - 13,645 - 13,645 13,381 Investments: Income from sponsorship and donations 1,484 190 1,606 - 3,280 9,078 Amounts falling due within one year 600 - Activities for generating funds Cash at bank and in hand 12,847 12,823 Trading income from subsidiary 1,013 - - - 1,013 924 Licensing of rights 461 - - - 461 453 21,096 20,522 Non-investment property letting - 177 - - 177 238 Creditors: amounts falling due Investment income and interest receivable 599 158 64 - 821 899 within one year (13,539) (7,763) Total incoming resources 29,402 525 16,206 - 46,133 51,202 Net current assets 7,557 12,759

Resources expended Total assets less current liabilities Charitable activities representing net assets excluding Productions and theatre operations (27,518) (509) (149) - (28,176) (28,496) pension (liability)/asset 64,448 54,665 Learning and participation expenditure (1,447) - (841) - (2,288) (1,143) Redevelopment costs - - (2,253) - (2,253) (2,339) Defined benefit pension scheme (liability)/asset (231) 697 Reorganisation costs (55) (20) - - (75) (1,173) Net assets including pension (liability)/asset 64,217 55,362 Costs of generating funds Costs of generating voluntary income (788) - - - (788) (667) Trading expenditure of subsidiary (858) - - - (858) (902) Endowment funds 3,692 4,298 Governance costs (82) - - - (82) (87) Restricted funds 49,210 37,414

Unrestricted funds Total resources expended (30,748) (529) (3,243) - (34,520) (34,807) General operating fund 2,102 3,067 Defined benefit pension scheme (deficit)/surplus (231) 697 Designated funds 9,444 9,886 Net (outgoing)/incoming resources before transfers (1,346) (4) 12,963 - 11,613 16,395 Total unrestricted funds 11,315 13,650 Gross transfers between funds 1,364 (438) (874) (52) - - Total funds 64,217 55,362 Net incoming/(outgoing) resources before other recognised gains and losses 18 (442) 12,089 (52) 11,613 16,395

Other recognised gains/(losses) Gains/(losses) on investment assets (423) - (293) (554) (1,270) (950) These accounts were approved by the Board on 9 July 2009, authorised for issue and signed on its behalf by: Actuarial (losses)/gains on defined benefit pension scheme (1,488) - - - (1,488) 1,875 Sir Christopher Bland Net movement in funds (1,893) (442) 11,796 (606) 8,855 17,320 John Hornby Reconciliation of funds Total funds brought forward 3,764 9,886 37,414 4,298 55,362 38,042

Total funds carried forward 1,871 9,444 49,210 3,692 64,217 55,362

46 47 Corporate Members Doug and Julie McPherson* Sir Eddie Kulukundis OBE Baker Tilly Clare Parsons and Tony Langham The Limoges Trust Supporting our work in 2008/2009 Buro Happold Michael and Jilli Priest Sir Timothy and Lady Lloyd Denton Wilde Sapte A Rosemary Said James and Béatrice Lupton Drivers Jonas Susie Sainsbury Juliette and Miles Macnair Fraikin Limited Peter and Nancy Thompson Mike and Jill Mata GIL Investments Ltd Sir Mark and Lady Weinberg Sharon McCullough RSC International RSC Transforming our Supporters’ Ensemble Honeywell Control Systems Limited Mary Weston CBE Mr and Mrs Brian McGowan Council Theatres Campaign HSBC Private Bank Hilary and Stuart Williams Anna and Nigel McNair Scott Innotech Advisers Limited Barbara Minto Jaguar Brian and Sheila Morris In order to raise the profile of the RSC We are immensely grateful for all of the After ticket sales and financial support Lansons Communications Patrons’ Circle Gold Genevieve Muinzer and Nick Segal and its transformation internationally, donations we have received in support from Arts Council England, our most Lazard Professor Joel Kaplan and Dr Sheila Jean Nead a leading group of artists, philanthropists of the transformation of the Royal significant source of income is through Man Group plc Charitable Trust Stowell* Mrs Gillian Nussey MBE and advocates has established the RSC Shakespeare Company’s theatres grants and donations. Individuals, trusts NM Rothschild & Sons Ltd Jacqueline B Mars* Gilbert Omenn and Martha Darling* International Council. The Company is in Stratford-upon-Avon. and companies have all helped to develop Tesco Daniel and Elizabeth Peltz delighted to recognise this important pieces of new work, train artists in our UMECO plc Marie Prutton group. In particular, we would like to thank: Ensembles and introduce young people Patrons’ Circle Silver Mark and Jackie Rowlands throughout the country to the work of David and Elizabeth Acland Sally and Anthony Salz Dame DBE Honorary Chair Public funders Shakespeare and live theatre. In short, Donations and Grants Sir Eric and Lady Anderson Telfer Saywell Lady Sainsbury of Turville Chair The National Lottery they have all contributed to the work that Christopher and Miriam Abele* Robert Anthoine* Bob Scott through Arts Council England makes the RSC one of the foremost theatre Argosy Foundation* Jeffrey Archer Jon and Noralee Sedmak* Christopher and Miriam Abele* Advantage West Midlands companies in the world. BMW Group Jane Attias Andrew and Edith Seth Sir Eric and Lady Anderson Columbia Foundation Fund of the Timothy Baker F William Shea Private funders For information on how to support Capital Community Foundation Mrs Patricia Baker Brian Smith Sir Christopher and Lady Bland Christopher and Miriam Abele* the work of the RSC visit The Ernest Cook Trust Mr and Mrs Lawrence Banks Francesca Stanfill* Lee C Bollinger Jeffrey and Mary Archer www.rsc.org.uk/support Clore Duffield Foundation David Beresford-Jones Tim and Marion Stevenson Michael Boyd Lord and Lady Bhattacharyya The Equitable Charitable Trust Maggie Best Fiona Stockwell David and Sandra Burbidge Sir Christopher and Lady Bland We would like to thank everyone who has Paul Hamlyn Foundation Sandra Eileen Billinge Theresa and Charles Stone* Michael and Felicia Crystal Lord and Lady Blyth of Rowington donated to the RSC in 2008/9 including The Gatsby Charitable Foundation Lady Blyth The Porter Foundation Sinead Cusack David and Sandra Burbidge all of our donors who wish to remain Drue Heinz Trust* Mrs Judith Bollinger Mr Michael Thomas QC and Gregory Doran CHK Charities Limited anonymous. The Alan Edward Higgs Trust Martin Bowley QC Baroness Lydia Dunn Mark and Sandy Foster Michael and Felicia Crystal Emily Hughes-Hallett Fund Dr and Mrs Douglas Bridgewater Sir David and Lady Varney Tony and Linda Hales The Eranda Foundation Partnerships The Joicey Trust Patricia Burbidge Robert and Felicity Waley-Cohen Sir CBE Jane and Howard Epstein* Ohio State University The Sir James Knott Trust Roger and Terry Cadbury Patricia Whitehead Charlotte Heber Percy Allan and Nesta Ferguson Charitable Trust Stratford-on-Avon District Council The Kovner Foundation* The Hon Rupert Carington Julia Woodhouse Vikki Heywood Fidelity UK Foundation The Leche Trust Geraldine Caulfield Sue and John Zealley Michael and Mercedes Hoffman* Mark and Sandy Foster Cultural Leadership Partners John Lyon's Charity Richard Clark The Rt Hon Lord and Lady Iliffe The Foyle Foundation Cultural Leadership Programme Mark Pigott OBE* Julian Collins We would also like to thank all of our Laurence Isaacson CBE* The Gatsby Charitable Foundation NESTA Austin and Hope Pilkington Trust Liz Crosoer Shakespeare’s Circle members for their Sir CBE Tony and Linda Hales The Polonsky Foundation Irving David ongoing support. John and Tussi Kluge* Christine Hands Corporate Partners Stratford-upon-Avon Town Trust Mrs Jill Davies-Bonnar Bruce and Suzie Kovner* Michael and Mercedes Hoffman* Accenture - Global High Performance Lavinia A Wellicome Nick and Alyssa Lovegrove The Iliffe Family Charitable Trust Business Partner In memory of: Felix Dennis RSC America Inc Jon and Lillian Lovelace* Laurence Isaacson CBE* Since 2003, Accenture has been involved in a unique Elizabeth de Vries Jane Drabble OBE Royal Shakespeare Company America is Sir Ian McKellen CBE Clive Jones and Vikki Heywood relationship with the RSC, which includes financial Simonne Denison support from Accenture as well as consulting services Robyn Durie proud to support the Royal Shakespeare Doug and Julie McPherson* The John W Kluge Foundation* Eleanor Hamilton to help the RSC achieve higher performance as a Jane and Howard Epstein* Company. taxpayers Alexander Patrick DL and LJC Fund Caroline Whatham business, to complement its unparalleled artistic Anne Gardiner interested in supporting the unique work Valerie Patrick Nick and Alyssa Lovegrove* success. Gill Gimes of the RSC may contribute to Royal Mark Pigott OBE* Jon and Lillian Lovelace* Artists’ Circle Lydia and Manfred Gorvy * Shakespeare Company America, a tax- Ian Ritchie CBE RA and Doug and Julie McPherson* RSC Open Day 2008 supported by Lady Alexander of Weedon Peter Gray exempt, 501(c)(3) designated organisation. Jocelyne van den Bossche PACCAR Foundation Mace Group George and Kirsty Anson Ros and Alan Haigh Contributions to RSC America by US Royal Shakespeare Theatre Trust The Patrick Trust Neil and Ann Benson Mike Hammond taxpayers are tax-deductible to the extent Sir Antony Sher KBE PF Charitable Trust Rural Schools in the Learning and Philip Bermingham* Brenda Harding permitted by law. Jonathan Slinger Simon and Virginia Robertson Performance Network supported by Sir Christopher and Lady Bland David Harrison Raymond and Phyllis Smith* The Rockefeller Foundation* NFU Mutual For further information David and Sandra Burbidge Rosalind and Alan Hearne OBE RSC Friends Telephone: 00 1 212-247-1705 Sir Ronald Cohen and Ms Sharon Harel Lady Heseltine Stratford-upon-Avon Town Trust The Shubert Organization* Production Partners (International Call) Michael and Felicia Crystal Leonard Hoffmann OBE Raymond and Phyllis Smith* The Grain Store is generously supported [email protected] Mark and Sandy Foster Mr and Mrs Philip Holland Peter and Nancy Thompson Stratford-upon-Avon Town Trust by The Columbia Foundation Fund Brandon Fradd* Bernard and Clare Horn Christopher Seton Abele President Mary Weston CBE Peter and Nancy Thompson of the Capital Community Foundation Tony and Linda Hales Sir Robert and Lady Horton Nick Lovegrove Leslie and Abigail Wexner* Twenty-Ninth May 1961 Charitable Trust William and Kate Hobhouse Mary Hunt MA (Oxon) Dana G Mead Sir Siegmund Warburg's Voluntary Michael and Mercedes Hoffman* Matthew and Severa Hurlock Laurence Isaacson CBE In memory of the late Elnora Ferguson, Settlement Laurence Isaacson CBE* Sir Brian Jenkins GBE Dr Henry A McKinnell founding member of the International Garfield Weston Foundation Ian and Caroline Laing James Joll Dr Douglas McPherson Council Mary Weston CBE Nick and Alyssa Lovegrove Sue Knox Mark Pigott OBE Leslie and Abigail Wexner* Dina and Stephen Lucas Mark Krueger Charitable Trust* Lady Sainsbury of Turville Chairman The Wolfson Foundation 48 *Supporters of RSC America Inc 49 Year in performance

The Histories The Taming of the Shrew A Midsummer Night’s Dream Hamlet Love’s Labour’s Lost by by William Shakespeare by William Shakespeare by William Shakespeare by William Shakespeare New Production Revival New Production New Production The Roundhouse 1 April - 25 May 2008 FIRST PERFORMANCE FIRST PERFORMANCE FIRST PERFORMANCE FIRST PERFORMANCE 47 performances The Courtyard Theatre The Courtyard Theatre The Courtyard Theatre The Courtyard Theatre The Merchant of Venice 24 April 2008 9 May 2008 24 July 2008 2 October 2008 DIRECTED BY Michael Boyd by William Shakespeare 46 performances 48 performances 60 performances 25 performances ASSOCIATE DIRECTOR AND DIRECTOR New Production Henry IV Part II Richard Twyman Theatre Royal Novello Theatre Novello Theatre DIRECTED BY Gregory Doran DESIGNED BY Tom Piper FIRST PERFORMANCE Newcastle upon Tyne London London SET DESIGNED BY Francis O’Connor COSTUME DESIGNER Henry VI parts I, II & III, The Courtyard Theatre 10 October 2008 15 January 2009 3 December 2008 COSTUMES DESIGNED BY Katrina Lindsay Richard III, Richard II Tom Piper 3 April 2008 11 performances 28 performances 32 performances ENVIRONMENT DESIGNED BY Robert Jones COSTUME DESIGNER Henry IV parts I & II 50 performances LIGHTING DESIGNED BY Tim Mitchell Emma Williams Novello Theatre DIRECTED BY Gregory Doran DIRECTED BY Gregory Doran MUSIC BY Paul Englishby COSTUME DESIGNERS Theatre Royal London DESIGNED BY Francis O’Connor DESIGNED BY Robert Jones SOUND DESIGNED BY Martin Slavin Tom Piper and Emma Williams Newcastle upon Tyne 12 February 2009 LIGHTING DESIGNED BY Tim Mitchell LIGHTING DESIGNED BY Tim Mitchell MOVEMENT BY Michael Ashcroft LIGHTING DESIGNED BY Heather Carson 7 October 2008 28 performances MUSIC BY Paul Englishby MUSIC BY Paul Englishby PRODUCTION PHOTOS BY Ellie Kurttz MUSIC COMPOSED BY 11 performances SOUND DESIGNED BY Martin Slavin SOUND DESIGNED BY Jeremy Dunn James Jones and John Woolf DIRECTED BY Conall Morrison PUPPETRY BY Steve Tiplady with MOVEMENT BY Michael Ashcroft MOVEMENT BY Liz Rankin DIRECTED BY Tim Carroll SET DESIGNED BY Francis O’Connor Rachel Leonard FIGHTS BY Terry King SOUND DESIGNED BY Andrea J. Cox DESIGNED BY Laura Hopkins COSTUMES DESIGNED BY Joan O’Clery FIGHTS BY Terry King PRODUCTION PHOTOS BY Ellie Kurttz by William Shakespeare FIGHTS DESIGNED BY Terry King LIGHTING DESIGNED BY Jon Clark LIGHTING DESIGNED BY Paul Keogan AERIAL CHOREOGRAPHY BY Gavin Marshall Filter in association with the RSC ASSISTANT DIRECTOR Donnacadh O'Briain MUSIC BY Jon Boden MUSIC BY Conor Linehan PRODUCTION PHOTOS BY John Haynes DIRECTOR OF ROPE WORK Matt Costain SOUND DESIGNED BY Jeremy Dunn SOUND DESIGNED BY Mike Compton The Courtyard Theatre PRODUCTION PHOTOS BY Ellie Kurttz MOVEMENT BY Sian Williams MOVEMENT BY Joyce Henderson 7 November 2008 PRODUCTION PHOTOS BY FIGHTS BY Malcolm Ranson 1 performance Hugo Glendinning PRODUCTION PHOTOS BY Simon Annand DIRECTED BY Sean Holmes SOUND DESIGNERS AND COMPOSERS Tom Haines, Ross Hughes PRODUCTION PHOTOS BY Ellie Kurttz

50 51 Year in performance

Romeo and Juliet by William Shakespeare New Production Othello The Tragedy of The Tempest The Grand Theatre, FIRST PERFORMANCE by William Shakespeare Thomas Hobbes by William Shakespeare 31 March Theatre Royal New Production by Adriano Shaplin The Baxter Theatre Centre 8 performances* Brighton A new MIT/RSC commission in association with the RSC 17 October 2008 FIRST PERFORMANCE New Production Theatre Royal, Bath 10 performances Warwick Arts Centre FIRST PERFORMANCE 7 April Wilton’s Music Hall FIRST PERFORMANCE 7 performances The King’s Theatre 30 January 2009 London The Baxter Theatre Centre 10 performances 12 November 2008 17 January 2009 Theatre Royal, 28 October 2008 25 performances 19 performances 14 April 7 performances Don John Hackney Empire 8 performances* Adapted by Emma Rice London DIRECTED BY Elizabeth Freestone The Courtyard Theatre Milton Keynes Theatre Words and Poems by 10 February 2009 DESIGNED BY Soutra Gilmour 14 February 2009 Lyceum Theatre, 4 November 2008 Anna Murphy 7 performances LIGHTING DESIGNED BY Johanna Town 32 performances 24 April 7 performances Kneehigh Theatre MUSIC AND SOUND BY Adrienne Quartly 8 performances* in association with the RSC Northern Stage MOVEMENT BY Anna Morrissey Young People's Shakespeare The Lowry Supported by Old Vic * including one performance of Newcastle upon Tyne FIGHTS DIRECTED BY Terry King The Tempest Salford the Young People's Shakespeare 17 February 2009 PRODUCTION PHOTOS BY Hugo Glendinning The Courtyard Theatre 11 November 2008 FIRST PERFORMANCE 7 performances 10 March 2009 7 performances The Courtyard Theatre DIRECTED BY Janice Honeyman 2 performances 12 December 2008 DESIGNED BY Illka Louw Oxford Playhouse The Cordelia Dream Theatre Royal 16 performances LIGHTING DESIGNED BY Mannie Manim 24 February 2009 by Marina Carr Richmond Theatre Norwich MUSIC AND SOUND DESIGNED BY Neo Muyanga 7 performances A new RSC commission 19 March PUPPETRY Janni Younge 18 November 2008 DIRECTED BY Emma Rice 13 performances* CHOREOGRAPHY Christopher Kindo 7 performances DESIGNED BY Vicki Mortimer Liverpool Playhouse FIRST PERFORMANCE PRODUCTION PHOTOS BY LIGHTING DESIGNED BY Malcolm Rippeth 3 March 2009 Wilton’s Music Hall Eric Miller, Ellen Elmendrop and Ellie Kurttz The Courtyard Theatre MUSIC BY Stu Barker 7 performances London 28 November 2008 SOUND DESIGNED BY Simon Baker 11 December 2008 42 performances PRODUCTION PHOTOS BY Steve Tanner DIRECTED BY 26 performances DESIGNED BY Liz Cooke DIRECTED BY Neil Bartlett LIGHTING DESIGNED BY Mark Jonathan DIRECTED BY Selina Cartmell DESIGNED BY Kandis Cook MUSIC COMPOSED BY Stephen Warbeck DESIGNED BY Giles Cadle LIGHTING BY Bruno Poet SOUND DESIGNED BY Ian Dickinson LIGHTING DESIGNED BY MUSIC BY Simon Slater MOVEMENT BY Marcello Magni Matthew Richardson SOUND DESIGNED BY Christopher Shutt FIGHT CONSULTANT Terry King MUSIC COMPOSED BY Conor Linehan MOVEMENT BY Leah Hausman PRODUCTION PHOTOS BY Simon Annand SOUND DESIGNED BY Fergus O’Hare FIGHTS BY Alison de Burgh MOVEMENT BY Anna Morrissey PRODUCTION PHOTOS BY Ellie Kurttz PRODUCTION PHOTOS BY Simon Annand 52 53 Acting companies

The Histories: Richard II, Geoffrey Streatfeild Penny Downie Ryan O’Donnell The Tragedy of Ensemble 2009-2011 Henry IV parts I and II, Jamie Thomas* Kathryn Drysdale Daniel Percival Thomas Hobbes Charles Aitken Henry V, Henry VI parts I-III, James Tucker Samuel Dutton Craig Ritchie Arsher Ali Joseph Arkley Richard III David Warner Siân Robins-Grace William Beck Adam Burton Roger Watkins Ryan Gage Anneika Rose Nicholas Asbury Stephen Boxer David Carr Clive Wood Mariah Gale Mark Ross Hannah Barrie Keir Charles Brian Doherty *children Mark Hadfield Gyuri Sarossy Keith Bartlett John Paul Connolly Darrell D'Silva Andrea Harris Rebecca Wingate Maureen Beattie Simon Darwen Noma Dumezweni Jim Hooper Antony Bunsee The Merchant of Venice Adrian Decosta Dyfan Dwyfor Keith Osborn Rob Carroll The Taming of the Shrew Don John Leonard Fenton Phillip Edgerley Roderick Smith Richard Cordery Arsher Ali Stu Barker James Garnon Christine Entwistle Nina Sosanya Matt Costain Jade Anouka Emily Dobson Amanda Hadingue Geoffrey Freshwater Riann Steele Julius D’Silva William Beck Nína Dögg Filippusdóttir Jack Laskey James Gale Patrick Stewart Ralph Davis* Stephen Boxer Carl Grose Will Sharpe Mariah Gale David Tennant Keith Dunphy Keir Charles Craig Johnson Peter Shorey Gruffudd Glyn Zoe Thorne Jack Fielding* John Paul Connolly Patrycja Kujawska Larrington Walker Paul Hamilton Natalie Walter Wela Frasier Simon Darwen Dominic Lawton Angus Wright Greg Hicks Geoffrey Freshwater Adrian Decosta Polly Motley James Howard Charles Hamblett* Leonard Fenton Dave Mynne The Cordelia Dream Kathryn Hunter Twelfth Night (Filter) Paul Hamilton James Garnon Gisli Örn Gardarsson Michelle Gomez Kelly Hunter Jonathan Broadbent Alexia Healy Michelle Gomez Ian Ross David Hargreaves Ansu Kabia Oliver Dimsdale Kieran Hill Amanda Hadingue Mike Shepherd Tunji Kasim Syreeta Kumar Tom Hodgkins David Hargreaves Helen Tiplady The Tempest Richard Kate Russell Marsh Debbie Korley Michael Hood* Amara Karan Alex Vann Ivan Abrahams Miller John Mackay Chuk Iwuji Sean Kearns Sally Williams Jeremy Crutchley Alan Pagan Forbes Masson Sianed Jones Jack Laskey Mary Woodvine Luke Ellenbogen Ferdy Roberts Sandy Neilson John Mackay Patrick Moy Nkosinathi Gaar Gemma Saunders Jonjo O’Neill Forbes Masson Georgina Rich Othello Alex Halligey Dharmesh Patel Chris McGill Will Sharpe Hannes Flaschberger Atandwa Kani Peter Peverley Toby Millward* Peter Shorey Romeo and Juliet Michael Gould John Kani Patrick Romer Alexander Morris* Larrington Walker Owain Arthur Tamzin Griffin Charlie Keegan David Rubin Patrice Naiambana Angus Wright Ben Ashton Alex Hassell Elton Landrew Sophie Russell Luke Neal James G Bellorini Marcello Magni Thami Mbongo Oliver Ryan Sandy Neilson Hamlet Michael Benz Clive Mendus Omphile Molusi Simone Saunders Ann Ogbomo Love’s Labour’s Lost James Clyde Patrice Naiambana Lionel Newton Peter Shorey James Parris* Dan Crow Flora Nicholson Nicholas Pauling A Midsummer Night’s Dream Clarence Smith Oscar Powell* David Dawson Osi Okerafor Antony Sher David Ajala Katy Stephens Miles Richardson Mark Holgate Glyn Pritchard Chuma Sopotela Sam Alexander James Traherne Alice Roberts* Christopher Hunter Caleb Rowe Royston Stoffels Edward Bennett Sam Troughton Sophie Samuda* Katie Krane Natalia Tena Wayne van Rooyen Ricky Champ James Tucker Lex Shrapnel Julie Legrand Robert Vernon Tinarie van Wyk Loots Ewen Cummins Éva Magyar Larrington Walker Anthony Shuster Robert Curtis Cath Whitefield Jonathan Slinger Niamh McCann Matthew Wilson Kirsty Woodward Tom Davey Vinta Morgan Hannah Young Jessica Smith* Peter De Jersey Miltos Yerolemou Katy Stephens Geoffrey Newland Samantha Young Joe Dixon 55 54 Angela Vellender Senior Maintenance Payroll Manager Health and Safety Literary Department Sales and Ticketing Roger South Corporate Partnerships Electrician Catherine Boys Hayley Burgess Pippa Ellis Technical Manager Patricia Boycott Storeman Manager Martin Simms (Maternity cover) Health and Safety Literary Manager London and Tours Sales Manager John Speakman The Company Anthea Dauncey Graeme Williamson Electrical Test Assistant Tarell Alvin McCraney Peter Griffin (Productions) Scenic Assistant Chris Harris Rebecca Watts Head of Campaign Technician Gail Miller RSC/Warwick Dawn Francis Julian Cree Christine Elliott Beth Payne Production Managers Advisory Director’s Health and Safety International Elizabeth Knowlton Emma Fleming Sound Ben Waters Geoff Locker Office Head of Mens Drawing Office Enterprise Advisor Playwright in NurseryJames PractitionersPavitt Susan Gardner Andrew Franks Management Technical Director John Barton Costume Alan Bartlett Michelle Morton Jo Young Residence ChristineJune Prickett Green Elizabeth Gill Jonathan Ruddick Accountants Elizabeth Nicholson Advisory Director Charlotte Hobbs Head of Construction Programmes Technical/Health and Jeanie O’Hare DeputyDelphine Head Saul Norma Henderson Chris Vernon Joanna Skwara Sarah Hedgecock PA to Technical Director Margaret Jackson FirstEmma Dye Harrup Technician and Technical Design Co-ordinatort Safety Training Company Dramaturg Yolandaof Nursery Wassersug First Sound Mary Smart Internal Auditor David Tanqueray Artistic and Associate Cleaners Esther Hunter Janet Gautrey Kevin Wright Co-ordinator Dan Usztan Yvonne Robbins David Mears Technicians Bill Taylor Andrew Parker Assistant Production Chris Morgan Director’s Office Douglas Hopkins First costumier (Ladies) Technical Design Commercial Manager Literary Assistant Deputy Head Mike Compton Mark Usher Manager Maria Mottram Michael Boyd Barry Maguire Natalie Kurzcewski Administrator Director of Finance Human Resources of Nursery Martin Slavin Graham Wright Alun Thomas Elizabeth Rawlinson Artistic Director Michael Truscott Principal mens cutter Nicholas Bell Estates and Administration Libby Alexander London Operations Kate Robinson Senior Sound Staff Scheduling Ellen Reade Sally Locke David Harris Sue Allen Mike White Training and Carl Allen Head of Nursery Technicians Gregory Doran Porters Co-ordinator Yolanda Richards Nancy Cooper Wendy Turnstill Bobbie Schofield Jeremy Dunn Chief Associate Director Julian Lines Stock Keeper Design Engineers Financial Services Development Manager Jane Trotman Denise Hagon David Farr Team Leader Yvette Manhood David Jones Manager Rachel Barnes Clapham Caretakers Nursery Administrator Marilyn Walton Head of RSC Sound Deborah Shaw Gerald Wheeldon Veronika Weidenhiller Charles MacCall Chapel Lane Reception Andrew Woodward HR Administrator Corinne Beaver Project Office Roxana Silbert Senior Porter First costumiers (Mens) Senior Draughtspeople Officers (Evening) Accounts Services Adele Cope London Manager Paintshop Belinda Aird Sales Operators Stage Associate Directors Alistair McArthur Brett Weatherhead Janet Bunch Manager Director of Human Lauren Rubery Rebecca Ashley Project Co-ordinator Esther Gillman Matt Aston Liza Frank Commercial Head of Costume Draughtsperson Interim Facilities Resources London Administration Head of Scenic Art Simon Harper Finance Assistant Dom Chen Assistant to the Sara Aspley Elaine Moore Manager Front of House Jessica Heys Assistant Stephanie Kinsella Deputy Project Director Kim Goodman Tom Horton Lauren Cherrill PA to Artistic Director Director of Head of Hats Duty Managers James Allen HR Officer Third Assistant Scenic Katie Horwood Sales Manager Steve Keeley the Director of Estates Kathryn Hunter Commercial Services and Jewellery Nicky Cox Annette Ashfield Darrell Mitchell Maintenance Artist Project Office (Operations) Tom Mellon Nanezda Cirule Artistic Associate Chris Hill Alan Smith Suzanne Harris Toby Barnett HR Manager Clive Bardell Alice Watkins Manager Steve Haworth Simon Packer Ann Kelly Elizabeth Nicholson Kaye Ross Anthony Neilson Director of Sales Senior Leatherworker James Kitto Margaret Bidgood Maintenance Painter Senior Scenic Artist Head of Sales and Grant Skidmore Postal Assistants PA to HR Director Project Office Kevin Wimperis Literary Associate and Marketing Jennifer Smith Sheelagh Saunders Hege Bleidvin- and Decorator Ticketing Pat Collcutt Shirley Prenton-Jones Administrator Stage Technicians Tom Piper Julia Lister Head of dye (Maternity Sandaker Steve Cross Press and Pauline Humphrey Access Manager Occupational Health Flip Tanner Dolores Manteiga John Bluck Associate Designer Assistant to Director of cover) Education Kathleen Bradley Maintenance Assistant Communications Grug Davies Advisor Technical Projects Defente Darren Guy Jane Tassell Commercial Services Jessica Smith Amanda Carroll Hayley Burgess Bill Rostron Dean Asker Estates Director Co-ordinator Kerry-Sue Peplow Specialised Senior Administrator, CAPITAL Jocelyn Carter Assistant to the and Director of Sales First Footwear Suzanne Harris Maintenance Manager Press and Harry Teale Technicians Centre Post Graduate Lucy Chandler Associates and Marketing Technician IT Communications Project Co-ordinator Sales Operators Mark Collins Programmes Lorraine Deller Lisa Marie Trump Properties Manager Robin Astle Marketing Officer Peter Wilson (Support) Alistair Pitts Fiona Clayton Ellen Frost Assistant Directors Company and Stage Costume Department Sally Luntley Database Developer Amy Clark John Benfield Project Director Gerry Martin Tom Watts Project Manager, Susan Harris Justin Audibert Management Co-ordinator Gemma Vowles Debby Bailey Marketing Officer Head of Digital Media Sales Manager Senior Stage Technicians School Partnerships Yvonne Harris Michael Fentiman Michael Dembowicz Margaret Wakelin Chapel Lane Reception Administrator (Corporate) Lucy Billiard (Systems) Roger Haymes Rob Elkington Ann Kelly Helen Leblique Jondon Senior Milliner Officers (Daytime) Wayne Evans David Collins Communications Property Workshop Loraine Mitchell Stage Supervisor Head of School Ben Luntley Vik Sivalingam Company Managers Christopher Oliver Systems Manager Head of Marketing Assistant Maggie Atkins Membership Assistant Partnerships Hilary Lynch Robbie Cullen Costume Hire Fire Officer Lee Fear Natasha Goodge Clea Boorman Malcolm Brain Sally Nortcliffe Rob Freeman Carol Morris Automation Pip Horobin Charlene Land Audrey Spencer Systems Developer Marketing Officer Web Editor Carl Taylor Membership Secretary Stage Door Administrator, Young Alan Robson Stage Managers Jacqui Hamp (Productions) Kathleen Bradley Mel West Samantha Thompson- Sue Allen Eric Dixon Costume Hire People’s Programme Estates Administrator Nicola Salmon Head of Automation Alison Daniels Administrator Paul Tursner-Upcott Dennis Southall Support Services Elin Joseph Communications Prop Technicians Taylor Patricia Carnell Rebecca Hardwick Gabrielle Sanders Julia Drummond-Haig Virginia Grainger Senior Fire Officer Mary Taylor Manager Assistant Marketing Assistant John Evans Administration Denise Hagon Ben Leefe Juliette Taylor Rosie Miller Lead Practitioner Fiona Tursner-Upcott Ruth Harris Officer (Corporate) Fiona Cox Head of Property Assistant Sandra Holt Richard Sharp Deputy Stage Managers Stephanie Smith Paula Hamilton Events and Susan Whatmore Tessitura Co-ordinator Jo Litt Web Editorial Assistant Workshop Barry Lytollis Automation Technicians Amy Griffin Anna Taylor Acting Project Manager Exhibitions Linda Wimperis and Development Marketing Manager Jane Ellis Rufus McDermot Scenic Engineering Shirley Penderell- Joanna Vimpany Richard Smith Costume Hire London, Young Nicky Cox Manager (Corporate) Communications Assistant Prop Darren Ainsworth Goodricke Assistant Stage Senior Automation Assistants People’s Programme Events Assistant Ushers Alex Kirkwood Jan McQuillan Manager Technician Phil Malins Stage Door Keepers Managers David E Jones Programmer Alison Mitchell Sonia Hyams David Howells Holly Clarke Web Developer Marketing Assistant Fiona Handscomb Jacob Robbins Michael Truscott Haydn Wright Head of Costume Hire Project Manager Curator of RSC Audience Care and John Mills Anna Mitchelson Assistant Digital Media Retail Martin Robinson Nightwatch Officers Senior Automation Costume Young People’s Collection and Archive Tours Administrator Paul Willett Marketing Manager Producer Ann Barnicoat Scenic Engineers Technician Rosie Armitage Design Programme Caroline Ray Claire-Louise Cairns It Support Specialists (Productions) Philippa Harland Lynne Dunningham Kevin Neville Fiona Ingram First Assistant Mens Jean Chan Curatorial Assistant Roy Holton Chris O’Brien Head of Press Jennifer Farmer Ian Rhind Text and Voice Head of Young People’s Casting Maternity cover Katie Lias Jo Whitford David Wimperis Head of Information Market Planning Lucien Riviere Shops Sales Assistants Senior Engineers Cicely Berry Programme Helen Baines Trainee Designers Events and Exhibitions Attendants Technology Mary Butlin PA to Director of Lucy Barriball Lewis Pierpoint Director of Text Jim Arnold Tracy Irish James Kitto Matthew Reading Head of Market Communications Retail Stock Controller Assistant Engineer and Voice Casting Assistant Head of Dye Project Manager, Co-ordinator Hannah Miller Alan Chandler Isabelle Comte Development School Partnerships Front of House Network Manager Planning Liz Thompson Tobias Robbins Alison Bomber Head of Casting Head of Ladies’ Helen Cave Events Sarah Keevill Executive Director’s Manager Director of Stores Senior Supervisor Deputy Scenic Senior Text and Voice Helena Palmer Costume and Stewardship Office Elizabeth Wainwright Legal Movement Communications Sheila Day Engineering Manager Coach Casting Director Jenny Cowgill Co-ordinator Assistant to the Vikki Heywood Head of Audience Care Caroline Barnett Lucy Cullingford Suzanne Worthington Gwen Rogers David Tinson Lyn Darnley Janine Snape Skilled dye technician Matthew Collins Director of Education Executive Director General Counsel Movement Practitioner Digital Media Producer Senior Sales Scenic Engineering Head of Text, Voice Assistant Casting Maternity cover Development and Jamie Luck Lyndon Jones Gardener Lauren Cherrill Jane Hazell Nada Zakula Assistants Manager and Artist Director Sarah Collins Planning Officer Acting Head of Young PA to the Executive Nicholas Holt PA to General Counsel Manager, Movement Senior Press Officer Pippa Green Development Helen Davenport Michele Cottiss People’s Programme Office Garden Assistant Struan Leslie Retail Stock Controller Scenic Workshop Jane Hazell Chaperones Deborah Jaunai- Development Jacqueline O’Hanlon Michele Percy Robert Holt Lighting Head of Movement Producers (Maternity Cover) Richard Brain Manager Text, Voice Sarah Seccombe Recardo Co-ordinator Director of Education Assistant to the Head Gardener Caroline Burrell Jeremy Adams Sarah Holt Julian Crang and Artist Jenny Wilson Skilled costumiers Joe Foulsham Sheila O’Sullivan Executive Director Keith Cookson Music Producer Mail Order Senior David Dewhurst Development (Ladies) Individual Giving Administrator, and Clerk to the Graphic Design Simon Spencer Kate Andrew Rachael Barber Supervisor David Watson Paul Goodwin Ivan Douglas Honorary Chaplain Manager School Partnerships Governors Clare Booth Special Senior Music Manager Touring Administrator Sarah Lovsey Senior Scenic Voice Placement Revd Martin Gorick Costume Department Julie Harris Lisa Spink Sophie Clausen Lighting Technicians Sarah Balls Gareth Collins Retail Development Carpenters Administrator Annual Fund Project Manager, Young Finance Senior Graphic Jake Brain Music Assistant Zoe Donegan Manager Andrew Clark Wigs and Make-Up Cleaners and Denise Edwards Co-ordinator People’s Programme Anna Anderson Designers Kevin Carson James Jones Assistant Producers Biddy Wilson Matthew Jacques Kimberley Boyce Porters Principal ladies cutter Chris Johnson Melanie Whitehead Project Finance Matthew Boss Matthew Peel Kevin Pitt Victoria Picken Shops Senior Supervisor Ross Kitching Kirsten Job Paula Adlem Rebecca Edwards Research Officer Department Manager Manager Artworker David Richardson Ian Reynolds Planning Co-ordinator Gavin Reeves Assistant Wig and David Allcock Senior Dye Technician Caroline Jones Kate Wolstenholme Ron Codrington Gina Print Craig Sheppard David Statham Rachel Wall Running Wardrobe Carpenters Make-Up Artists Rod Barnet Susie England Director of E-learning Manager Pensions and Administrator First Lighting Andrew Stone Fewings Planning Co-ordinator Jennifer Binns Paul Collins Lavinia Blackwell Nanezda Cirule Hannah McDermott Development Insurance Officer Andy Williams Technicians Musicians Mardi Widdowsom Deputy Wardrobe Assistant Machinist Sindy Cooper Elizabeth Clifford Zarah Meherali Hamble Paddon Engineering Linda Lloyd Head of Graphics Lauren Watson Bruce O’Neil Assistant to the Mistress Paul Hadland Fiona Keston Lisa Cowley Skilled costumiers Trusts Manager Services Bev Milne Lighting Technician Music Director Producers Carolyn Daniels Scenic Workshop Wig and Make-Up Alison Hannabus (Mens) Andrew Rye Simon Bowler Joyce Natzler Green Room Tim Baxter Richard Sandland Denise Wood Wardrobe Mistress Manager Artists Robert Holloway Kate Freshwater Major Gifts Officer Head of Engineering Theresa Sarah Furniss Creative and Visual Music Co-ordinator Lead Producer Michelle Davies James Hicks Charlotte Griffiths Yvonne Hudman Sarah Plowright Carol Stevenson Services Accounts Services Carole Sambrook-Hurst Media Technician John Woolf Yvonne Gilbert Brian Robbins Rachel Seal Lucy Payne First milliners Acting Head of Annual Mark Farmer Officers Veronica Treharne Simon Bayliss Head of Music Production Office Keith Lovell Deputy Scenic Managers Senior Wig and Rosemary Payne Julian Gilbert Fund Maintenance Adrian Gelston Catering Assistants Assistant Head Simon Ash Michael Nolan Robert Hinton Make-Up Artists Valerie Potts Head of Footwear Lauren Thorpe Electrician Payroll Officer Sylvia Hall of Lighting Nursery Mark Graham Linda Williams Logistics Manager Sandra Smith David Rowland and Armoury Campaign Tim Oliver Irina Gorbunowa Green Room Supervisor Vince Herbert Laura Cameron Senior Production Dressers Benjamin Morris Wig and Make-Up Brenda Gollnast Co-ordinator Administrative Senior Management Ruth Treharne Head of RSC Lighting Nursery Assistant Managers Josie Horton Scenic Carpenter Department Jane Rogalski Louise Turner Assistant Accountant Catering Manager Victoria Alcock Peter Bailey Wardrobe Support Supervisor 56 Senior Costumiers(Mens) Research Manager Richard Power Becky Harris Ewelina Figlewska Deputy Technical Director 57 Corporate governance Associate artists Advisors

Patron Audit Committee Charlotte Heber Percy Associate Artists Honorary Associate Auditors Her Majesty The Queen John Hornby Chairman Tim Pigott-Smith Artists Baker Tilly UK Audit LLP Neil Benson OBE FCA Neil Rami Bill Alexander St Philips Point President Robert Clarke FCA Ian Ritchie CBE RA Michael Attenborough Temple Row His Royal Highness Sharmila Nebhrajani Lisa Houghton Reade David Bradley John Barton Birmingham The Prince of Wales David Wolffe Rosemary Said David Calder Cicely Berry CBE B2 5AF Wafic Said John Carlisle David Brierley CBE Deputy President Project Committee Lady Sainsbury of Turville CBE Bankers Sir Geoffrey Cass MA CCMI Lady Sainsbury of Turville Brockman Seawell Sinead Cusack Barclays Bank plc Chairman David Suchet OBE Penny Downie Bob Crowley Charities Team Chairman of the Board Sir Christopher Bland Michael Wood Ron Daniels Floor 28 Sir Christopher Bland Michael Boyd Mike Gwilym Howard Davies 1 Churchill Place Sir Geoffrey Cass MA CCMI Honorary Emeritus Dame Judi Dench London E14 5HP Deputy Chairman Vikki Heywood Governors Sir Derek Jacobi Chris Dyer Lady Sainsbury of Turville Jonathan S Lane MA FRICS Lady Anderson Investment Management Ian Laing CBE Charles Flower Estelle Kohler Sir Peter Hal BlackRock Investment Board of Governors Paul Morrell OBE Lady Flower Barbara Leigh-Hunt Terry Hands CBE Management (UK) Limited Sir Christopher Bland Ian Ritchie CBE RA Drue Heinz DBE Sir CBE 33 King William Street Professor Jonathan Bate CBE Frederick R Koch Richard McCabe CBE London EC4R 9AS FBA FRSL Governors Leonard Mathews OBE Peter McEnery Barrie Ingham Schroder & Co. Limited Michael Boyd George Alagiah OBE Professor Stanley Wells Richard Johnson 31 Gresham Street David Burbidge OBE Yasmin Alibhai-Brown OBE Sir Ben Kingsley London EC2V 7QA Jane Drabble OBE Professor Jonathan Bate CBE Honorary Governors Gerard Murphy Ralph Koltai CBE Noma Dumezweni FBA FRSL Robert Anthoine Joanne Pearce Barry Kyle Barclays Wealth Mark Foster Jana Bennett Philip Bermingham Jane Lapotaire 1 Churchill Place Gilla Harris Sir Christopher Bland Chairman Michael Crystal QC Dame London E14 5HP Vikki Heywood Lee C Bollinger Tony Hales CBE Christopher Morley John Hornby Michael Boyd Martin Iredale Sir Antony Sher John Napier Solicitors Laurence Isaacson CBE David Burbidge OBE Stephen Pratt MA Richard Nelson Bates Wells & Braithwaite Jonathan Kestenbaum Lord Carter of Barnes CBE Roger Pringle MA Malcolm Storry London LLP Paul Morrell OBE Sir Geoffrey Cass MA CCMI Ian Rushton David Suchet OBE Sir 2-6 Cannon Street Tim Pigott-Smith Sinead Cusack J A T Saywell David Troughton Timothy O’Brien London EC4M 6YH Neil Rami Elizabeth Dixon Donald R Seawell Philip Voss Richard Pasco CBE Foot Anstey Lady Sainsbury of Turville Jane Drabble OBE Derek Webster Harriet Walter Sir Donald Sinden CBE 21 Derry’s Cross Noma Dumezweni Mary Weston CBE Patrick Stewart OBE Plymouth PL1 2SW Nominations Committee Sir Brian Follett Lord Willoughby de Broke Associate Producer Janet Suzman Gilla Harris Chairman Mark Foster The Town Mayor Thelma Holt CBE David Warner Linklaters LLP Yasmin Alibhai-Brown Janet M Gaymer CBE The Chairman, Stratford Peter Whelan One Silk Street Sir Christopher Bland Gilla Harris District Council John Wood CBE London EC2Y 8HQ

Michael Boyd Vikki Heywood Director, The Shakespeare Guy Woolfenden OBE Photo: EllieKurttz Pinsent Masons LLP Lord Carter of Barnes CBE John Hornby Institute 3 Colmore Circus Sir Geoffrey Cass MA CCMI Laurence Isaacson CBE Director, The Shakespeare Birmingham B4 6BH Jane Drabble OBE Jonathan Kestenbaum Birthplace Trust Vikki Heywood Ian Laing CBE Wragge & Co LLP Lady Sainsbury of Turville Sir Michael Lyons Honorary Life Governor 55 Colmore Row Paul Morrell OBE Sir William Dugdale Bt CBE Twelfth Night performed by Filter in association with the RSC Birmingham B3 2AS 58 59 Constitution Design from TheDrawing Roomwww.drawingroom.uk.com and objectives

The Royal Shakespeare Company is incorporated under Royal Charter as ‘The Royal Shakespeare Company, Stratford-upon-Avon’ and it is a registered charity.

The Company’s principal objectives laid down in the Royal Charter are to conserve, advance and disseminate the dramatic heritage of Shakespeare and to advance and improve the dramatic art, both in the and throughout the world. The Company (or Corporation) is charged with producing and presenting dramatic performances of all kinds and with teaching and training and other educational activities. These objectives are achieved by the production of plays by Shakespeare and by other classic playwrights and by the commissioning and production of new plays, which are presented in the Company’s theatres in Stratford-upon-Avon, in London, and on tour throughout the United Kingdom and the rest of the world; and by educational activities in schools, colleges and for the community at large.

The members of the Corporation consist of a President and the Governors. The management of the property and affairs of the Corporation is delegated to the Board whose members are drawn from and elected by the Governors. The Board has the power to appoint the officers and employees of the Corporation.

The Royal Charter gives authority for investment in property and securities of any description and for the appointment of an investment

manager. Photo: JohnHaynes

The Report and Accounts comply with current statutory requirements, the requirements of the Statement of Recommended Practice “Accounting and Reporting by Charities” A Midsummer Night’s Dream performed (SORP 2005) and of the Royal Charter. in Stratford-upon-Avon and London 60 ROYAL SHAKESPEARE COMPANY ANNUAL REPORT 2008/2009