2009/2010

I can’t recall as exciting a revival since Zeffirelli stunned us with his verismo in 1960 The Guardian on Romeo and Juliet ★★★★★ Royal Shakespeare Company Shakespeare Royal Theatre The Courtyard Southern Lane Stratford-upon-Avon 6BB CV37 Warwickshire +44 1789 296655 Tel: +44 1789 294810 Fax: www.rsc.org.uk 134th report Chairman’s report 3 of the Board Artistic Director’s report 4

To be submitted to the Annual Executive Director’s report 7 General Meeting of the Governors convened for Friday 10 September 2010. To the Governors of the Voices 8 – 27 Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given that the Annual Review of the decade 28 – 31 General Meeting of the Governors will be held in The Courtyard Transforming our Theatres 32 – 35 Theatre, Stratford-upon-Avon on Friday 10 September 2010 commencing at 4.00pm, to Finance Director’s report 36 – 41 consider the report of the Board and the Statement of Financial Activities and the Balance Sheet Summary accounts 42 – 43 of the Corporation at 31 March 2010, to elect the Board for the Supporting our work 44 – 45 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Year in performance 46 – 49 the Royal Shakespeare Company.

By order of the Board Acting companies 50 – 51

The Company 52 – 53 Vikki Heywood Secretary to the Governors Corporate Governance 54

Associate Artists/Advisors 55

Constitution 57

Front cover: Sam Troughton and Mariah Gale in Romeo and Juliet Making prop chairs at our workshops in Stratford-upon-Avon Photo: Ellie Kurttz Great work • Extending reach • Strong business performance • Long term investment in our home • Inspiring our audiences • first Shakespearean rank Proves Greg Hickstobeanactorinthe Chairman’s Report A belief in the power of collaboration has always been at the heart of the Royal Shakespeare Company. This extends beyond the intensity of the rehearsal room to a shared experience with our audiences across the world.

Our current long ensemble of recent years began their journey with us in 2009. We played seasons in Newcastle upon Tyne and London, and toured with Shakespeare and new work.

Our commitment to audiences extended to almost every medium, developing a new play on Twitter, broadcasting our production of Hamlet to millions, and making our Young People’s Shakespeare, The Comedy of Errors, available via the internet.

The Guardian We engaged tens of thousands of people in events designed to explore our work and worked directly with 25,000 students, 1,399 schools and 2,500 teachers through our education programme, inspiring creativity, growing educational attainment and promoting a deep and lasting on passion for Shakespeare and live theatre. King Lear

The return on public investment has been significant in terms of reach, engagement and commercial success. Box Office sales have remained strong despite the recession and we have continued to innovate in everything from creative fundraising to technical problem solving – our RSC Lightlock invention will generate revenue in the coming years.

We continued work on the Transformation of our Stratford home. The new Royal Shakespeare Theatre will be a unique space for

Photo: Manuel Manuel Photo: Harlan Shakespeare, contributing significantly to the economic health of the West Midlands, providing a welcoming destination. I am extremely grateful for the hard work and support of the RSC’s Board, Governors and staff through another challenging and exciting year.

Greg Hicks and Geoffrey Freshwater in King Lear Sir Christopher Bland

2/3 Theatre as force for regeneration • Power of collaboration • Leadership role of RSC • Bringing people together • Commercial and non-commercial sectors – feeding each other

Artistic Director’s Report The ability of the arts to lead the regeneration of communities is now recognised worldwide. Theatre, as the most collaborative of all art forms, can play a unique social role – whether connecting people across a crowded auditorium, inspiring young children through a workshop with actors, or bringing contemporary writers together with Shakespeare in our rehearsal rooms. The power of these connections can change the way we work and the way we live.

Our desire to connect people with Shakespeare and to make theatre which engages with the world is clearly reflected in the design of our new home. It’s not just about bricks and mortar: it’s about people wanting to share the same inspiring space with each other. Our new home gives us the opportunity to extend our reach not just across the world, to people who recognise the UK’s pre-eminence in the performing arts, but also across the road to people who’ve never thought the theatre was a place for them.

This year, I am especially proud of the work we have done in partnership with others. We have worked with thousands of teachers, shared skills and expertise with dozens of non-professional companies and higher education institutions, including our partnership with The Ohio State University. We collaborated with leading international artists and companies like LABryrinth, Told by an Idiot, Baxter Theatre Company and Filter. “RSC” is rightly a badge of honour amongst many theatre artists, but we can only continue to grow creatively through sharing ideas with the wider theatre community.

After all, Britain’s greatest artist, Shakespeare, never did anything alone – Photo: KeithPattison he wrote for a company of actors he knew, collaborated with the other great theatre artists of his day, and knew how to dance on the tightrope between state patronage and entrepreneurial ambition. In these challenging times, we aspire to follow his lead. Sandy Foster and Simon Harrison in Days of Significance, which toured to six UK theatres Michael Boyd 4/5 Truly national company • Reaching new audiences, affordable ticket prices, online initiatives • Opening up theatre careers and training • Thank you to our donors

Executive Director’s Report We take our role as a national company very seriously and thro ughout our transf ormation in Stra tford, we ’ve continued to produce work 52 weeks of the year, playing to audiences in Stratford, London, Newcastle and on tour. Audience responses have been fantastic – over 90% of those we surveyed would recommend the production they saw to a friend and 95% rated our work positive ly.

This year, we staged our first family show at The Courtyard Theatre – Arabian Nights. One in fo ur members of our audience we re under 16 and we sold more than 7,200 family tickets. Our special £5 ticket scheme fo r 16-25 year-olds goes from strength to strength, with over 60,000 tickets sold since it started in 2005. New schemes like our Daily Mirror/Prudential partnership helped us reach new audiences – 80% of applicants for the family ticket offer had never been to the RSC before.

We have also worked hard to open up what we do. Our Open Day welcomed over 10,000 people, our Site Sundays attracted 3,000 people to look behind the hoardings of the RST site, and 2,846 people took a backstage tour. This desire for sharing what we do has also extended online through our new website and we now have over 13,500 Facebook fans and 9,200 followers on Twitter.

We have shared resources in Stratford too, working closely with the voluntary and amateur sectors and making the most of our new dedicated building for learning and participation, Waterside Space, launched in 2009. Our Think Theatre campaign is enco uraging a wider co mmunity to t hink about a theatre career and four theatre- craft apprentices began work in September.

I would particularly like to thank our corporate sponsors and charitable donors for continuing to support the enormous range of work we undertake – including the 10,000 people from 49 countries who have played their part in the Transformation Appeal. We look

Photo: Ellie Kurttz Ellie Photo: forward to welcoming you to our new home. Russian DJ Hobot and Russia’s world champion B-Boy crew, Top 9, perform in Oxygen Vikki Heywood 00/00 6/7 ★★★★★ Ensemble A strong, stirring start for the RSC’s new ensemble The Times on The Winter’s Tale

Frank Benson, Shakespeare’s Circle Member and Legator

I support the RSC annually with my 44 actors play Shakespeare’s Circle contribution because I like to feel involved with the over 336 roles theatre. I have great admiration for Michael Boyd and his work, and in 12 productions I appreciate the help I receive from the front of house staff.

I also decided to make a legacy pledge because more of my money will be available when my estate is wound up. I want to make a contribution to the future of the RSC.

Forbes Masson, actor

I’m fo rtunate to have been part of four RSC ensembles during such an exciting time fo r the co mpany. Over that period I have worked with, and learned from, many extremely talented individuals, and I’ve been consistently in awe of my fellow acto rs’ abilities. Wo rking to gether as an ensemble fo r a long period builds trust and support, allowing everyone to be open to create their best work. Personal benefits aside, one of the important things for me is seeing how school children, who had The RSC Ensemble is dragged their heels into the theatre to see generously supported by these well honed productions, become THE GATSBY CHARITABLE entrance d and cheer excitedly at the end, FOUNDATION and

Photo: Alessandro Evangelista Inset photo: Keith Pattison Keith photo: Inset Evangelista Alessandro Photo: utterly “getting” Shakespeare . THE KOVNER FOUNDATION 8/9 ★★★★★ A triumph . . . Roxana Silbert's supple Sam Swann, Boy Soldier in Dunsinane, production is beautifully acted . . . engaged, part of the new work season at London’s Hampstead Theatre articulate, provocative entertainment The Times on Dunsinane

I went to Stratford College Vik Sivalingam, Assistant Director and used to see an RSC with the long ensemble production about once a week, so I knew they did Working on a new play is a different other work as well as dynamic. You have the writer in the Shakespeare but I wasn’t room so you can probe them for aware of the great number meaning and sense, then knead and of contemporary writers shape the play in different ways. under commission. It makes perfect With Shakespeare’s work it’s there, sense to me that the company should finished and it already works. The joy support new work and therefore new of the RSC’s new work is that I get writers –they could be nurturing the to work on new plays on a different next Shakespeare! It’s important for the

Photo: Simon Annand Simon Photo: scale – big themes, large cast. RSC too, as they need to keep in touch with what is happening in theatre now.

When I got the Dunsinane script I thought I'd get bogged down whilst reading it, but I read it all in one go and knew that, 5 new plays even if I didn’t get the part, I would still produced and 40 definitely buy a ticket to see it at writers currently Hampstead Theatre. under commission My friends who came to see it were a bit worried that they would be bored, but they loved it. One of the clever things was that normally you see a lot of classical plays set in modern times but Dunsinane was a new play in a classical setting. It was a great concept and

The RSC Literary Department worked like a dream.

is generously supported by

THE DRUE HEINZ TRUST New work New 10/11 450 audience members joined the Talking to our audiences actors on stage for a Ukrainian meal during the run of The Grain Store

6.45 and we're at the RSC, to be led onto the stage, seated at trestle tables, and fed a Ukrainian meal by members of the Throughout the year we invite people company. It's strange to get an actor's eye to find out more about what we do by view of the house, which begins to fill. We taking part in events and activities tuck into borscht, dumplings, bread and wherever we perform. wine, and are feeling nicely full as we make our way to our seats, to watch a harrowing 15, 844 people took part in three hours of an innocent community our events in Stratford-upon-Avon, being starved to death. The journey from London and on tour, and plenty to famine feels all too real.

Perhaps the RSC could repeat the idea joined us 2,846 when appropriate? Breaking the barrier on a backstage tour. between stage and seats, cast and audience, is fun. Steph and Steven Bliss

We were thrilled to be included in this event. The atmosphere was lovely and it was good to be able to talk to complete strangers sitting at the same table as us – people who we wouldn't normally have met. It was a wonderful idea and really set the scene for the play, We enjoyed meeting the cast, the food was good and it was fun sitting on the stage while the rest of the audience took their seats. I loved the idea of the feast before the famine – a very clever theatrical device.

Photo: Stewart Hemley Stewart Photo: Anne Birchenough

Samantha Young and members of the audience on stage for the Ukrainian meal. 12/13 00/00 ★★★★★ A rich, exotic, pitch-perfect piece Families of top-quality entertainment Whatsonstage.com

More than 7,200 family rate tickets were sold to under 18s for Arabian Nights.

8% of Arabian Nights’ attendees had never been to a theatre performance before. Photo: Stewart Hemley

Natalie Dew talks to the audience at the interval of Arabian Nights

Marcus Fernando, actor may even have seen a show there, but storytelling. With a deep thrust stage, with us, then clearly we can feel that to BE there on that stage. That was and several exits and entrances through we’re sitting out there among the I can clearly recall stepping out onto what it was all about. the auditorium, the audience became audience. Nothing can beat the rapport The Courtyard stage for the first time. It very much part of the cast. between the actor and the rapt audience was like being a gladiator of old walking The Courtyard space was particularly member, or the enchanted child who is onto the sands of the Coliseum: you’d effective at really helping the audience For me, though, the process is two-way. so immersed in the drama that it is, for read about it, you’d heard about it, you to feel that they were part of the If the audience feel like they’re on stage that moment at least, the real world. 14/15 9,442 young people benefitted from the £5 tickets for 16–25 year-olds in 2009/2010, with more than

60,000 tickets sold on the scheme since its inception in 2005 Photo: Stewart Hemley 16-25 £5 tickets £5 16-25

Audiences gather in The Courtyard Theatre

Sita Thomas, audience member The scheme has been invaluable, As a student I could not afford to go determined and focused in my career giving me the opportunity to see many regularly to the theatre, but the £5 path and has been a bountiful source Since I became a student at Warwick fantastic pieces of theatre that have ticket scheme means that I am able to of live theatrical experience that aids University, I have been to see all of the opened my eyes to innovative theatre go and see as much theatre as I like. my study at university, as well as RSC's shows at The Courtyard Theatre, practice, outstanding acting and the being an excellent night out. each time using the £5 ticket scheme. direction of new writing as well as Coming to the RSC has fuelled my Shakespeare's works. passion for the theatre, made me more 16/17 We worked with 25,000 students and 2,500 teachers Dick Johns, drama practitioner in a range of different projects from Step up with Shakespeare, a local involved in Step up with Shakespeare initiative with ten young people in the care system from Telford, to an international partnership with The Ohio State University. In over 20 years of work in drama with young people I have ra rely seen outcomes so exciting, or improvements so marked. Lorraine Gaughenbaugh, Ohio teacher involved in the professional development programme which, to date, has trained 38 Ohio teachers, reaching more than 1,500 students at all grade levels. Jenny Cockcroft, Telford Corporate Parenting Team manager

My third-grade class studied Macbeth for three weeks, and it was It’s been fantastic to see the young people, who have such an amazing activity. They wanted ownership of Shakespeare’s complex needs, blossoming. When James came to this project words and I was surprised at the depth of their understanding. he had never been involved in theatre and didn’t know who As it turns out, 99 percent of the students in my class passed the Shakespeare was and in six months he is able to walk out as Ohio standardized test for reading, writing and comprehension. Macbeth and command the stage.

Photo: Ed Moore Photo: Education partnerships

Performing Macbeth during Step up with Shakespeare 18/19 I’ve rarely seen the myth that schoolchildren find Shakespeare boring so effectively punctured The Guardian on Hamlet

Yvonne Collins, Headteacher, White Hall Junior School, Dudley, Over 3,300 8 -12 year olds saw one of our Young part of the Learning and Performance Network People’s Shakespeare productions in their school. Performed This might be the only Shakespeare these young children ever experience in their by members of our acting ensemble, Hamlet and The Comedy whole lives; and what better experience could they have? It was absolutely superb. of Errors toured to primary and secondary schools in the Now these children have seen what the possibilities are. That’s so important. Black Country, London and Newcastle upon Tyne.

Dharmesh Patel, Hamlet

It felt profound how much the young students understood the play. One Year 5 student told me that Hamlet killing Claudius was a good thing, as Hamlet's madness was only affecting the court, but as king, Claudius' behaviour was "infecting" the whole country. I'd never thought of that in rehearsals, and that student's idea has changed how I play the role ever since.

Shivani, aged 11

Truly amazing. I didn’t want to blink because I didn’t want to miss anything. Photo: HugoGlendinning

The Learning and Performance

Network is generously supported

Dharmesh Patel in Hamlet Paul Hamlyn Foundation

by the Education 20/21 132 third year drama students have taken part in our classic text workshops since 2007.

We share our skills with the wider theatre community in many ways, including work with teachers of voice and text, poetry workshops for graduates, directors’ training workshops, voice bursaries, movement workshops with teachers, young actors and directors, young people’s theatre groups and the first symposium of Russian and British movement practitioners, co-curated with the University of Kent.

Sharing skills

Students from the Conference Saul Hyman, Executive Secretary, of Drama Schools Workshop Conference of Drama Schools

It was lovely to be with fellow The work we do with the RSC 3rd year students of other drama develops and consolidates the schools and to know that we are work we do on classical text in all very much in the same boat. drama school. Students get the I really enjoyed seeing how the chance to see how the Company RSC works and is not some uses these skills in their day-to- big scary place. I would love day work, giving them an insight to be part of it one day! into the technical side of theatre and a chance to meet the creative teams, as well as sessions with casting. The impact is very positive, especially for those who are not exposed to Shakespeare prior to drama school. The proof is in the pudding, with students Photo: Ellie Kurttz Ellie Photo: Students working with an RSC Voice Director going on to work at the RSC. 22/23 24/25 Photos: Stewart Hemley Apprentices 100 experience across 16 departments. programme now offers work days, and our work placement in workshops and career taster young students took part Scenic Paint Shop Apprentice and Paul Riddell Property Workshop Apprentice, Christopher Simmons Scenic Workshop Apprentices, Above Sam Reynolds and Will Fagan (below right) (below left) Sam Reynolds, stage, it’s very satisfying. you work on the shows and see what you’ve made go on to the about the theatre, but being here has got me interested. When I started I just wanted a job in joinery, I didn’t know much chance to do my own projects which proves I can do it. When alongside my mentor has taught me a lot, and I’ve also had a different things with different materials, not just joinery. Working months have been brilliant, giving me a chance to work on College I started to look for an apprenticeship. The last ten straight after school. After getting a place at Warwickshire I did a GCSE in resistant materials and wanted to go into joinery Scenic Workshop Apprentice THE CLORE DUFFIELD FOUNDATION are generously supported by The RSC Theatre Craft Apprenticeships such young talent and potential. proud to support the nurturing of and the Clore Duffield Foundation is generation of craftspeople to emerge, a commitment to enabling a new I am delighted that the RSC is making and expertise in use. glimpse of the knowledge, skills workshop provides only a small the scenes. A visit to a props and set the result of much hard graft behind The magic that one sees on stage is Clore Duffield Foundation Sally Bacon, Executive Director Generating income £13.3 million income generated through Box Office, sponsorship and donations, commercial opportunities and education activity.

50,000 Hamlet DVDs, with David Tennant in the title role, have been Kevin Wright, Commercial Manager sold worldwide We’re responsible for developing commercial opportunities to generate income to support the work of the Company including creating products, running the shop and producing the programmes. Our biggest challenge this year was coordinating the DVD release of Gregory Doran’s Hamlet. We received thousands of orders before the DVD was 980,000 even released, which meant a lot of viewers watched the paperwork, telephone calls and teamwork full length production with everyone pulling together to help of Hamlet when it was pack thousands of DVDs during the week screened on BBC2 on before Christmas. It is one of my stand-

Photo: Ellie Kurttz Ellie Photo: Boxing Day and millions out memories of the year. All of the profit more saw it in the US we generate through our commercial on PBS. activity goes to supporting the work on stage, and it’s nice to feel that we are . . . scintillating . . . one of the most eye-catching, making our own contribution to that. emotionally engaging Hamlets in years . . . This is a production worth three hours of anybody's time, connoisseurs and Shakespeare novices alike. Filming the screen version of Hamlet, The Daily Telegraph on the broadcasting of Hamlet on BBC 2 an Illuminations/RSC production for the BBC 26/27 2009 Review of the decade 2007 £107.3m 2006 King Lear, raised for the Transformation,

on including funds pledged from 11,609 6,318 over 10,000 supporters from Noughts & Crosses, Noughts & Crosses, performances selling over Henry VI, performances in 49 countries to transform our on on 2000 £16m net income Stratford-upon-Avon Stratford-upon-Avon theatres million tickets 6.3 from revenue fundraising and membership schemes Over The Times 1million Telegraph The Daily under 25 year olds have 2008 The Sunday Times enjoyed the work of the RSC 2001 Hamlet, on This England: The Histories, This England:

on £16.4m earned Tantalus, Over from commercial income 2009 on 2005

£100m A Triumph The Observer generated in Box

Office income The Histories, Evening Standard Evening on New York Times York New . . . young people’s theatre that engages with theatre people’s . . . young of political urgency issues Majestic . . . the RSC is having one of its . . . the RSC is having Majestic seasons ever greatest The Guardian The Histories 2008 One of the most lucid, powerful and moving productions of productions and moving lucid, powerful One of the most seen ever I have tragedy this great Thomas More, part of the Gunpowder Season,Thomas More,

on 250,000 children and young people participated on the complete cycle of cycle on the complete

in education of the Shrew, The Taming

186 programmes on An epic project performed by a world-class performed An epic project making spectacular use of theatre’s ensemble, possibilities vertical One of those theatrical experiences you only have the chance to chance the have only you experiences theatrical those of One life your times in a few savour commissioned

The Daily Telegraph The Daily been the RSC’s adventures in theatrical archaeology in theatrical adventures been the RSC’s plays produced has years of recent pleasures dramatic One of the great

of virtuosic writing and stagecraft writing and stagecraft of virtuosic A theatrical feast of a production . . . a Gourmand’s Banquet . . . a Gourmand’s of a production feast A theatrical The Guardian 2010 The Guardian . . . highlight of the decade The Daily Mail The Daily 28/29 invention Brimming with comic 2005 2009 2000 2003 2007 2010 2001 The Histories win First young Olivier award for 2004 trainee designers 2006 Best Revival, Best Screening of 2002 Global High join as RSC’s The Courtyard 2008 Design and Best Such Tweet Sorrow 2011. . . Macbeth on Performance Design Bursary Theatre opens Company first production Landmark Channel 4 Business First New Work staging The The Histories Performance played out on This England: The Partnership Festival Histories, the first culminates at Twitter Histories staged with Accenture Comedies Season long ensemble Royal Shakespeare London’s 50th birthday, in London under Michael and Swan Theatres Roundhouse Second long formal re-opening Boyd’s leadership close for the ensemble begins of the Royal The Jacobeans Olivier Award, Transformation its 2 ½ year Shakespeare and 25th anniversary staged Best New Play for RSC headlines journey Publication Swan Theatres Newcastle Season The Lieutenant of Latitude Festival for of the RSC Inishmore Gunpowder Season Learning and the first time Waterside Space Shakespeare Tantalus staged Tragedies Season Performance opens as dedicated Toolkit for in Denver, London and the start Plans to transform Network begins, space for education Teachers and on tour of the public our Stratford-upon- now involving over and community understudy runs Avon home unveiled 400 schools Whatsonstage.com work Theatre Event of Midnight’s Children The Complete Works The Year – David staged in London, festival, the biggest Tennant’s return Critics’ Circle Olivier Award, UK and US tour £5 ticket scheme in our history – 37 to the RSC stage Theatre Awards, Best Director – Artist Development for 16 – 25 year plays, 30 visiting Best Shakespearean 21st anniversary Michael Boyd for Programme begins olds launched companies and 19 Performance, of the mobile Henry VI, pts I, II & III helping shape RSC productions David Tennant Matilda, A Musical theatre tour, and Richard III the careers of 450 Launch of Post 47 weeks opens at The The Tempest actors across 16 5 year deal with Graduate Award of touring Courtyard Theatre Olivier Award, acting ensembles Cameron Mackintosh in the Teaching of Illustration by 2012. . . Southbank Show Outstanding to date to present our Shakespeare for Quentin Blake Awards – Best Achievement of work in London ensemble actors World Theatre Production the Year – The Stand up for Shakespeare This England: The Jacobeans acting First Essential Shakespeare Festival Histories ensemble Spanish Golden Shakespeare Live, Manifesto launched Partnership with The Royal Age Season produced in receiving 15,000 The Ohio State Shakespeare conjunction with Olivier Awards – signatories University Theatre and Swan Bennetts Associates the British Library Best Director, announced Theatre open appointed as Michael Boyd for to the public architects for the Henry VI trilogy First new in Stratford- 2001 Transformation of Launch of the commissions upon-Avon our Stratford-upon- CAPITAL Centre produced on the 2003 Avon home with the University main Stratford stage 2010 2000 2004 of Warwick 2007 2002 2006 2009 2005 2008 30/31 Creating our new home in Stratford-upon-Avon

Work to transform our Stratford home We have been highly commended on Peter Wilson, RSC Project Director continued throughout the year. By the our project management by the Office I always think about the projects I am time of completion in November 2010, we of Government Commerce and the Arts responsible for as if they are extended will have a new thrust stage auditorium Council, and our regional development versions of a fortnight’s family holiday. bringing actors and audiences closer agency, Advantage West Midlands. Of course being a project director isn’t together, a new theatre Tower, Riverside Together we have worked extremely exactly a holiday but it does involve being Café and terrace, Rooftop Restaurant, hard to ensure the project represents somewhere for a fixed period with a a colonnade linking the Swan and a model of best practice. defined start and end; and – just like Royal Shakespeare Theatres together a holiday – time doesn’t seem to pass at a for the first time, and fantastic new Practical completion was achieved in fixed rate. The first week goes slowly and facilities for actors and audiences. July 2010, on time and on budget. We inevitably the second week rushes past are now starting the move back into the with lots still to do whilst also thinking The building will also be far more building and look forward to welcoming about packing up and leaving. The last accessible than before, with lifts and the public from November 2010 with year’s been the Wednesday and all facilities accessible on every level. a programme of reopening events to Thursday of the second week of the We have worked with Stratford District help us test the building. Our current holiday: momentum gathers as the end Council to deliver improvements around ensemble returns from London in looms into view with lots to achieve the outside of the building too, with February 2011 to perform the first whilst making sure everyone’s ready to a ramped and widened riverside walk, Shakespeare productions on the Royal go home safely. Being a project director better paths through the gardens to a Shakespeare and Swan Theatre stages, is like having a large family to look after: new river ferry and dedicated parking with the formal re-opening in April 2011 keeping everyone happy and organised for disabled people alongside the theatre. when we celebrate our 50th birthday. is crucial, even though there isn’t time to do everything everyone wanted. Our fundraising efforts have paid That’s a much tougher task than the dividends with £107.3m raised to date, much celebrated ‘on time and on including £34.3m from private individuals, budget’ required of the project director, trusts and foundations. Over 10,000 but in the end it’s much more fulfilling people from 49 countries have supported £112.8 million and more memorable. our project so far, a strong indicator of Transformation, delivered the universal support for our ambition on time and on budget Photo: Stewart Hemley to create a new theatre for Shakespeare. There is still some way to go, but we are confident that we will reach our Old meets new, the Royal Shakespeare Theatre £112.8 million target. under construction

32/33 Photo: Stewart Hemley 5,000 Richard Boardley, Average reclaimed bricks used Foundation for Sport and the Arts 125 people per day The Transformation of the RSC’s working on site 168,000 new Stratford home will provide resources bricks were hand-made to match the Company’s ambitions, including 14,000 increasing active participation in the ‘special bricks’ arts, particularly amongst young people. The Foundation for Sport and the Arts is delighted to align its name alongside such an important and beneficial project.

Over two days 3,000 people joined us when we opened up the construction site. £107.3 million raised Jenny Fradgeley, to date, £34.3 million from Mayor of Stratford-upon-Avon 2009/2010 charitable trusts, individuals and Councillor and foundations

I have been a regular theatre-goer since a child, my first memory of the theatre was Paul Robeson’s Othello, Sir Patrick Stewart, Associate Artist from ‘the gods’. Our new theatre will and supporter of the Furthest seat is metre high Tower, make those first visits to the theatre 15m 36 Sponsor a Brick campaign even more memorable because the from the RST stage, in the 134 steps and a 32 metre new design brings everyone so much 1932 theatre it was 27m high viewing platform I was lucky enough to get a sneak closer to the action. As Mayor of preview of the new theatres and was Stratford 2009/2010, I was delighted to thrilled with what I saw. be asked often to view the progress of My favourite feature of the new theatres the build and cannot wait for the first has to be the relaying of the old teak productions. The Courtyard has whetted 1million stage floor from the RST throughout the my appetite for the thrust stage and hours worked on site foyer spaces; what a wonderful way for all it offers to the audience, and I look us all to share in the unique theatrical forward to welcoming the world to history of the RSC. Stratford to enjoy the excitement Royal Shakespeare Theatre and Swan Theatre and thrills of our new theatre. image by Paul Catherall Laying the 1932 stage flooring in the public foyer 34/35 Income and expenditure (excluding Transformation) Finance Director’s report

Statement of Financial Activities

Income £m % Summary The net inflow across all funds was a very significant £29.2m, of which £23.5m 15.8 49.9% Grants related to the Transformation Project. The project remains on time and on budget.

Other contributory factors were the net gain on investments of £1.6m, a £3m 2.5 7.9% Transition subsidy gain on the revaluation of the Arden Hotel (as part of the creation of a limited liability partnership with Sir Peter Rigby’s Eden Hotel Collection during the 1.0 3.3% Learning and year) and the net improvement of £0.7m in the FRS17 valuation of the participation Company’s defined benefit pension scheme.

0.9 2.8% Interest and other Net incoming resources from operations for the year was a surplus of £0.5m, despite income from revenue fundraising and patrons’ secondary spend (retail 0.9 2.8% Trading income and programmes) coming under some pressure. from subsidiary Unrestricted operating fund 1.9 6.1% Sponsorship, donations Net income into the unrestricted operating fund for the year, before investment and membership and actuarial gains, was £0.5m.

Funding from Arts Council England of £15.6m was as planned and 2.7% up on 8.6 27.2% Box Office the previous year. Income from productions, tours and theatre operations was £8.6m and slightly better than expected. Within this Box Office income from 31.6 Stratford, London, Newcastle and touring held up well despite the recession and other income was boosted by strong royalty receipts from Les Misérables. Earnings from our hire wardrobe activities were sharply down. The overall reduction in income from productions, tours and theatre operations of £1.5m Expenditure £m % when compared with 2008/09 reflected the unusual strength of Box Office income in that year generally, and The Histories season at the Roundhouse 18.8 60.2% Productions in April and May of that year.

Income from sponsorship and donations of £1.8m came under some pressure. 2.2 7.0% Learning and Our membership scheme had another good year but revenue fundraising was participation affected by a combination of the recession and the inevitable focus on capital fundraising for the Transformation Project. Trading income from RSC Enterprise 0.9 2.8% Trading expenditure Ltd also came under pressure. Net earnings from shops and programmes by subsidiary both missed their targets as patrons’ secondary spend declined noticeably. Overall operating expenditure of £30m was well controlled and in line with 5.3 16.9% Theatre operations expectations. Spending on productions and theatre operations at £26.7m was £0.8m lower than the previous year – the biggest single reason being the unusually high level of investment in London in 2008/09, which included the 0.7 2.4% Fundraising and ten-week Histories at the Roundhouse as well as the usual season in the membership West End later in the year. Spending on the estate increased in the year as the Corporation took on the running of Waterside Space in Stratford-upon- Avon, and incurred fees in relation to setting up the Arden Hotel Waterside LLP. 0.1 0.3% Governance costs The year also saw an increase in the Corporation’s investment in digital media, training and artistic support.

3.2 10.4% Marketing The £2.3m transfer into the operating fund is made up predominantly of the £2.5m additional revenue subsidy provided by Arts Council England for 2009/10 31.2 to allow the Company to operate during this transition period.

36/37 Designated funds The net outflow from our designated funds of £0.1m comprised income of £0.3m from RSC America towards the Transformation Project, less £0.3m refurbishment of residential properties in Stratford and £0.1m charged against the race equality fund. 60,000 people Restricted funds saw an RSC performance Net inflow into restricted funds in the year before investment gains was £23.5m. for the first time Learning and participation income of £0.6m represented restricted fundraised income of £0.1m to fund website development and £0.5m for our ongoing artist development programme (both matched by equivalent expenditure).

Grants of £23.8m were received in the year for the Transformation Project, of which £13.9m came from Arts Council England and £7.4m from Advantage West Midlands, the regional development agency. This compared with £13.6m received in the previous year and is indicative of the scale of the activity on the project in 2009/10. An additional £2.5m was received from Arts Council England to cover additional revenue subsidy for 2009/10.

£4.3m of the £4.4m income from sponsorship and donations related to the Transformation Project, of which £2m came from an anonymous donation, £2m from private donations and £0.3m from our Take Your Seat campaign.

The main element within redevelopment costs of £2.3m was £2m in depreciation relating to The Courtyard Theatre, Arden Street rehearsal rooms and Chapel Lane offices.

Balance Sheet

The balance sheet strengthened by £29.2m in the year, of which £23.5m related to the net inflow into the Transformation Project.

Tangible fixed assets increased by £25.3m, which predominantly related to the Transformation Project.

Stocks and work in progress reduced by £0.9m because two major shows pressed in March 2010 so there was less show related work in progress carried across the year end.

Debtors reduced by £1.3m mainly because the basis of Transformation Project reimbursement by Arts Council England and Advantage West Midlands moved to a forecast basis in early 2010 so there was less accrued income this year end.

Cash increased by £1.1m to £13.9m. It is anticipated that the net expenditure on the Transformation in 2010/11 will be c.£11m. Photo: EllieKurttz Creditors increased in the year by £0.2m being the release of £2.5m in additional revenue subsidy for 2009/10 held as deferred income last year, offset by the deferral of £2.6m of Transformation Project funding received in 2009/10 relating to 2010/11. In addition accruals relating to the Transformation Project increased by £0.1m.

Andrew Parker

Sophie Russell and Darrell D’Silva in The Drunks 38/39 Chairman’s note Independent auditors’ statement to the Board of the Summary accounts These summarised accounts represent a summary of information extracted Royal Shakespeare Company from the Trustees’ report and the full statutory consolidated accounts of the Royal Shakespeare Company for the year ended 31 March 2010. They may not contain sufficient information to allow for a full understanding of the financial We have examined the summarised financial statements of the Royal affairs of the Corporation. For further information, the full accounts, the Shakespeare Company set out on pages 42 to 43. auditors’ report on those accounts and the Trustees’ Annual Report should be consulted. Copies of these can be obtained from: Respective responsibilities of trustees and auditors The trustees are responsible for preparing the summarised financial Royal Shakespeare Company statements in accordance with the recommendations of the charities SORP. The Courtyard Theatre Southern Lane Our responsibility is to report to you our opinion on the consistency of the Stratford-upon-Avon summarised financial statements within the summarised Annual Report Warwickshire with the full annual financial statements and Trustees’ Annual Report and CV37 6BB its compliance with the relevant requirements of the charities SORP.

We also read the other information contained in the summarised Annual Report Basis of preparation of summary accounts and consider the implications for our report if we become aware of any The summary accounts have been prepared under the historical cost apparent misstatements or material inconsistencies with the summarised convention as modified for the revaluation of certain investments and in financial statements. The other information comprises only the Finance accordance with the Charities Act, Accounting and Reporting by Charities: Director’s report and Chairman’s note. Statement of Recommended Practice revised 2005, applicable UK Accounting Standards, and the Royal Charter of Incorporation on the basis of a going Basis of opinion concern which assumes that sufficient funds will continue to be forthcoming We conducted our work in accordance with Bulletin 2008/3 “The auditors’ from Arts Council England to enable the Royal Shakespeare Company to statement on the summary financial statement” issued by the Auditing continue as a financially viable concern. Practices Board. Our report on the charity’s full annual financial statements describes the basis of our audit opinion on those financial statements. The full annual accounts were approved on 15 July 2010 and were delivered to the Charity Commission on 30 July 2010. The accounts have been audited Opinion by a qualified auditor, Baker Tilly UK Audit LLP, who gave an audit opinion In our opinion the summarised financial statements are consistent with which was unqualified. the full financial statements and the Trustees’ Annual Report of The Royal Shakespeare Company for the year ended 31 March 2010 and comply with The summarised accounts set out on pages 42 and 43 are the responsibility the recommendations of the charities SORP. of the Board.

We have not considered the effects of any events between the date on which we signed our report on the full annual financial statements (16 July 2010) Sir Christopher Bland and the date of this statement. RSC Chairman of the Board

10 September 2010 Baker Tilly UK Audit LLP Statutory Auditor Chartered Accountants St Philips Point Temple Row Birmingham B2 5AF 10 September 2010

40/41 Consolidated statement of financial activities Consolidated balance sheet of the Corporation

for the year ended 31 March 2010 Operations/ Unrestricted at 31 March 2010 unrestricted designated Restricted Endowment Total funds Total funds 2010 2009 funds funds funds funds 2010 2009 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 Incoming resources Incoming resources from charitable activities Fixed assets Grants receivable 15,590 - - - 15,590 15,181 Tangible fixed assets 76,075 50,734 Income from productions, tours Intangible fixed assets 73 - and theatre operations 8,584 - - - 8,584 10,133 Listed investments 7,741 6,157 Learning and participation income 422 - 621 - 1,043 1,422 Investment in joint venture – Share of assets 3,186 - Incoming resources from generated funds Share of liabilities (186) - Voluntary income Grants receivable - - 24,012 - 24,012 13,645 3,000 - Income from sponsorship and donations 1,775 261 4,405 - 6,441 3,280 Activities for generating funds 86,889 56,891 Trading income from subsidiary 881 - - - 881 1,013 Current assets Licensing of rights 557 - - - 557 461 Stock and work in progress 1,046 1,938 Non-investment property letting - - - - - 177 Debtors 4,427 5,711 Investment income and interest receivable 261 15 43 - 319 821 Investments: Amounts falling due within one year - 600 Total incoming resources 28,070 276 29,081 - 57,427 46,133 Cash at bank and in hand 13,938 12,847

19,411 21,096 Resources expended Creditors: amounts falling due Charitable activities within one year (13,740) (13,539) Productions and theatre operations (26,699) (477) (122) - (27,298) (28,176) Learning and participation expenditure (1,515) - (658) - (2,173) (2,288) Net current assets 5,671 7,557 Redevelopment costs - - (2,321) - (2,321) (2,253) Reorganisation costs - - - - - (75) Total assets less current liabilities Costs of generating funds representing net assets excluding Costs of generating voluntary income (738) - - - (738) (788) pension asset/(liability) 92,560 64,448 Trading expenditure of subsidiary (893) - - - (893) (858) Defined benefit pension scheme asset/(liability) 826 (231) Governance costs (82) - - - (82) (82) Net assets including pension asset/(liability) 93,386 64,217 Total resources expended (29,927) (477) (3,101) - (33,505) (34,520) Endowment funds 4,625 3,692 Net incoming/(outgoing) resources Restricted funds 73,019 49,210 before transfers (1,857) (201) 25,980 - 23,922 11,613 Gross transfers between funds 2,322 130 (2,452) - - - Unrestricted funds General operating fund 5,543 2,102 Defined benefit pension scheme surplus/(deficit) 826 (231) 465 (71) 23,528 - 23,922 11,613 Designated funds 9,373 9,444 Other recognised gains/(losses) Total unrestricted funds 15,742 11,315 Gains/(losses) on investment assets 366 - 281 933 1,580 (1,270) Gains on revaluation of property 3,000 - - - 3,000 - Total funds 93,386 64,217 Actuarial gains/(losses) on defined benefit pension scheme 667 - - - 667 (1,488)

Net movement in funds 4,498 (71) 23,809 933 29,169 8,855 These accounts were approved by the Board on 15 July 2010, authorised for issue and signed on its behalf by: Reconciliation of funds Total funds brought forward 1,871 9,444 49,210 3,692 64,217 55,362 Sir Christopher Bland David Burbidge OBE

Total funds carried forward 6,369 9,373 73,019 4,625 93,386 64,217

42/43 Corporate Members Patrons Circle Gold Brian and Sheila Morris Baker Tilly The Hon Rupert Carington Genevieve Muinzer and Nick Segal Supporting our work Bravissimo Lydia and Manfred Gorvy* Jane Nead Buro Happold Mrs Gillian Nussey MBE Denton Wilde Sapte Patrons Circle Silver Gilbert Omenn and Martha Darling* Drivers Jonas Deloitte David and Elizabeth Acland Margaret and John Pegler Fraikin Limited Arlene Altman* The Porter Foundation RSC International RSC Transforming our GIL Investments Ltd Sir Eric and Lady Anderson Marie Prutton Council Theatres Campaign Honeywell Control Systems Limited Jeffrey Archer Mr Clive Richards OBE Innotech Advisers Limited Jane Attias Mark and Jackie Rowlands In order to raise the profile of the RSC We are immensely grateful for all of the Christine Hands Jaguar Mrs Patricia Baker Sally and Anthony Salz and its transformation internationally, donations we have received in support Michael and Mercedes Hoffman* Lansons Communications Mr and Mrs Lawrence Banks Bob Scott a leading group of artists, philanthropists of the transformation of the Royal The Iliffe Family Charitable Trust Lazard Maggie Best Jon and Noralee Sedmak* and advocates has established the RSC Shakespeare Company’s theatres Laurence Isaacson CBE* Man Group plc Charitable Trust Sandra Eileen Billinge Andrew and Edith Seth International Council. The Company is in Stratford-upon-Avon. Clive Jones and Vikki Heywood NM Rothschild & Sons Ltd Martin Bowley QC Brian Smith delighted to recognise this important The John W Kluge Foundation* Prudential Dr and Mrs Douglas Bridgewater Francesca Stanfill* group. In particular, we would like to thank: The Kresge Foundation Tesco Patricia Burbidge Fiona Stockwell Land Securities UMECO plc Roger Cadbury Mr Michael Thomas QC and Dame Judi Dench DBE Honorary Chair Public funders LJC Fund Geraldine Caulfield Baroness Lydia Dunn Richard Clark Robert and Felicity Waley-Cohen Lady Sainsbury of Turville CBE Chair The National Lottery Nick and Alyssa Lovegrove* Donations and Grants Julian Collins Edgar and Judith Wallner through Arts Council England Jon and Lillian Lovelace* Clore Duffield Foundation Liz Crosoer Marcia Whitaker* Sir Eric and Lady Anderson Advantage West Midlands Doug and Julie McPherson* The Equitable Charitable Trust Mrs Jill Davies-Bonnar Patricia Whitehead Frances Barber Catherine and Kenneth Mountney The Follett Trust Lavinia A Davison Dr John Wollaston Sir Christopher and Lady Bland Private funders Dr Barbara Oldham Sidney E Frank Foundation Felix Dennis Julia Woodhouse Lee C Bollinger Marie Alexander PACCAR Foundation The Gatsby Charitable Foundation Jane Drabble OBE Sue and John Zealley Michael Boyd Jeffrey and Mary Archer The Patrick Trust The Golden Bottle Trust Robyn Durie David and Sandra Burbidge Lord and Lady Bhattacharyya PF Charitable Trust Paul Hamlyn Foundation Victoria Ellison We would also like to thank all of our Michael and Susan Clasper Sir Christopher and Lady Bland Simon and Virginia Robertson The Headley Trust Anne Gardiner Shakespeare’s Circle members for Licia and Michael Crystal Lord and Lady Blyth of Rowington The Rockefeller Foundation* The Drue Heinz Trust* Gill Gimes their ongoing support. Miranda Curtis and Mandy Wilson David and Sandra Burbidge RSC Friends Ndidi Iweanya Peter Gray Sinead Cusack CHK Charities Limited Royal Shakespeare Theatre Trust The Joicey Trust Ros and Alan Haigh Gregory Doran Michael and Susan Clasper The Shubert Organization* The Kovner Foundation RSC America Inc Mike Hammond Mark and Sandy Foster Licia and Michael Crystal Raymond and Phyllis Smith* Northern Rock Foundation Royal Shakespeare Company America is Sarah and Joel Handelman* Tony and Linda Hales Miranda Curtis and Mandy Wilson Stratford-upon-Avon Town Trust PRS for Music Foundation proud to support the Royal Shakespeare Brenda Harding Sir Peter Hall CBE Felix Dennis Peter and Nancy Thompson The Polonsky Foundation Company. United States taxpayers David Harrison MA Charlotte Heber Percy The Eranda Foundation Constance Travis Charitable Trust RSC Friends interested in supporting the unique work Rosalind and Alan Hearne Vikki Heywood Jane and Howard Epstein* Twenty-Ninth May 1961 Charitable Trust Stratford-upon-Avon Town Trust of the RSC may contribute to Royal Mrs Drue Heinz DBE* Michael and Mercedes Hoffman* Allan and Nesta Ferguson Charitable Trust Sir Siegmund Warburg's Voluntary The Trusthouse Charitable Foundation Shakespeare Company America, a tax- John Hemingway and Robyn Oliver The Rt Hon Lord and Lady Iliffe Fidelity UK Foundation Settlement exempt, 501(c)(3) designated organisation. Lady Heseltine Laurence Isaacson CBE* Mark and Sandy Foster Garfield Weston Foundation In memory of Valerie Travis Contributions to RSC America by US Leonard Hoffmann Sir Derek Jacobi CBE The Foundation for Sports and the Arts Mary Weston CBE taxpayers are tax-deductible to the extent Mr and Mrs Philip Holland John and Tussi Kluge* The Foyle Foundation Leslie and Abigail Wexner* permitted by law. Bruce and Suzie Kovner* The Gatsby Charitable Foundation The Wolfson Foundation Supporters Ensemble Jean Hooper Nick and Alyssa Lovegrove Tony and Linda Hales Sir Robert and Lady Horton For further information Jon and Lillian Lovelace* Artists Circle Mary Hunt MA (Oxon) Telephone: 00 1 212-247-1705 Sir Ian McKellen CBE Lady Alexander of Weedon Matthew and Severa Hurlock (International Call) Doug and Julie McPherson* The Anson Charitable Trust Elizabeth and Andrew Jeffreys [email protected] Neil and Ann Benson Sir Brian Jenkins GBE Alexander Patrick DL and Christopher Seton Abele President Sir Christopher and Lady Bland James Joll Valerie Patrick The Annual Fund 2009/10 Nick Lovegrove David and Sandra Burbidge Professor Joel Kaplan and Mark Pigott OBE* Dana G Mead Sir Ronald Cohen and Ms Sharon Harel Sheila Stowell* Ian Ritchie CBE RA and After ticket sales and financial support We would like to thank everyone who Laurence Isaacson CBE Licia and Michael Crystal Olivia Kew-Fickus and Joseph Fickus Jocelyne van den Bossche from Arts Council England, our most has donated to the RSC in 2009/10 Dr Henry A McKinnell Irving David Sue Knox Royal Shakespeare Theatre Trust significant source of income is through including all of our donors who wish Dr Douglas McPherson Mark and Sandy Foster Mark Krueger Charitable Trust* Sir Antony Sher KBE grants and donations. Individuals, trusts to remain anonymous. Mark Pigott OBE Tony and Linda Hales Sir Eddie Kulukundis OBE Jonathan Slinger and companies have all helped to develop Lady Sainsbury of Turville CBE Chairman Raymond and Phyllis Smith* pieces of new work, train artists in our William and Kate Hobhouse David Lanch Sir Patrick Stewart OBE Ensembles and introduce young people Corporate Partners Michael and Mercedes Hoffman* The Limoges Trust Stratford-upon-Avon Town Trust throughout the country to the work of Laurence Isaacson CBE* Sir Timothy and Lady Lloyd Partnerships David Suchet OBE Shakespeare and live theatre. In short, Accenture - Global High Performance Ian and Caroline Laing James and Béatrice Lupton The Ohio State University - a three year Peter and Nancy Thompson they have all contributed to the work that Business Partner Nick and Alyssa Lovegrove Juliette and Miles Macnair education partnership which uses the tenets of Stand Mary Weston CBE makes the RSC one of the foremost theatre Since 2003, Accenture are pleased to have been Dina and Stephen Lucas Jacqueline B Mars* up for Shakespeare, our manifesto for Shakespeare involved in a unique relationship with the RSC, which Leslie and Abigail Wexner* companies in the world. Doug and Julie McPherson* Mike and Jill Mata in schools, to raise the aspirations, achievements and includes financial support from Accenture as well as Michael and Jilli Priest Sharon McCullough consulting services to help the RSC achieve higher literacy of children and young people across Ohio. In memory of the late Elnora Ferguson, For information on how to support performance as a business, to complement its A Rosemary Said Mr and Mrs Brian McGowan founding member of the International the work of the RSC visit unparalleled artistic success. Lady Sainsbury of Turville CBE Hilary McGowan University of Warwick - an ongoing education Council. www.rsc.org.uk/join-us Peter and Nancy Thompson Michael and Sheila Mills partnership through which we deliver postgraduate Mary Weston CBE Barbara Minto courses for teachers and RSC ensemble actors.

*Supporters of RSC America Inc 44/45 Year in performance

The Winter’s Tale The Comedy of by William Shakespeare Errors New Production (Young People’s Shakespeare) FIRST PERFORMANCE by William Shakespeare The Courtyard Theatre Edited by Gary Owen 31 March 2009 In association with 54 performances Told by an Idiot As You Like It Theatre Royal by William Shakespeare FIRST PERFORMANCE Newcastle upon Tyne New Production The Courtyard Theatre 27 October 2009 25 June 2009 7 performances FIRST PERFORMANCE 5 performances (public) The Courtyard Theatre 12 performances (schools) DIRECTED BY David Farr 18 April 2009 DESIGNED BY Jon Bausor 60 performances Theatre Royal The Grain Store LIGHTING DESIGNED BY Jon Clark Newcastle upon Tyne by Natal’ia Vorozbhit MUSIC BY Keith Clouston Theatre Royal 7 November 2009 Translated by Sasha Dugdale SOUND DESIGNED BY Martin Slavin Newcastle upon Tyne 1 performances (public) New Production CHOREOGRAPHY BY Arthur Pita 20 October 2009 5 performances (schools) DIRECTOR OF PUPPETRY Steve Tiplady 7 performances FIRST PERFORMANCE AERIAL CONSULTANT Lyndall Merry DIRECTED BY Paul Hunter The Courtyard Theatre PRODUCTION PHOTOS BY DIRECTED BY Michael Boyd Julius Caesar DESIGNED BY Michael Vale 10 September 2009 Alessandro Evangelista DESIGNED BY Tom Piper by William Shakespeare MUSIC BY Iain Johnstone 10 performances LIGHTING DESIGNED BY Wolfgang Göbbel New Production ASSOCIATE DIRECTOR MUSIC BY John Woolf Hayley Carmichael DIRECTED BY Michael Boyd SOUND DESIGNED BY Andrew Franks FIRST PERFORMANCE PRODUCTION PHOTOS BY Ellie Kurttz DESIGNED BY Tom Piper CHOREOGRAPHY AND MOVEMENT BY The Courtyard Theatre LIGHTING DESIGNED BY Struan Leslie 15 May 2009 Oliver Fenwick FIGHTS BY Terry King 45 performances MUSIC BY John Woolf PRODUCTION PHOTOS BY Ellie Kurttz SOUND DESIGNED BY Nick Powell Theatre Royal MOVEMENT BY Anna Morrissey The Drunks Newcastle upon Tyne FIGHTS BY Terry King by Mikhail and Vyacheslav Durnenkov 3 November 2009 PRODUCTION PHOTOS BY Stewart Hemley Translated by Nina Raine 7 performances and Ellie Kurttz New Production

FIRST PERFORMANCE DIRECTED BY Lucy Bailey The Courtyard Theatre SET AND VIDEO DESIGNED BY William Dudley 21 August 2009 COSTUMES DESIGNED BY Fotini Dimou 10 performances LIGHTING DESIGNED BY Oliver Fenwick MOVEMENT BY Sarah Dowling DIRECTED BY Anthony Neilson MUSIC BY Django Bates DESIGNED BY Tom Piper SOUND DESIGNED BY Fergus O’Hare LIGHTING DESIGNED BY Oliver Fenwick ASSOCIATE DESIGNER Nathalie Maury MUSIC AND SOUND BY Nick Powell FIGHTS BY Philip d’Orléans MOVEMENT BY Anna Morrissey VIDEO SYSTEM DESIGNED BY Alan Cox FIGHTS BY Terry King VIDEO PRODUCTION BY Tim Baxter PRODUCTION PHOTOS BY Ellie Kurttz PRODUCTION PHOTOS BY Ellie Kurttz

46/47 Year in performance

Dunsinane by David Greig New Production

FIRST PERFORMANCE Twelfth Night A Tender Thing Hampstead Theatre by William Shakespeare by Ben Power 10 February 2010 New Production New Production 27 performances The Gods Weep FIRST PERFORMANCE FIRST PERFORMANCE DIRECTED BY Roxana Silbert by Dennis Kelly The Courtyard Theatre Northern Stage DESIGNED BY Robert Innes Hopkins New Production 15 October 2009 Newcastle upon Tyne LIGHTING DESIGNED BY Chahine Yavroyan 43 performances 29 October 2009 MUSIC AND SOUND BY Nick Powell FIRST PERFORMANCE 12 performances MOVEMENT BY Anna Morrissey Hampstead Theatre Duke of York’s Theatre FIGHTS BY Terry King 12 March 2010 London DIRECTED BY Helena Kaut-Howson PRODUCTION PHOTOS BY Simon Annand 26 performances 19 December 2009 DESIGNED BY Neil Murray 78 performances LIGHTING DESIGNED BY Vince Herbert DIRECTED BY Maria Aberg Days of Significance (Tour) MUSIC BY John Woolf DESIGNED BY Naomi Dawson DIRECTED BY Gregory Doran by Roy Williams VIDEO DESIGNED BY Jacques Collin LIGHTING DESIGNED BY David Holmes DESIGNED BY Robert Jones SOUND DESIGNED BY Mike Compton SOUND DESIGNED BY Carolyn Downing LIGHTING DESIGNED BY Tim Mitchell Northern Stage MOVEMENT BY Lucy Cullingford VIDEO AND PROJECTION BY Ian William MUSIC BY Paul Englishby Newcastle upon Tyne PRODUCTION PHOTOS BY Keith Pattison King Lear Galloway and Finn Ross for Mesmer SOUND DESIGNED BY Martin Slavin 21 October 2009 by William Shakespeare MOVEMENT BY Ayse Tashkiran MOVEMENT BY Struan Leslie 5 performances New Production FIGHTS BY Malcolm Ranson FIGHTS BY Terry King PRODUCTION PHOTOS BY Keith Pattison PRODUCTION PHOTOS BY Ellie Kurttz Oxford Playhouse Arabian Nights FIRST PERFORMANCE 27 October 2009 Adapted by Dominic Cooke The Courtyard Theatre 7 performances New Production 18 February 2010 47 performances Belgrade Theatre FIRST PERFORMANCE Coventry The Courtyard Theatre Hamlet DIRECTED BY David Farr Romeo and Juliet 3 November 2009 5 December 2009 (Young People’s Shakespeare) DESIGNED BY Jon Bausor by William Shakespeare 7 performances 63 performances by William Shakespeare LIGHTING DESIGNED BY Jon Clark New Production Edited by Bijan Sheibani and MUSIC BY Keith Clouston The Lighthouse DIRECTED BY Dominic Cooke Tarell Alvin McCraney SOUND DESIGNED BY Christopher Shutt FIRST PERFORMANCE Poole DESIGNED BY Georgia McGuinness MOVEMENT BY Ann Yee The Courtyard Theatre 10 November 2009 LIGHTING DESIGNED BY Hugh Vanstone FIRST PERFORMANCE FIGHTS BY Kate Waters 12 March 2010 7 performances MUSIC BY Gary Yershon Preston Park Primary School PRODUCTION PHOTOS BY Manuel Harlan 48 performances SOUND DESIGNED BY Paul Arditti Wembley Sherman Theatre MOVEMENT BY Liz Ranken 18 January 2010 DIRECTED BY Rupert Goold Cardiff ILLUSION BY Paul Kieve 10 performances (schools) DESIGNED BY Tom Scutt 17 November 2009 DIRECTOR OF PUPPETRY Michael Fowkes LIGHTING DESIGNED BY Howard Harrison 7 performances PRODUCTION PHOTOS BY Keith Pattison DIRECTED BY Tarell Alvin McCraney MUSIC AND SOUND BY Adam Cork DESIGNED BY Jean Chan VIDEO AND PROJECTION BY Lorna Heavey The Lowry ASSOCIATE DIRECTOR Michael Fentiman CHOREOGRAPHY BY Georgina Lamb Salford Quays ASSOCIATE DESIGNER Tom Piper FIGHTS BY Terry King 24 November 2009 FIGHTS BY Terry King PRODUCTION PHOTOS BY Ellie Kurttz 7 performances PRODUCTION PHOTOS BY Hugo Glendinning

DIRECTED BY Maria Aberg DESIGNED BY Lizzie Clachan LIGHTING DESIGNED BY David Holmes SOUND DESIGNED BY Carolyn Dowing MOVEMENT BY Ayse Tashkiran FIGHTS BY Malcolm Ranson PRODUCTION PHOTOS BY Keith Pattison 48/49 Acting companies The Gods Weep James Howard Neal Barry Kathryn Hunter Babou Ceesay Kelly Hunter Sam Hazeldine Ansu Kabia Arabian Nights Jeremy Irons Tunji Kasim Nathalie Armin Luke Norris Ensemble 2009-11 Richard Katz Paul Bhattacharjee Jonathan Slinger As You Like It Debbie Korley Silas Carson Laurence Spellman The Comedy of Errors (YPS) John Mackay Daniel Cerqueira Days of Significance John Stahl The Drunks Forbes Masson Natalie Dew Venetia Campbell Matthew Wilson The Grain Store Sandy Neilson Ayesha Dharker Lu Corfield Dunsinane Nikki Amuka-Bird Hamlet (YPS) Jonjo O’Neill Marcus Fernando Danny Dalton Michael Amaning Karen Archer Julius Caesar Dharmesh Patel Kiran Landa Jason Deer Jacob Anderson Joanna Horton King Lear Peter Peverley Jane Leaney Sandy Foster Martin Bassindale Sally Orrock Romeo and Juliet Patrick Romer Kevork Malikyan Sheryl Gannaway Joshua Campbell Helen Schlesinger A Tender Thing David Rubin Adura Onashile Simon Harrison Benjamin Cawley The Winter’s Tale Sophie Russell Chetna Pandya Scott Hazell Kassidy Chaplin Charles Aitken Oliver Ryan Chris Ryman Steven Helliwell Brian Ferguson Joseph Arkley Simone Saunders Amit Shah Joanna Horton Rasfan Haval Twelfth Night Adam Burton Peter Shorey Nav Sidhu David Kennedy Lisa Hogg Ian Abeysekera David Carr Clarence Smith Simon Trinder Luke Norris Jeremy Irvine Sam Alexander Brian Doherty Katy Stephens Harvey Virdi George Rainsford Joshua Jenkins Nancy Carroll Darrell D’Silva James Traherne Rene Zagger Sarah Ridgeway Malachi Kirby Laurence Dobiesz Noma Dumezweni Sam Troughton Mark Theodore Christian Kyriacou James Fleet Dyfan Dwyfor James Tucker Toby Wharton Alex Mann Alan Francis Phillip Edgerley Larrington Walker Tony McGeever Alexandra Gilbreath Christine Entwisle Kirsty Woodward Mairi Morrison Tony Jayawardena Geoffrey Freshwater Hannah Young Hauk Pattison Richard McCabe James Gale Samantha Young Jonny Phillips Simeon Moore Mariah Gale Siobhan Redmond Pamela Nomvete Gruffudd Glyn Daniel Rose Demi Oyediran Paul Hamilton Tom Ross-Williams Prasanna Puwanarajah Greg Hicks Jay Sentrosi Jo Stone-Fewings Ewan Stewart Ashley Taylor-Rhys Sam Swann Maya Wasowicz Richard Wilson Miltos Yerolemou 50/51 Drawing Office Estates Adam Roberts Literary Department Nursery Sales and Ticketing Paul HadlandScenic Alan Bartlett Sue Allen Health and Safety Réjane Collard Laura Cameron Technical Manager Patricia BoycottSales Workshop Manager The Company Head of Construction Nancy Cooper Assistant Literary Assistant Nursery Assistant Peter Griffin Manager (Productions) James Hicks and Technical Design Denise Hagon Jo Young Pippa Hill Victoria Alcock Rebecca Watts Yolanda Cross Brian Robbins Chapel Lane Reception Technical/Health and Literary Manager Kate Clifford Production Managers Christine Elliott Deputy Scenic Managers Advisory Director’s Head Nicholas Bell Ben Waters Julian Cree Officers (Evening) Safety Training Tarell Alvin McCraney Ewelina Figlewska Geoff Locker Emma Fleming Roger South Office of Mens Costume David Harris Management Nanezda Cirule Co-ordinator RSC/CAPITAL Centre Dawn Francis Technical Director Susan Gardner Storeman John Barton CBE Charlotte Hobbs Design Engineers DirectorAccountants of Finance Ann Kelly Elizabeth Knowlton Elizabeth Nicholson Elizabeth Gill Advisory Director First Dye Technician David Jones Sarahand Administration Hedgecock International Playwright John Speakman Postal Assistants Human Resources in Residence Nicola Lambourn PA to Technical Director Norma Henderson Scenic Assistant Sarah Brocklehurst Elizabeth Clifford EstherEmma HunterHarrup Charles MacCall MikeInternal White AuditorFinancial Pat Collcutt James Pavitt David Tanqueray Margaret Jackson Lisa Cowley First Costumier (Ladies) Andrew Parker Libby Alexander Jeanie O’Hare Gary WrightInterim PA to the Advisory Senior Draughtspeople Services Manager June Prickett Assistant Production David Mears Alison Hannabus Natalie Kurzcewski Access Manager Training and Company Dramaturg Logistics Manager Director Brett Weatherhead Andrew Woodward Delphine Saul Manager Chris Morgan David Hannabus Grug Davies Development Manager Principal mens cutter Draughtsperson Accounts Services Yolanda Wassersug Alun Thomas Staff Maria Mottram Robert Holloway Estates Director Rachel Barnes London Operations Sound Artistic and Associate Yvette Manhood Martyn Wood Manager Scheduling Co-ordinator Elizabeth Rawlinson Yvonne Hudman Suzanne Harris HR Administrator Carl Allen Nursery Practitioners Andrew Franks Director’s Office First costumier (Mens) Project Draughtsperson Ellen Reade Rosemary Payne Adele Cope Wendy Turnstill Christine Green Craig Garratt Michael Boyd Alistair McArthur Gary Wright Properties Manager Front of House Jane Trotman Ilona Rutko Director of Human Jonathan Ruddick Artistic Director Head of Costume Interim Logistics Suzanne Jones PA to James Allen Clapham Caretakers Deputy Head of Nursery Project Office Marilyn Walton Chris Vernon Amanda Carroll CleanersMary Smart Zarah Meherali Manager the Director of Estates Annette Ashfield Resources Lauren Rubery Yvonne Robbins Belinda Aird Bill Taylor Lucy Gregory Claire Windsor Assistant to the Barry Maguire Assistant Costume Sally Luntley Toby Barnett London Administration Deputy Head of Nursery Linda Ranford Sales Operators Mark Usher Associates David Rowland Supervisor Duty Managers Gemma Vowles Margaret Bidgood Training and Assistant Kate Robinson Harry Teale Esther Gillman First Sound Technicians Graham Wright Project Co-ordinators Gregory Doran Michael Truscott Elaine MooreHead of Nicky Cox Chapel Lane Reception Hege Bleidvin- Development Assistant Head of Nursery Finance Assistant Mike Compton Simon Harper Chief Associate Director Porters Hats and Jewellery Suzanne Harris Officers (Daytime) Sandaker Jessica Harris Maintenance Bobbie Schofield Kim Goodman Sales Martin Slavin Deputy Project Director David Farr Julian Lines Alan Smith James Kitto Christopher Oliver Kathleen Bradley Assistant HR Manager Clive Bardell Nursery Administrator Manager (Operations) Senior Sound Technicians Katie Martin Rupert Goold Team Leader Senior Leatherworker Sheelagh Saunders Fire Officer Hayley Burgess Gavin Horsfall Maintenance Painter Steve Haworth Head of Jeremy Dunn Jocelyn Carter Project Office Manager Sales and Ticketing Deborah Shaw Gerald Wheeldon Jessica SmithFirst Audrey Spencer Training and and Decorator Press and Head of Sound Lucy Chandler Flip Tanner Pauline Humphrey Roxana Silbert Senior Porter Footwear Technician Education Estates Administrator Development Officer Steve Cross Communications Lorraine Deller Technical Projects Dolores Manteiga Associate Directors Margaret Wakelin Fiona Clayton Paul Tursner-Upcott Darrell Mitchell Maintenance Assistant Dean AskerPress and Stage Ellen Frost Co-ordinator Defente Commercial Senior Milliner Project Manager, HR Manager Bill Rostron Communications Matt Aston Kathryn Hunter Senior Fire Officer Susan Harris Peter Wilson Kerry-Sue Peplow Education Partnerships Elizabeth Nicholson Maintenance Manager Officer Tom Horton Artistic Associate Sara Aspley Director of Veronika Weidenhiller Yvonne Harris Project Director Rob Elkington PA to HR Director Lucy Billiard Sales Operators (Support) Steve Keeley Anthony Neilson Commercial Services Stock Keeper/Buyer Events and Ann Kelly Head of Education Shirley Prenton-Jones Marketing Communications Gerry MartinSales Tom Mellon Literary Associate Chris Hill Director of Exhibitions Ben Luntley Partnerships Occupational Health Amy Clarke Assistant Property Workshop Manager (Systems) Simon Packer Tom Piper Sales and Marketing Costume Hire Geraldine Collinge Hilary Lynch Rob Freeman Advisor Marketing Officer Clea Boorman Maggie Atkins Loraine Mitchell Grant Skidmore Associate Designer Julia Lister Charlene Land Director of Events and Carol Morris Administrator, Young Malcolm Brain Kevin Wimperis Helen Pollock Assistant to Director of Costume Hire Exhibitions Alan Robson (Corporate) Web Editor Membership Assistant People’s Programme IT David Collins Kathleen Bradley Carl Taylor Sally Nortcliffe Stage Technicians Assistant to the Commercial Services Administrator Nicky Cox Dennis Southall Darren Guy Nicole Gallagher Robin Astle Head of Marketing Communications Mel West Membership Secretary Associate Director and Director of Sales Julia Drummond-Haig Events Assistant Mary Taylor Specialised Senior Database Developer Natasha Goodge Assistant Prop Technicians Samantha Thompson- Jane Tassell and Marketing Rosie Miller E-learning Developer David Howells Fiona Tursner-Upcott Technician Debby Bailey Marketing Officer Jane Ellis John Evans Taylor Administration Assistant to the Stephanie Smith Virginia Grainger Curator of RSC Susan Whatmore Mark Collins Artistic Director Company and Stage Anna Taylor Lead Practitioner Collection and Archive Linda Wimperis Administrator (Productions) Communications Head of Property Assistant Alistair Pitts Management Costume Hire Sonia Hyams Project Helen Pollock Wayne Evans Elin Joseph Manager Workshop Tom Watts Assistant Directors Michael Dembowicz Assistants Manager London, Young Assistant to Director of Ushers Systems Manager Assistant Marketing Fiona Handscomb Sharon Foley Scenic Art Senior Stage Technicians Justin Audibert Jondon Alison Mitchell People’s Programme Events and Exhibitions Laura Benson Lee Fear Officer (Corporate) Assistant Digital Media Props Supervisor Rebecca Ashley Roger Haymes Michael Fentiman Company Managers Head of Costume Hire Fiona Ingram Caroline Ray Front of House Systems Developer Jo LittMarketing Producer Rufus McDermot Head of Scenic Art Stage Supervisor Philippa Harland Helen Leblique Suzanne Bourke Head of Young People’s Curatorial Assistant Co-ordinator Jacqui Hamp Manager (Corporate) Assistant Prop Stephanie Kinsella Vik Sivalingam Robbie Cullen Design Programme Nicola Salmon Holly Clarke Support Services Anna Mitchelson Head of Press Technician Assistant Scenic Artist Pip Horobin Lily Arnold Tracy Irish Events and Exhibitions Audience Care and Manager Marketing Manager Anna McNeil Christopher Simmonds Paul Riddle Stage Door Automation Stage Managers Helena O’Nions Project Manager, Assistant Tours Administrator Ruth HarrisTessitura (Productions) Communications Property Workshop Paintshop Apprentice Sue Allen Education Partnerships Adam Harvey Alison Daniels Trainee Designers Rosalyn Smith Claire-Louise Cairns Co-ordinator and Rebecca Rimmer Officer, Transformation Apprentice Joe Vassallo Patricia Carnell Sarah Keevill Head of Automation Gabrielle Sanders Curatorial Assistant Roy Holton Development Manager Marketing Assistant Lucien Riviere Scenic Artist Pat Evans Ian Kilpatrick Juliette Taylor Development Assistant to the Maternity cover David Wimperis Alex Kirkwood PA to Director of Retail Alice WatkinsActing Denise Hagon Sandra Holt Matt Malone Deputy Stage Managers Helen Cave Events Director of Education Jo Whitford Attendants Web Developer Market Planning Communications Lynne Dunningham Head of Scenic Art Christie Gerrard Shirley Penderell- Richard Sharp and Stewardship Jamie Luck Events and Exhibitions James Kitto John Mills Mary Butlin Liz Thompson Jennifer Farmer Amy Griffin Goodricke Automation Technicians Manager Creative Associate Co-ordinator Front of House Manager Paul Willett Head of Market Director of Shops Sales Assistants Scenic Engineering Assistant Stage Managers Stage Door Keepers Matthew Collins Jacqueline O’Hanlon It Support Specialists Planning Communications Biddy Carter Lee Crompton Ben Leefe Elizabeth Wainwright Michael Truscott Development and Chris O’Brien Gill RyanMarket Alex Turner Shops Senior Supervisor Phil Malins Daniel McDonald Director of Education Executive Director’s Head of Theatre Nightwatch Officer Haydn Wright Costume Planning Officer Sheila O’Sullivan Office Operations Head of Information Planning Officer Press and Marketing Jon Chandler Jacob Robbins Senior Automation Delfina Angiolini Michele Cottiss Administrator, Vikki Heywood Technology Assistant Stores Senior Supervisor Martin Robinson Technicians Temporary Costume Development Education Partnerships Executive Director Gardener Matthew Reading Movement Suzanne Worthington Sheila Day Scenic Engineers Text and Voice Richard SmithActing Dept Administrator Co-ordinator Lisa Spink Lyndon Jones Robert Holt Network Manager Lucy Cullingford Digital Media Producer Gwen Rogers Daren Ainsworth Cicely BerryDirector Head of Automation Rosie Armitage Joe Foulsham Project Manager, Young Assistant to the Head Gardener Movement Practitioner Nada Zakula Senior Sales Assistants Kevin Neville of Text and Voice Senior Gillian Stephenson First Assistant Mens Individual Giving People’s Programme Executive Director and Legal Jane Hazell Press Officer Pippa Green Ian Rhind Alison Bomber Senior Senior Automation Maternity cover Manager Melanie Whitehead the Finance Director Graphic Design Caroline Barnett Manager, Movement Merchandiser Senior Engineers Text and Voice Coach Programmer Helen Baines Julie HarrisAnnual Department Manager Michele Percy Clare Booth General Counsel Struan Leslie Producers Sarah Holt Lewis Pierpoint Michael Corridge Head of Dye Fund Co-ordinator Executive Assistant and Graphic Designer Emma Welch Head of Movement Jeremy Adams Mail Order Senior Jacob Robbins Voice Placement Casting Jenny Cowgill Skilled Dye Caroline Jones Engineering Clerk to the Governors Matthew Boss PA to General Counsel Kevin Fitzmaurice Supervisor Assistant Engineers Lyn DarnleyHead of Jim Arnold Technician Maternity cover Director of Services Artworker Music Producers Sarah Lovsey Tobias Robbins Text, Voice and Artist Casting Assistant Sarah Collins Development Simon Bowler Finance Annette Bowery Lighting Kate Andrew Rachael Barber Retail Development Deputy Scenic Development Hannah Miller Helen Davenport Catherine Kernot Head of Engineering Anna Anderson Digital Graphic Designer Caroline Burrell Music Manager Touring Administrator Manager Engineering Manager Jane Hazell Manager Head of Casting Deborah Jaunai-Recardo Senior Major Gifts Services Head of Finance Gina Print Keith Cookson Sarah Balls Francesca Storry David Tinson Scenic Text, Voice and Artist Helena Palmer Skilled costumiers Manager Mark Farmer Transformation Project Print Buyer and Simon Spencer Music Assistant Assistant to the Running Wardrobe Engineering Manager Development Casting Director (Ladies) Kate Lawton Maintenance Electrician Ron Codrington Graphics Co-ordinator Special Senior Lighting David Gallagher Producers Joy Ashford Gareth Collins Janine Snape Ivan Douglas Research Officer Tim Oliver Pensions and Graham Rolfe Technicians Music Manager Keiko Spencer Scenic Workshop Wigs and Make-Up Zoe Donegan Assistant Casting Costume Department Hamble Padden Administrative Assistant Insurance Officer Senior Graphic Designer Jake Brain Maternity cover Relief Dressers Richard Brain Kimberley Boyce Director Administrator Trusts Manager Richard Power Linda Lloyd Andy Williams Kevin Carson James Jones Assistant Producers Jennifer Binns Julian Crang Kirsten Job Denise Edwards Kirstin Peltonen Senior Maintenance Bev Milne Head of Graphic Design jason Hackett Nicholas Lee Victoria Picken Deputy Wardrobe David Dewhurst Assistant Wig and Catering Acting Head of Ladies Head of Annual Fund Electrician Joyce Natzler Tim Owen Kevin Pitt Rachel Wall Mistress David Watson Make-Up Artists Matthew Peel Ian Reynolds Rob Friedrickson Rebecca Edwards Lauren Pidgeon Martin SimmsElectrical Theresa York Green Room Planning Co-ordinators Carolyn Daniels Senior Scenic Lavinia Blackwell David Richardson David Statham Mardi Widdowson Head of Catering Senior Dye Technician Campaign Co-ordinator Test Technician Accounts Services Sarah Furniss Wardrobe Mistress Carpenters Sindy Cooper Andrew Stone Fewings Assistant to the Lead Sophie Brassington Andrew Rye Officers Carole Sambrook-Hurst First Lighting Technicians Michelle Davies Andrew Clark Fiona Keston Producer Chaperone Susie England Major Gifts Officer Enterprise Adrian Gelston Veronica Treharne Lauren Watson Musicians Yvonne Gilbert Matthew Jacques Wig and Make-Up Denise Wood Jenny Wilson Hannah McDermott Louise Turner Lucy Barriball Payroll Officer Catering Assistants Lighting Technician Bruce O’Neil Michael Nolan Ross Kitching Artists Benjamin Morris Ruth Wade Research Manager Enterprise Assistant Irina Gorbunowa Sylvia Hall Tim Baxter Music Director Lead Producer Linda Williams Charlotte Griffiths Gavin Reeves Honorary Chaplain Skilled Costumiers (Mens) Angela Vellender Michelle Morton Senior Management Green Room Supervisor Maxwell White Richard Sandland Dressers Rachel Seal Revd Martin Gorick Sarah Plowright Corporate Partnerships Programme Accountant Ruth Treharne Creative and Visual Music Co-ordinator Production Office Josie Horton Carpenters Senior Wig and First Milliner Manager Co-ordinator Becky Harris Catering Manager Media Technicians John Woolf Simon Ash Assostant Wardrobe Paul Collins Make-Up Artists Simon Bayliss Cleaners and Porters Julian GilbertHead of Graeme Williamson Kevin Wright Payroll Manager Head of Music Mark Graham Mistress Assistant Machinist Sandra SmithWig and Paula Adlem Footwear and Armoury Deputy Development Commercial Manager Anthea Dauncey Health and Safety Assistant Head Senior Production Keith Lovell Will Fagan Make-Up Department David Allcock Brenda Gollnast Director Chris Harris Gail Miller of Lighting Managers Wardrobe Support Sam Reynolds Supervisor Rod Barnet Jane Rogalski Doreen Massey Health and Safety Vince Herbert Peter Bailey Scenic Workshop Nanezda Cirule Senior Costumiers (Mens) Beth Payne Advisor Head of RSC Lighting Deputy Technical Director Apprentices 52/53 Corporate governance Associate artists Advisors

Patron Audit Committee Paul Morrell OBE Associate Artists Honorary Associate Auditors Her Majesty The Queen John Hornby Chairman David Oyelowo Roger Allam Artists Baker Tilly UK Audit LLP Neil Benson OBE FCA Charlotte Heber Percy Alun Armstrong Bill Alexander St Philips Point President David Burbidge OBE Tim Pigott-Smith Desmond Barrit Michael Attenborough Temple Row His Royal Highness Robert Clarke FCA Neil Rami David Bradley John Barton CBE Birmingham The Prince of Wales Sharmila Nebhrajani Ian Ritchie CBE RA David Calder Cicely Berry CBE B2 5AF David Wolffe Lisa Houghton Reade John Carlisle David Brierley CBE Deputy President Rosemary Said Brian Cox Peter Brook CBE Bankers Sir Geoffrey Cass Project Committee Wafic Said Sinead Cusack John Caird Barclays Bank plc Lady Sainsbury of Turville CBE Lady Sainsbury of Turville CBE Penny Downie Bob Crowley Charities Team Chairman of the Board Chairman Brockman Seawell Julian Glover Ron Daniels Floor 28 Sir Christopher Bland Sir Christopher Bland David Suchet OBE Mike Gwilym Howard Davies 1 Churchill Place Michael Boyd Meera Syal MBE Sir Derek Jacobi Dame Judi Dench DBE London E14 5HP Deputy Chairman Sir Geoffrey Cass Michael Wood Alex Jennings Chris Dyer Lady Sainsbury of Turville CBE Vikki Heywood Estelle Kohler David Edgar Investment Management Jonathan S Lane FRICS Honorary Emeritus Barbara Leigh-Hunt Sir Peter Hall CBE BlackRock Investment Board of Governors Ian Laing CBE Governors Anton Lesser Terry Hands CBE Management (UK) Limited Sir Christopher Bland Paul Morrell OBE Lady Anderson Richard McCabe Sir Ian Holm CBE 33 King William Street Professor Jonathan Bate CBE Ian Ritchie CBE RA Charles Flower Peter McEnery Alan Howard CBE London EC4R 9AS Michael Boyd Drue Heinz DBE Joe Melia Barrie Ingham Schroder & Co. Limited David Burbidge OBE Governors Frederick R Koch Katie Mitchell OBE Richard Johnson 31 Gresham Street Jane Drabble OBE George Alagiah OBE Leonard Mathews OBE Gerard Murphy Sir Ben Kingsley London EC2V 7QA Damon Buffini Yasmin Alibhai-Brown Professor Stanley Wells CBE Joanne Pearce Ralph Koltai CBE Noma Dumezweni Professor Jonathan Bate CBE Honorary Governors Roger Rees Barry Kyle Barclays Wealth Mark Foster Jana Bennett Robert Anthoine Simon Russell Beale Jane Lapotaire 1 Churchill Place Gilla Harris Malorie Blackman OBE Philip Bermingham Mark Rylance Dame Helen Mirren DBE London E14 5HP Vikki Heywood Sir Christopher Bland Chairman Michael Crystal QC Sir Antony Sher Christopher Morley John Hornby Lee C Bollinger Tony Hales CBE Juliet Stevenson John Napier Solicitors Jonathan Kestenbaum Michael Boyd Martin Iredale Malcolm Storry Richard Nelson Bates Wells & Braithwaite Paul Morrell OBE Damon Buffini Stephen Pratt David Suchet OBE Adrian Noble London LLP Tim Pigott-Smith David Burbidge OBE Roger Pringle David Troughton Sir Trevor Nunn CBE 2-6 Cannon Street Neil Rami Lord Carter of Barnes CBE Ian Rushton Philip Voss Timothy O’Brien London EC4M 6YH Lady Sainsbury of Turville CBE Sir Geoffrey Cass Telfer Saywell Harriet Walter Richard Pasco CBE Foot Anstey Sinead Cusack Donald R Seawell Sir Donald Sinden CBE 21 Derry’s Cross Nominations Committee Elizabeth Dixon Derek Webster Associate Producer Sir Patrick Stewart OBE Plymouth PL1 2SW Gilla Harris Chairman Jane Drabble OBE Mary Weston CBE Thelma Holt CBE Janet Suzman Yasmin Alibhai-Brown Noma Dumezweni Lord Willoughby de Broke David Warner Linklaters LLP Sir Christopher Bland Sir Brian Follett The Town Mayor Peter Whelan One Silk Street Michael Boyd Mark Foster The Chairman, Stratford on John Wood CBE London EC2Y 8HQ Lord Carter of Barnes CBE Gilla Harris Avon District Council Guy Woolfenden OBE Pinsent Masons LLP Sir Geoffrey Cass Vikki Heywood Director, The Shakespeare 3 Colmore Circus Jane Drabble OBE John Hornby Institute Birmingham B4 6BH Vikki Heywood Laurence Isaacson CBE Director, The Shakespeare Lady Sainsbury of Turville CBE Jonathan Kestenbaum Birthplace Trust Wragge & Co LLP Ian Laing CBE Honorary Life Governor 55 Colmore Row Sir Michael Lyons Sir William Dugdale Bt CBE Birmingham B3 2AS 54/55 Constitution 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 United Kingdom 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: KeithPattison The Report and Accounts comply with current statutory requirements, the requirements of the Statement of Recommended Practice “Accounting and Reporting by Charities”

Design from The Drawing Room www.drawingroom.uk.com Room The Drawing from Design (SORP 2005) and of the Royal Charter.

The cast of Arabian Nights