A Theatre for the Future in Stratford-Upon-Avon

Home , Anton Lesser, Barrie Rutter, Bertie Carvel, David Warner (actor), Dyfan Dwyfor, Jane Lapotaire

Photo: Peter Cook Peter Photo:

135th REPORT OF THE BOARD

To be submitted to the Annual General Activities and the Balance Sheet of the Meeting of the Governors convened for Corporation at 31 March 2011, to elect the Friday 14 October 2011. Board for the ensuing year, and to transact To the Governors of the Royal Shakespeare such business as may be transacted at Company, Stratford-upon-Avon, notice is hereby the Annual General Meetings of the given that the Annual General Meeting of the Royal Shakespeare Company. Governors will be held in the Swan Theatre, Stratford-upon-Avon on Friday 14 October 2011 By order of the Board commencing at 3.00pm, to consider the report of the Board and the Statement of Financial Vikki Heywood, Secretary to the Governors

Front cover: Bertie Carvel as Miss Trunchbull in Matilda, The Musical Photo: Manuel Harlan CHAIRMAN’S REPORT 2 – 3

ARTISTIC DIRECTOR’S REPORT 6

EXECUTIVE DIRECTOR’S REPORT 8

TRANSFORMATION REPORT 12

TRANSFORMATION 14 – 19

ENSEMBLE 20 – 23

MATILDA 24 – 25

NEWCASTLE 26 – 27

DIGITAL 28 – 29

YOUNG PEOPLE AND TEACHERS 30 – 35

YEAR IN PERFORMANCE 36 – 39

ACTING COMPANIES 40 – 41

SUMMARY ACCOUNTS 42 – 49

THANK YOU 50 – 51

THE COMPANY 52 – 53

CORPORATE GOVERNANCE 54

ASSOCIATE ARTISTS/ADVISORS 55

CONSTITUTION 56 02

When I became Chairman of the RSC in 2004 I didn’t fully understand what I would be spending most of my time doing in the ensuing seven years. Neither did anybody else, which is perhaps fortunate, as we might all have chosen an easier and less ambitious path.

THE TRANSFORMATION PROJECT HAS ENDED TRIUMPHANTLY WITH A BRAND NEW AUDITORIUM AND THE RESTORATION OF ALL THAT WAS BEST IN ELISABETH SCOTT’S 1932 THEATRE.

This is married with the distinctive new existing RST was not only the most realistic elements of the Rooftop Restaurant, the but the best of the available options. Tower and the colonnade. The 1932 façades have been restored to their former glory, as Since 2004 we have: have the Art Deco interiors; the latter are ● Refurbished the Union Club in Chapel Lane. amongst the finest examples of their period, ● Built 2,000 square feet of new office and it is a joy to see them uncluttered, free accommodation behind the Union Club, from coat racks, ice cream machines and odd and decanted staff out of the RST into carousels. We have sworn a solemn oath to these two buildings. keep them like that. The Swan is linked to the ● Obtained planning permission for Royal Shakespeare Theatre for the first time, and erected The Courtyard Theatre. and there is a magnificent view from the new ● Taken a long lease on and refurbished front of the RST through the reopened the new rehearsal space in Arden Street. carriage entrance of the Swan to Holy Trinity. ● Taken a long lease on and refurbished the You can walk along the river from Clopton new Clore Learning Centre on Waterside. Bridge past the RST to the church. And we ● Restarted our nursery school in new now appear much more welcoming to visitors premises in Shottery. and residents in Stratford-upon-Avon. Our ● Entered into a five year agreement with dressing rooms all have a river view, we have the Roundhouse as our London home, enough ladies’ lavatories, and excellent and have presented seasons of new work disabled access throughout the building. with a number of London theatres, including Soho Theatre, the Tricycle However, this was not where we began; the and Hampstead Theatre. starting point for most of us was the debris ● Refurbished the Arden Hotel in a joint of expenditure on architect’s drawings for a venture with the Eden Hotel Group. building that was never likely to be built. It took some time to identify the best way forward While there have been moments when bricks and to realise that the transformation of the and mortar seemed to dominate our lives, it 03

is worth remembering that during this period the RST formally on 4 March, followed we launched the Spanish Golden Age plays a month later by the Prince of Wales, our in 2004, the Complete Works in 2006-7, the President, who attended a Gala Performance Histories Cycle in 2007-9. We’ve seen of Macbeth. Judi Dench, Ian McKellen, Patrick Stewart, David Warner, Toby Stephens, Vanessa It has been a great privilege to have chaired Redgrave, David Tennant, Harriet Walter and the RSC during an extraordinary seven years. Antony Sher strut their stuff with the stars I am very grateful to the Board of the RSC, of the future in our ensemble companies. and in particular to our indefatigable and We’ve toured in the UK, the USA, Spain, generous Deputy Chairman, Susie Sainsbury, Japan, Australia and New Zealand, launched for their hard work and support. I would also the successful Stand Up For Shakespeare like to thank Sir Geoffrey Cass for his support campaign and reinvigorated our work during the last seven years; he and Olwen with schools. have been regular attenders at every Press Night in London and Stratford, and Geoffrey Good buildings are important – but they has also served until this year as a member can only enhance, not guarantee, good of our Nominations Committee. Geoffrey was performances. Our transformed RST is one a most distinguished Chairman of the RSC of the finest stages for Shakespeare’s plays from 1985 to 2000 and has been our Deputy anywhere in the world. We have kept the President for the last 11 years. He is retiring ghosts; you can walk on the original boards of from that post to become our Honorary the old RST stage just outside the auditorium, Emeritus Chairman. and Sir Ian Richardson’s ashes are buried underneath the front row of the stalls. But The actors and staff of the RSC have it is the performances still to come from epitomised the spirit of the ensemble, successive generations of RSC actors, brilliantly led by our Artistic Director, directors, designers and musicians that Michael Boyd and our Executive Director, will set the stamp of greatness on the RST. Vikki Heywood, and ably supported by our Finance Director, Andrew Parker. John Masefield, in his poem written for the I salute and thank them all. opening of the theatre in 1932, wrote of Sir Christopher Bland The acted passion, beautiful and swift, The spirit leaping out of flesh and bone

Already our audiences can see that passion, that spirit, leaping out from the stage of our transformed RST. This year, in addition to reopening the RST with King Lear and Romeo and Juliet, we staged eight Shakespeare plays at the Roundhouse and premiered Matilda, The Musical at The Courtyard Theatre. Her Majesty The Queen, our Patron, came to open 04 05 Photo: Ellie Kurttz

Mariah Gale and members of the Morte d’Arthur company, which performed in The Courtyard Theatre 06 A THEATRE FOR THE FUTURE IN STRATFORD-UPON-AVON

If theatre is to take its place at the top table It should provide good opportunities for of vivid and urgent art forms it will address people-watching and encourage the audience the world directly and celebrate those to talk and wave to each other across an open qualities that are distinct to theatre. stage, but it must also allow the solo performer to command the whole house from one still No other art form addresses our humanity centre. The auditorium should work for the with the full human presence in the way that performer as an analogy for all of his brain, theatre can: the actual presence of the body with its left side and right and hippocampus and spirit of the performer, shared in the same to the rear, as well as the frontal lobes. space through real time with an audience, breathing the same air as each other and It needs to evoke prayers to the gods and fear the actors, and growing older together. of the devil, and give more choices of direction for our Everymen and women than the A sociable act where people have chosen to restrictive binary of stage left or stage meet, are aware of each other and agree right afforded by proscenium stages. to develop a consensual vocabulary for the evening. It needs to facilitate great entrances for gods and devils and mortals alike and an acoustic The ideal space to support this act should that allows them all to talk to each other bring as large an audience as possible as close quietly should they so wish. as possible to the performers allowing the shared expression of private emotional detail Shakespeare’s stages were closely monitored as well as the sublime sweep of the epic. It and frequently closed down due to the fear of should be large enough to be economically contagious diseases and contagious ideas. The viable and to reach beyond a coterie of well ideal theatre must be contagious; spreading practised theatregoers, while maintaining laughter and misgiving dangerously and a fierce focus on the stage and the "tension" delightfully through the whole house. which Bergman rightly describes as essential to any theatrical space. I think we might just have opened the theatre of the future last spring. It should both expose and inspire the performer and place them in the heart of the Michael Boyd crowd. It should demand and enable an honest and dynamic interaction between performers, and between the stage and the house.

It should encourage an expressive and sculptural use of three-dimensional space Heartfelt thanks to Sir Christopher Bland that has a visceral impact on the spectator for seven years of masterful and playful such as film can only aspire to. leadership as Chairman of the Board of Directors. Photo: Ellie Kurttz 07 , which played in Stratford-upon-Avon and London in Stratford-upon-Avon , which played As You Like It Like As You Sophie Russell as Audrey in as Audrey Sophie Russell 08

Our new Stratford building is now open seven days a week throughout the day, and it is already clear this has allowed us to redefine our relationship with our audiences and visitors to Stratford THE WORD MOST OFTEN USED BY PEOPLE TO DESCRIBE THEIR EXPERIENCE OF VISITING US HAS BEEN ‘WELCOMING’ AND I AM VERY PROUD OF ALL OUR STAFF WHO HAVE PLAYED THEIR PART IN MAKING IT SO.

Throughout our reopening months to the end running alongside a robust business model, of March, we welcomed over 170,000 people, which balances that investment with strong including our Patron, HM The Queen, and ticket sales, and effective commercial and our President, HRH Prince Charles. Local fundraising activities, including continued amateur groups and young people from partnership with Accenture and extremely schools and colleges we work with appeared generous support from the Gatsby Charitable on our stages, along with familiar RSC alumni, Foundation in particular. in a series of events and activities to test the spaces and ‘warm up’ the auditorium. We will use our public investment wisely to create real public benefit through artistic New initiatives, such as the RSC Key scheme excellence and innovation, continued for 16-25 year olds giving reduced price collaboration with other arts organisations tickets, and Open Stages in collaboration with and new partners from other sectors, and an amateur theatre groups, have allowed us to ever-wider invitation for people to enjoy and reach out to new audiences and practitioners. participate in what we do. The new Clore Learning Centre, our dedicated learning and community space, has proved A particular thank you from all of us at the highly popular with teachers, students and RSC to Sir Christopher Bland who steps down members of the local community alike. this year after seven years. His leadership has been robust, focused and hugely effective. Elsewhere, we had very successful London We will miss him. and Newcastle seasons. We are underway with the transfer of Matilda (awarded Best Vikki Heywood New Musical by the Critics Circle) to the West End, with any profit returning back to the Company to support our work.

As with all publicly funded bodies, we have ▲ faced a squeeze on public investment, but we Children enjoying the explosion of the Complete Works, have responded confidently, with efficiencies one of the exhibitions in the Swan Reading Room.

Photo: Stewart Hemley 09 Photo: Stewart Hemley 10 11

£3,248,246 contributed by sponsors and donors towards our artistic and education programmes and special projects.

Discovering the stories in My RSC Gallery, an exhibition of 50 boxes embedded in the RST’s walls, each containing artwork by the public, schools, RSC staff and actors. The project was created for the RSC by artist, Luke Jerram. 12 AS WE CELEBRATE THE 50TH BIRTHDAY OF THE RSC, AND LOOK BACK OVER FIFTY REMARKABLE YEARS, WE CAN POINT TO SOME OF OUR RECENT ACHIEVEMENTS WITH PARTICULAR PRIDE.

Since 1999 I have been Chairman of the involved in building the new RST developed a Transforming Our Theatres project, so I am real sense of pride and belonging, and shared delighted that we have successfully completed our commitment to build something very special. all the main elements, starting in 2005 with The Courtyard Theatre, designed by Ian Ritchie, The RSC has inspired generations of theatre which was finished just in time to launch the goers and they have shown their enthusiasm full cycle of The Histories directed by Michael and loyalty, and helped build the Company's Boyd. We presented The Complete Works of new home. The Development team has Shakespeare, we built new rehearsal rooms, worked with 26,000 people from 60 countries and new office accommodation at Chapel Lane who, together, donated almost £40 million of which gathered staff together in one building, the total project cost, and they continue to and by July 2007 the Royal Shakespeare Theatre find new friends and old who want to support was eerily empty and ready for its complete the Company in our splendid new home. transformation. As we come to the end of this intense period of The new RST, designed by Bennetts Associates, change and construction we will now consider was completed on time and on budget in 2010 how best to reinstate The Other Place, upgrade to widespread critical acclaim. Work on this our costume workshops and restore the immensely complex listed building combined Swan Gallery. careful heritage renovation with new build in a sensitive setting. It was tackled with constant My involvement with the RSC began in 1994, professionalism by the design team led by and has given me a unique and enviable Bennetts, Charcoalblue and the RSC's Project opportunity to work with wonderful, talented Team led by Peter Wilson and Simon Harper. people and be part of the most exciting theatre They worked with a team of consultants and company in the world during a period of an army from Mace to construct our wonderful extraordinary change and development. new building. I am particularly grateful to all A new generation of supporters is growing. my colleagues on the Project Committee for I would encourage anyone who enjoys the their uncompromising determination to deliver work of the RSC to make contact and the original shared vision. discover the myriad ways in which to help.

A new building for the performing arts has the The experience of being involved with the RSC potential to touch people and provide new and is, in my view, uniquely thrilling and satisfying. valuable experiences. The new RST has its I feel immensely lucky to have been a part of a own character and provides a welcoming strong network of supporters for so many years. atmosphere; the work on stage is exceptional and provides lasting memories. All those Susie Sainsbury 13 Photo: Peter Cook

The transformed Royal Shakespeare Theatre, which opened to the public in November 2010. 14 ”JUST BEING THERE MAKES ME HAPPY.”

I WAS ONE OF THE LUCKY ONES. I first came to the RSC quite extraordinary. The RST was The in 2003, and my first season was in the old Courtyard and more. The acoustics were RST. I did a few shows there, and felt that a dream and the fact that it’s housed in the audience was miles away. And then the shell of the old building means that the I was part of the company that opened The ghosts are there and it brings something Courtyard Theatre. That was exciting, and new out of the old. I immediately realised that the audience was much closer, and we were able to do And from an audience point of view, it seems the epic and the intimate. We went through to be an exciting place to see a show. It’s all the problems acoustically and learned fantastic to see the chair which has been how to play it with The Histories. put in the restaurant which indicates how far away the back row was in the old theatre. It I saw the shell of the new RST before the really makes for a great 21st century theatre roof went on, but missed all the subsequent experience which can be used in infinite tours of the building in progress. The first ways in infinite configurations. time I saw it properly was for the technical rehearsals for Romeo and Juliet and it was Forbes Masson, Actor

Overall Award for Outstanding Visitor Attraction 2011, VisitEngland’s most prestigious award 15 ” JUST LOVED 63,589 EVERYTHING ABOUT tickets issues for our THE THEATRES AND re-opening events THE EXHIBITIONS.” and productions

”...THE OLD ATMOSPHERE 170,000 REMAINS ALONG daytime visitors to the new theatres WITH SOME between November BRILLIANT NEW 2010 and April 2011 FEATURES.” 16 ”THIS IS PERHAPS THE FINEST THEATRE IN THE WORLD. THE ACOUSTICS ARE FANTASTIC . . .

25,719 trips to the top of the viewing tower THIS IS AN OLYMPUS OF MAGIC SPACES.”

Nominated for Conde Walking around the transformed Finalist for the Nast Traveller's Royal Shakespeare Theatre, Stirling Prize 2011 I found it hard to believe this had Innovation and Design been a building site less than two Winner of RIBA Awards - culture years ago. With so much history still inside and an auditorium that Regional Architecture energises every audience, it has Award become the home that the RSC 16,619 need and the public deserve. diners served in the Peter Hesketh, Director of Rooftop Restaurant The Gatsby Charitable Foundation 17

We began thinking about what lighting system led to the birth of RSC Lightlock, a device we should have for the new theatre over eight now being manufactured and used across years ago. You only get one crack at this in a the entertainment industry. career, it’s a defining moment and we had to get it right. We designed what I think is the The system in the RST has already proved perfect system – small modular lighting itself to be one of the most advanced lighting pods that can be adjusted in height to make systems in the world. Lighting designers are a flexible and safer working environment. impressed by its versatility and its ability to It’s very different to the conventional rig give them many more options. We’ve learnt with bridges and catwalks. In designing the a lot and I hope it leads to more innovation prototype we discovered the need for a device coming from within the RSC and more that stopped moving lights from swinging. theatres adopting our system in the future. Nothing existed in the market so we invented our own. It’s been a challenging journey that Vince Herbert, Head of Lighting

”LOVED THE NEW BUILDING. EXCELLENT ATMOSPHERE. LOVED THE INTIMACY OF THE NEW THEATRE.” 18

Project of the Year, one of four nominations and awards gained at the Building Awards 2011

We reopened the Royal Shakespeare Theatre It was an extraordinary experience to bring with a programme of events and exhibitions these spaces, which we had looked at on to test the refurbished building, invite our paper and as parts of a building site for so audiences back in and celebrate the new long, to life. It was fantastic to welcome spaces. From Luke Jerram’s participatory people onto our stages, into our auditoria visual art project, My RSC Gallery, which and to see them explore the new building embedded 52 boxes in the walls of the RST, and make it their own. to young people who were the first to step onto the RST’s new stage, Stratford’s amateur Geraldine Collinge, companies, and the return of RSC alumni Director of Events and Exhibitions with fantastic shows in the Swan, TOGETHER WE BREATHED LIFE BACK INTO THE BUILDING. £39.42m raised from private donors, trusts and foundations for the Transformation 19 ”IT WAS EXCITING SEEING THE REALITY AFTER SO LONG. THERE WERE SO MANY THINGS TO SEE AND DO . . . Photo: xxxxxxxxx

I ALWAYS HAVE A SENSE 10,632 OF BELONGING AND FELT people joined COMFORTABLE.” a backstage tour Opening the new theatre after such a long RICS Awards 2011 - West Midlands – journey was a chance to share the excitement of the whole Company along with the Project shortlisted for Building Conservation Team who had lived and breathed this job for and Community Benefit over six years. The success of this project was about teamwork. Working through the problems that inevitable arose and making tough decisions when they needed to be made.

” THERE WERE Buildings that you have just opened are not finished. It takes years to bed-in and it’s the DETAILS IN THE people and how they feel about it and how ORIGINAL they work together that makes it a success. For me it’s great to see the RSC back in the STRUCTURE I’D building and using it as it was intended to be – a working theatre that produces exceptional NEVER NOTICED work. It’s been an extraordinary journey and BEFORE BUT DO one that I’ll remember for years to come. NOW.” Peter Wilson, Project Director 20

AS A MEMBER OF THE ARTISTS CIRCLE, IT HAS BEEN MY PRIVILEGE TO SHARE THIS JOURNEY WITH THE ENSEMBLE. To watch these talented artists grow and see their trust and collaboration build through each production is clear evidence of the success of ensemble theatre-making.

George and Kirsty Anson, Artists Circle Donors 21

The Ensemble journey has been a massive There have been many highlights being learning curve. I came into the 2009-11 part of an ensemble and one of those is Ensemble not having a history of working the family of friends. This contract is so on Shakespeare. It’s been lots of training long compared to regular acting with the Artists’ Development Programme, contracts and people within the ensemble learning about text, and telling a story have been through so much in their real through Shakespeare’s words. It’s been lives and performing life, and people have a joy learning about Shakespeare and pulled together to keep the team as a learning not to be frightened of it. strong unit. Due to injury or ill health we have not had the chance to finish with our The Young People’s Shakespeares are full team but very rewarding. We were the first company to do a YPS for the RSC – with The Comedy EVERYONE of Errors, followed by Hamlet. We’ve had such great feedback, in London at the WHO HAS Roundhouse and The Courtyard, the Swan and the Royal Shakespeare Theatres in BEEN PART OF Stratford, and on our tours to schools where we really find they appreciate us THIS JOURNEY going out to them. The students gave us brilliant feedback and went on to do their own versions of our plays. IS IN OUR

What’s wonderful and gives us an amazing HEARTS. feeling is that the children have been inspired by us and they inspire us. Debbie Korley, Actor 22

THE ESTABLISHMENT OF A HEAD OF MOVEMENT SHOWS THE COMPANY’S COMMITMENT TO THE ONGOING DEVELOPMENT OF OUR ARTISTS. The work covers both training and THIS POSITION preparation with the ensemble as well as detailed individual sessions. It integrates IS UNIQUE IN the actor's body into their work and emphasises its role as a part of their UK THEATRE. communicating and performing tool kit. We need to prepare the body in the same way we do the voice to speak. Only with daily physical preparation can such efficiency and sustainability of the body be maintained and as a result of the The RSC Ensemble movement work the company have a is generously supported by fluency with that language that matches their confidence with Shakepeare's text. THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION Struan Leslie, Head of Movement 23

The Nomura Charitable Trust was delighted to support the Young People’s Shakespeare performances at the Roundhouse in 2011. THE VERSATILITY AND HARD WORK OF THE RSC ENSEMBLE ACTORS IN MAKING THE PLAYS ACCESSIBLE FOR YOUNG PEOPLE IS ESPECIALLY IMPRESSIVE AND TO BE LAUDED. The Trust looks to support activities which enhance opportunities for future generations, so we are proud to be partnering with the RSC as London Education Partner to bring the work of Shakespeare to more than 5,000 disadvantaged young people.

Anthony Harte, Head of Community Affairs, EMEA, Nomura Nomura Charitable Trust, London Education Partner 2011 24 ” It's great to see people young and old ” My daughter at one point during the expressing their gifts and talents with performance blurted out 'mummy this such professionalism and excellence, is the best thing I've ever seen'.

A truly AMAZING evening.” It was a MAGICAL performance!”

Matilda, The Musical played to packed houses at The Courtyard Theatre in Stratford-upon-Avon from November 2010 and attracted the largest number of new audience members of any production that year. The show continues its life with a West End transfer to the Cambridge Theatre opening in October 2011 under the RSC’s management.

CRITICS' CIRCLE THEATRE AWARDS 2011 Best Musical Lyrics from the song Naughty, written by Tim Minchin e m for right a put it nn go s i y e r o THE PROCESS m t t s u y b m y e OF WORKING od g ob an N ch a nn ON MATILDA go is

HAS PROBABLY ty gh nau e bit t m little SPOILT ME bu a

dy bo o FOR LIFE. N The RSC's dedication to bringing together e o b e t diverse and dedicated creators and placing av h u them in a supportive, positive and o y s unfettered environment is rare – e im t if not unique – in my experience. e m o S Tim Minchin, Comedian, musician and composer 25

Thousands of comments were posted on Facebook, twitter and our website following the opening of Matilda, The Musical which sold

89,665 tickets.

I first realised the importance of Matilda Matilda is fantastic! It's clever, witty, to people when I was in a café doing a bit ” laugh-out-loud funny and moving! of work on the text. The waiter asked me what I was doing, and he saw the book Matilda open and I said 'I'm working on BRILLIANT!” a musical version of the story'. This guy was mad for Matilda and told me all about it. The responsibility you have as the writer suddenly hit home. ”.#MATILDA @THERSC

A book isn't a play or a musical and the WAS AWESOME!!! structure of a book works very differently. Whilst you need to feel that sense of Great for kids of all ages! responsibility you have to be able to break free of it to create something that works GO & SEE IT!!!” on stage. The RSC Literary Department is generously Dennis Kelly, Playwright supported by THE DRUE HEINZ TRUST 26

Romeo and Juliet, King Lear, Antony and Cleopatra and a Young People’s version of Hamlet (pictured) marked our return to the North East in September. The Season included performances at Newcastle’s Theatre Royal along with an extensive programme of events at Northern Stage and work at Live Theatre, including a project working with young writers. The Education team led practical workshops and interactive events for students and children and our Head of Movement, Struan Leslie, worked with Acting, Directing and Stage Management students from Newcastle College, who presented their own version of Romeo and Juliet in schools and in a special outdoor performance at the famous Newcastle landmark, Grey’s Monument. 27

SEEING DOUBLE

Our project with Live Theatre during opportunity to workshop their first drafts our Newcastle Season gave us the with those actors in Stratford in 2010. They were encouraged to write for a large chance to offer younger writers cast and to develop their work with input access to the unique resources of a from the acting company. The RSC and Live Theatre each contributed a director large ensemble company as well as and a dramaturg to work with Roz and Ali to build on our artistic partnership alongside the acting company. After the Stratford workshops, Ali and Roz wrote with Live Theatre. It was a brilliant new drafts of their plays and we opportunity for writers to work closely rehearsed them in Newcastle in Live with our in-house practitioners, Theatre‘s beautiful rehearsal space. The plays were performed to sold out houses developing new skills and on Live Theatre‘s main Stage at the end experimenting with new forms. of our Newcastle residency.

Seeing Double was designed to introduce This project is unique to the RSC and two young playwrights, Ali Muriel and it’s vital in encouraging a generation of Roz Wyllie to working alongside a large young writers to tackle writing large new ensemble company of actors. The writers plays for thrust stages within an wrote their plays for specific actors in the ensemble structure. RSC Ensemble and were given the Pippa Hill, Literary Manager 28 29 SUCH TWEET SORROW Romeo & Juliet entered the digital world in a unique partnership with Channel 4’s 4iP and WE’VE REALLY Mudlark to create EMBRACED a cross-platform DIGITAL MEDIA production taking place THIS YEAR – in real time and experimenting with digital arts and unfolding on twitter. extending our relationship with our audiences online. Over 70% of bookings are now made on line and our new 6000 followers took part in Such Tweet Sorrow, the first Shakespeare website, launched in May 2010 and inspired production on twitter, over five featuring five times as much rich content weeks. As the action took place online, the cast improvised the dialogue between as our old site, has seen a 21% increase themselves engaging with each other and in visits. We are also building strong their virtual audience communicating via relationships with audiences through their tweets. This ground-breaking production was performed live from Facebook (18,765 friends) and twitter smartphones and computers; tweeting (15,815 followers). The twitter play through the love, violence and tragedy of one of Shakespeare’s most loved plays. Such Tweet Sorrow, Squidsoup’s Why? exhibition, blogger nights, live web chats, The project was nominated for The Media Guardian Innovation Awards, Culture and and online challenges all helped to grow Arts Category. interest in what we do and generate conversation with people. “...I ABSOLUTELY Liz Thompson, LOVE THIS... Director of Communications It's so great that you're trying to reach other audiences to show just how brilliant and universal Shakespeare can be. It's definitely unusual, but I, for one, am loving this. “

Facebook comment April 26 at 6:40pm 28 29 SUCH TWEET SORROW Romeo & Juliet entered the digital world in a unique partnership with Channel 4’s 4iP and WE’VE REALLY Mudlark to create EMBRACED a cross-platform DIGITAL MEDIA production taking place THIS YEAR – in real time and experimenting with digital arts and unfolding on twitter. extending our relationship with our audiences online. Over 70% of bookings are now made on line and our new 6000 followers took part in Such Tweet Sorrow, the first Shakespeare website, launched in May 2010 and inspired production on twitter, over five featuring five times as much rich content weeks. As the action took place online, the cast improvised the dialogue between as our old site, has seen a 21% increase themselves engaging with each other and in visits. We are also building strong their virtual audience communicating via relationships with audiences through their tweets. This ground-breaking production was performed live from Facebook (18,765 friends) and twitter smartphones and computers; tweeting (15,815 followers). The twitter play through the love, violence and tragedy of one of Shakespeare’s most loved plays. Such Tweet Sorrow, Squidsoup’s Why? exhibition, blogger nights, live web chats, The project was nominated for The Media Guardian Innovation Awards, Culture and and online challenges all helped to grow Arts Category. interest in what we do and generate conversation with people. “...I ABSOLUTELY Liz Thompson, LOVE THIS... Director of Communications It's so great that you're trying to reach other audiences to show just how brilliant and universal Shakespeare can be. It's definitely unusual, but I, for one, am loving this. “

Facebook comment April 26 at 6:40pm 30

LEARNING AND PERFORMANCE NETWORK As part of our Learning and Performance Network (LPN), 10 Regional Shakespeare Festivals were held across England. Over 1,300 students, aged 5 to 18, from 65 schools performed their unique responses to Hamlet and King Lear. Schools then performed on our stages at the Regional Schools Celebration in Stratford-upon-Avon.

The Learning and Performance Network is generously supported by THE PAUL HAMLYN FOUNDATION 31

I’ve moved from sometimes being quite a boring teacher, to being a teacher who is not afraid to experiment now. I regularly use the techniques that I have learned through the LPN to engage students in all sorts of different activities in my teaching and not just with Shakespeare. I discovered that if you teach students in this way not only does it raise their engagement, it raises their achievement too.

Cheryl Carrington, English Teacher, Hillcrest Community College, Dudley

Probably the most important thing I have learnt is what some of the language means - it's easy to understand it through the activities that we do.

Jack, age 15, Hillcrest Community College, Dudley

So far 379 schools, 1,300 teachers and 96,000 students have been involved in the LPN since its

inception in 2006, helping to bring about

a change in the way that young people in

schools experience, engage with, and take

ownership of the work of Shakespeare. 32

YPS WEEK

5,690 young people from almost “YPS IS A WONDERFUL 100 primary, secondary and special OPPORTUNITY schools joined us for our first Young TO BRING A NEW People’s Shakespeare Week with GENERATION TO performances of our YPS productions THE THEATRE AND TO of Hamlet and The Comedy of Errors. SHAKESPEARE.” There were 60 workshops and events through the week at our new Clore Learning Centre, which involved 40 members of our acting ensemble and 2,537free tickets for 47% of the schools, were new to young people in schools in Telford, Warwickshire and the RSC. YPS productions also toured to the Black Country. 12 schools in Newcastle and London playing to over 1,400 children. 33

“I WISH THEY HAD THIS WHEN I WAS AT SCHOOL!”

RSC workshops, conferences and professional development courses for students and teachers are generously supported by THE CLORE DUFFIELD FOUNDATION 34

YOUNG COMPANY In September 2010 we launched the “I CANNOT Young Company, inviting “at risk” local PRAISE HIGHLY students to come into the RSC every ENOUGH THE week during term time to explore the PROJECT impact on young people who might WHICH TOOK otherwise never find themselves here. DISADVANTAGED The group of Year 10 students developed YOUNG PEOPLE skills as performers, whilst studying for a Bronze Arts Award Shakespeare Challenge AND MADE A qualification. Highlights include meeting SIGNIFICANT The Queen, and performing Hamlet with members of the acting ensemble. The IMPACT ON two-year project in partnership with THEIR LIVES.” Warwickshire Early Intervention Service, Stratford College and Warwickshire’s David Williams, Head Teacher, Secondary Head teachers, will see the Stratford High School Young Company produce events and perform as part of the World Shakespeare Festival in 2012. 35

“HIS CONFIDENCE IS IMPROVING BECAUSE HE HAS FOUND SOMETHING HE IS GOOD AT. THE RSC HAS GIVEN HIM HOPE FOR HIS FUTURE.”

Tracy Parker, Young Company Carer 36

Romeo and Juliet by William Shakespeare Antony and Cleopatra The Courtyard Theatre by William Shakespeare 12 March 2010 New Production 48 performances King Lear FIRST PERFORMANCE by William Shakespeare Theatre Royal The Courtyard Theatre Newcastle upon Tyne 10 April 2010 The Courtyard Theatre 28 September 2010 36 performances 18 February 2010 7 performances 47 performances Theatre Royal Roundhouse Newcastle upon Tyne Theatre Royal London 12 October 2010 Newcastle upon Tyne 30 November 2010 7 performances 5 October 2010 14 performances 7 performances Roundhouse Royal Shakespeare Theatre London Roundhouse 3 March 2011 8 December 2010 London 20 performances 8 performances 21 January 2011 10 performances DIRECTED BY Rupert Goold Swan Theatre DESIGNED BY Tom Scutt 3 March 2011 Royal Shakespeare Theatre LIGHTING DESIGNED BY Howard Harrison 7 performances 23 February 2011 MUSIC AND SOUND BY Adam Cork 20 performances VIDEO AND PROJECTION BY Lorna Heavey DIRECTED BY Michael Boyd CHOREOGRAPHY BY Georgina Lamb DESIGNED BY Tom Piper DIRECTED BY David Farr FIGHTS BY Terry King LIGHTING DESIGNED BY Wolfgang Göbbel DESIGNED BY Jon Bausor PRODUCTION PHOTOS BY Ellie Kurttz MUSIC BY James Jones and John Woolf LIGHTING DESIGNED BY Jon Clark SOUND DESIGNED BY Andrew Franks MUSIC BY Keith Clouston MOVEMENT BY Anna Morrissey SOUND DESIGNED BY Christopher Shutt FIGHTS BY Terry King MOVEMENT BY Ann Yee PRODUCTION PHOTOS BY Ellie Kurttz FIGHTS BY Kate Waters PRODUCTION PHOTOS BY Manuel Harlan 37

Hamlet (Young People’s Shakespeare) by William Shakespeare Edited by Bijan Sheibani and Tarell Alvin McCraney Morte d’Arthur by Sir Thomas Malory The Courtyard Theatre Adapted by Mike Poulton 1 May 2010 New Production 7 performances The Winter’s Tale FIRST PERFORMANCE by William Shakespeare Theatre Royal The Courtyard Theatre Newcastle upon Tyne 11 June 2010 The Courtyard Theatre 8 October 2010 20 performances 14 July 2010 2 performances 12 performances DIRECTED BY Gregory Doran Roundhouse DESIGNED BY Katrina Lindsay Roundhouse London LIGHTING DESIGNED BY London 18 December 2010 Tim Mitchell 14 December 2010 2 performances SHADOWS BY Steve Tiplady 10 performances and Sally Brown Swan Theatre MUSIC BY Adrian Lee DIRECTED BY David Farr 24 February 2011 and Simon Rogers DESIGNED BY Jon Bausor 10 performances SOUND DESIGNED BY LIGHTING DESIGNED BY Jon Clark Jonathan Ruddick MUSIC BY Keith Clouston DIRECTED BY MOVEMENT BY Struan Leslie SOUND DESIGNED BY Martin Slavin Tarell Alvin McCraney FIGHTS BY Terry King CHOREOGRAPHY BY Arthur Pita DESIGNED BY Jean Chan PRODUCTION PHOTOS BY Ellie Kurtz DIRECTOR OF PUPPETRY Steve Tiplady ASSOCIATE DIRECTOR AERIAL CONSULTANT Lyndall Merry Michael Fentiman PRODUCTION PHOTOS BY ASSOCIATE DESIGNER Alessandro Evangelista Tom Piper FIGHTS BY Terry King PRODUCTION PHOTOS BY Hugo Glendinning 38

Julius Caesar by William Shakespeare

The Courtyard Theatre 28 July 2010 The Comedy Of Errors 10 performances (Young People’s Shakespeare) by William Shakespeare Roundhouse Edited by Gary Owen London In Association with 6 January 2011 Told By An Idiot 9 performances The Courtyard Theatre As You Like It DIRECTED BY Lucy Bailey 7 August 2010 by William Shakespeare SET AND VIDEO DESIGNED BY 7 performances William Dudley The Courtyard Theatre COSTUMES DESIGNED BY Fotini Dimou Roundhouse 21 July 2010 LIGHTING DESIGNED BY Oliver Fenwick London 17 performances MOVEMENT BY Sarah Dowling 21 December 2010 MUSIC BY Django Bates 2 performances Roundhouse SOUND DESIGNED BY Fergus O’Hare London ASSOCIATE DESIGNER Nathalie Maury Royal Shakespeare Theatre 13 January 2011 FIGHTS BY Philip d’Orléans 26 March 2011 9 performances VIDEO SYSTEM DESIGN BY Alan Cox 2 performances VIDEO PRODUCTION BY Tim Baxter DIRECTED BY Michael Boyd PRODUCTION PHOTOS BY Ellie Kurttz DIRECTED BY Paul Hunter DESIGNED BY Tom Piper DESIGNED BY Michael Vale LIGHTING DESIGNED BY MUSIC BY Iain Johnstone Wolfgang Göbbel PRODUCTION PHOTOS BY Ellie Kurttz MUSIC BY John Woolf SOUND DESIGNED BY Andrew Franks CHOREOGRAPHY AND MOVEMENT BY Struan Leslie FIGHTS BY Terry King PRODUCTION PHOTOS BY Ellie Kurttz 39

ROYAL SHAKESPEARE Lights, Sound, Action AND SWAN THEATRES Royal Shakespeare Theatre 15 December 2010 RE-OPENING EVENTS 1 performance

Love is My Sin Quentin Blake Draws Matilda The Sonnets of William Shakespeare Royal Shake speare Theatre adapted and directed by Peter Brook 4 Dece mber 2010 A C.I.C.T/Théâtre de Bouffes du Nord 1 performance Production Swan Theatre Poetry Evening – 7 January 2011 Uncertainty is Not A Good Dog 3 performances Swan Theatre PERFORMED BY Natasha Parry 3 Dece mber 2010 and Michael Pennington 1 performance Handel’s Messiah Handbag – Geraldine Pilgrim The Stratford-upon-Avon and Originally commissioned by BAC Huddersfield Choral Societies Matilda, The Musical An Artsadmin Production Royal Shakespeare Theatre Book by Dennis Kelly Royal Shake speare Theatre 8 January 2011 Music and Lyrics by Tim Minchin 6 Dece mber 2010 1 performance 10 performance s Return to the Forbidden Planet FIRST PERFORMANCE Writing on Your Feet by Bob Carlton The Courtyard Theatre Royal Shakespeare & Swan Theatres Stratford Operatic Society 9 November 2010 7 Dece mber 2010 Royal Shakespeare Theatre 87 performances 2 performance s 9 January 2011 1 performance DIRECTED BY Matthew Warchus Sound and Fury CHOREOGRAPHED BY Peter Darling Swan Theatre The Tempest DESIGNED BY Rob Howell 8 Dece mber 2010 by William Shakespeare MUSICAL SUPERVISION AND ORCHESTRATION 1 performance Little Angel Theatre and RSC Production BY Christopher Nightingale Swan Theatre LIGHTING DESIGNED BY Hugh Vanstone Camille O’Sullivan 11 March 2011 SOUND DESIGNED BY Simon Baker Royal Shake speare Theatre 20 performances ILLUSION BY Paul Kieve 10 Dece mber 2010 DIRECTED BY Peter Glanville PRODUCTION PHOTOS BY Manuel Harlan 1 performance MUSIC AND ADDITIONAL LYRICS BY Ben Glasstone SET AND COSTUME DESIGNED BY Laura McEwen A One Night Stand PUPPETS DESIGNED BY Lyndie Wright with Barrie Rutter Swan Theatre Chris Addison Live at the RSC 11 Dece mber 2010 Hosted by Russell Kane 1 performance Royal Shakespeare Theatre 13 March 2011 Open House 1 performance Curated by Gregory Doran in partnership with The Bear Pit The Rape of Lucrece Royal Shake speare Theatre by William Shakespeare 12 Dece mber 2010 A RSC Studio Production 1 performance Swan Theatre 30 March 2011 What You Will – Roger Rees 4 performances Swan Theatre DIRECTED BY Elizabeth Freestone 14 Dece mber 2010 PERFORMED BY Camille O’Sullivan 3 performance s MUSIC BY Feargal Murray 40 41

Charles Aitken Sandy Neilson Joseph Arkley Jonjo O’Neill Adam Burton Dharmesh Patel David Carr Peter Peverley Brian Doherty Patrick Romer Darrell D’Silva David Rubin Noma Dumezweni Sophie Russell Children: Jadie-Rose Hobson Dyfan Dwyfor Oliver Ryan Jessica Adair Kerry Ingram Ensemble 2009-11 Phillip Edgerley Christopher Saul Elliot Allinson Katie Lee Antony and Cleopatra Christine Entwisle Simone Saunders Jake Bailey Robert Madge As You Like It Geoffrey Freshwater Peter Shorey Matilda, The Musical James Beesley Thomas McGarrity The Comedy of Errors (YPS) James Gale Clarence Smith Adrianna Bertola Toby Murray Hamlet (YPS) Mariah Gale Katy Stephens Marc Antolin Ruby Bridle Annabel Parsons Julius Caesar Gruffudd Glyn James Traherne Verity Bentham Daisy Brophy Jake Pratt King Lear Paul Hamilton Sam Troughton Emily-Jane Boyle Arthur Byrne Denzil Sampson Morte d’Arthur Greg Hicks James Tucker Bertie Carvel Charlie Callaghan Shyanne Sanders Romeo and Juliet James Howard Larrington Walker Peter Howe Jack Christou Adam Scotland The Winter’s Tale Kathryn Hunter Roger Watkins Paul Kaye Jessica Daugirda Ellie Simons Kelly Hunter Jack Whitam Michael Kent Kuan Frye Rebecca Stoll Ben Ingles Kirsty Woodward Melanie La Barrie Josie Griffiths Misty May Tindall Ansu Kabia Hannah Young Matthew Malthouse Shivum Gupta Lara Weaver Tunji Kasim Samantha Young Alastair Parker Callum Henderson Richard Katz Michael Rouse Debbie Korley The Winter's Tale children: Nick Searle John Mackay Cian Cheesbrough Emily Shaw Forbes Masson Alfie Jones Josie Walker Sebastian Salisbury Lauren Ward 41

Children: Jadie-Rose Hobson Jessica Adair Kerry Ingram Elliot Allinson Katie Lee Jake Bailey Robert Madge Matilda, The Musical James Beesley Thomas McGarrity Adrianna Bertola Toby Murray Marc Antolin Ruby Bridle Annabel Parsons Verity Bentham Daisy Brophy Jake Pratt Emily-Jane Boyle Arthur Byrne Denzil Sampson Bertie Carvel Charlie Callaghan Shyanne Sanders Peter Howe Jack Christou Adam Scotland Paul Kaye Jessica Daugirda Ellie Simons Michael Kent Kuan Frye Rebecca Stoll Melanie La Barrie Josie Griffiths Misty May Tindall Matthew Malthouse Shivum Gupta Lara Weaver Alastair Parker Callum Henderson Michael Rouse Nick Searle Emily Shaw Josie Walker Lauren Ward 42 INCOME AND EXPENDITURE

Income £m %

15.6 48.0% Grants

3.1 9.5% Transition subsidy

1.1 3.4% Learning and Participation

0.6 1.9% Interest and other

1.5 4.6% Trading income from subsidiary

2.3 7.1% Sponsorship and donations

8.3 25.5% Box Office

32.5

Expenditure £m %

17.8 54.1% Productions

2.2 6.7% Learning and Participation

1.7 5.2% Trading expenditure by subsidiary

7.2 21.9% Theatre operations

0.7 2.1% Fundraising

0.1 0.3% Governance costs

3.2 9.7% Marketing

32.9 43 FINANCIAL REVIEW

Summary Statement of Financial Activities The most significant event of the year was the (SOFA) successful re-opening of the Royal Shakespeare and Swan Theatres on time and on budget, enabling this The net inflow of funds into the company reduced phase 3 of the overall Transformation Project to be from £29.2m in 2009/10 to £9.0m in 2010/11, reflecting closed, fully funded, at £110.8m. The remaining the reduced scale of Transformation Project activity elements of the Transformation Project, being the in the year. refurbishment of the costume workshop and The Other Place/Courtyard, will be carried forward to phase 4, together with the refurbishment of the Swan Gallery, Unrestricted operating fund supported by the Heritage Lottery Fund. The net operating result was break even, having Operationally, 2010/11 was always going to be an received £3.1m in additional subsidy (£2.6m from expensive year – a combination of the lost revenue the Transformation Project budget and £0.5m from the extended dark weeks between the closing from Arts Council England). of The Courtyard Theatre and the reopening of the new building, and the necessary staff increases in Core funding from Arts Council England at £15.2m anticipation of operating that new building. Our plans was £0.3m lower than in 2009/10 reflecting the for the year envisaged a requirement for £4.1m in absence of any touring in 2010/11, and income from additional transition funding to hold the result at productions, tours and theatre operations at £8.3m break even, but our expenditure was very well was £0.3m lower than in 2009/10, also because of controlled (in anticipation of cuts in Arts Council the absence of touring in the year. England (ACE) funding from 2012/13 onwards) and came in £1m under budget – allowing £1m in unused By contrast income from sponsorship and donations at transition funding to be carried forward to help offset £2.1m was £0.3m up on 2009/10 because of increased the £1.1m cut in our ACE grant in 2012/13 which duly individual giving, and income from our trading materialised. subsidiaries excluding our share of joint venture increased significantly (from £0.9m to £1.5m), reflecting Indeed, the award of ACE funding for the four years the decision to bring our catering in-house. from 2011/12, following our application in January, was another key financial event of the year. In 2011/12 we Overall operating expenditure at £30.7m was £0.8m up will receive £16.4m, falling to £15.7m in 2012/13 then on 2009/10, despite being £1.0m lower than planned. £16.0m in 2013/14 and £16.5m in 2014/15. The cost of productions and theatre operations was broadly in line, but the expenditure in our subsidiaries increased by £0.8m, again reflecting the set up and operating costs of our new in house catering offer.

The transfer into the unrestricted operating fund was made up of the £3.1m additional transition subsidy from the Transformation Project and ACE restricted funds, offset by £0.3m designated to cover capital expenditure in 2011/12. 44

Unrestricted Designated funds The £6.1m net reduction in cash is explained as follows:

Spending on production and theatre operations within £’m designated funds at £0.5m was broadly in line with 2009/10 and represented £0.2m capital expenditure Additional subsidy required in 2010/11 3.1 in the year and £0.3m property refurbishment and Lower project related trade creditors 1.5 depreciation charges through the Estates and Net spending on Lincoln Center auditorium 0.4 General Fund. Reduced project accruals 0.5 Project deferred income 2.6 The net transfer into designated funds was the £0.3m Stock 0.9 for 2011/12 capital expenditure mentioned above. Ticket advances (1.2) Debtors (2.0) Restricted funds Other 0.3

The net inflow into restricted funds at £9.3m was Total 6.1 considerably lower than in 2009/10 (£23.8m), and is almost entirely explained by the reduced inflow into The reduction in creditors is explained by a £1.5m the Transformation Project (down by £13.6m from reduction in trade creditors, a £0.5m reduction in £23.3m in 2009/10 to £9.7m in 2010/11). accruals and a £3.1m reduction in deferred income, all of which are predominantly Transformation Unsurprisingly incoming funds into the Transformation Project related. This is partially offset by a £1.2m Project slowed from £25.6m in 2009/10 to £16.8m in increase in ticket advances, reflecting the very 2010/11, as the main phase of the project neared significant level of interest from the public in the completion. Net expenditure against the fund increased new Royal Shakespeare Theatre. from £2.3m to £7.0m, partly because of £2.2m in depreciation relating to the redeveloped theatre With the FRS17 valuation of the defined benefit and partly because the £2.6m in additional revenue scheme surplus being broadly neutral at £0.8m, the subsidy which the Transformation Project provided overall value of the balance sheet at 31 March 2011 to the unrestricted operating fund in the year. was £102.4m.

Expenditure on production and theatre operations Andrew Parker within restricted funds increased by £1m to £1.1m Director of Finance and Administration in the year, mainly because of advanced spending on the auditorium for the Lincoln Center Festival in 2011/12.

Consolidated Balance Sheet

Net fixed assets increased by £12.2m, being predominantly capitalised expenditure on the Transformation Project of £16.7m, less depreciation of £4.7m.

Stock and work in progress increased by £1m to £2m, reflecting the number of shows which opened in early 2011/12. The net reduction in debtors, from £4.4m to £2.4m, reflected a reduction in grants receivable of £0.5m, a reduction in recoverable VAT relating to the Transformation Project of £1.0m, and a £0.6m reduction in its accrued income. Photo: Ellie Kurttz 45 for audiences aged 7 and up audiences for The Tempest Little Angel Theatre returned to the RSC to co-present co-present the RSC to to returned Angel Theatre Little in the Swan Theatre. The production combined puppetry and live music with Shakespeare’s verse. music with Shakespeare’s puppetry and live combined The production in the Swan Theatre. 46 CHAIRMAN’S NOTE

Summary accounts 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 2011. They may not contain sufficient information to allow for a full understanding of the financial affairs of the Corporation. For further information, the full accounts, the auditors’ report on those accounts and the Trustees’ Annual Report should be consulted. Copies of these can be obtained from:

Royal Shakespeare Company Waterside Stratford-upon-Avon Warwickshire CV37 6BB

Basis of preparation of summary accounts The summary accounts have been prepared under the historical cost convention as modified for the revaluation of certain investments and in accordance with the Charities Act, Accounting and Reporting by Charities: Statement of Recommended Practice revised 2005, applicable UK Accounting Standards, and the Royal Charter of Incorporation on the basis of a going concern which assumes that sufficient funds will continue to be forthcoming from Arts Council England to enable the Royal Shakespeare Company to continue as a financially viable concern.

The full annual accounts were approved on 21 July 2011 and were delivered to the Charity Commission on 16 August 2011. The accounts have been audited by a qualified auditor, Baker Tilly UK Audit LLP, who gave an audit opinion which was unqualified.

The summarised accounts set out on pages 48 and 49 are the responsibility of the Board.

Sir Christopher Bland RSC Chairman of the Board

14 October 2011 47 INDEPENDENT AUDITORS’ We have examined the summarised financial STATEMENT TO statements of The Royal Shakespeare Company for the THE BOARD year ended 31 March 2011 set out on pages 48 and 49. Respective responsibilities of the trustees OF THE ROYAL and the auditor The trustees are responsible for preparing the SHAKESPEARE summarised financial statements in accordance with applicable United Kingdom law and the COMPANY recommendations of the charities SORP.

Our responsibility is to report to you our opinion on the consistency of the summarised financial statements within the summarised Annual Report with the full annual financial statements and the Trustees’ Annual Report.

We also read the other information contained in the summarised Annual Report and consider the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the summarised financial statements. The other information comprises only the Financial Review and Chairman’s Note

We conducted our work in accordance with Bulletin 2008/3 issued by the Auditing Practices Board.

In our opinion the summarised financial statements are consistent with the full annual financial statements and the Trustees’ Annual Report of The Royal Shakespeare Company for the year ended 31 March 2011.

We have not considered the effects of any events between the date on which we signed our report on the full annual financial statements (21 July 2011) and the date of this statement.

Baker Tilly UK Audit LLP Statutory Auditor St Philips Point Temple Row Birmingham B2 5AF

14 October 2011 48

CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES for the year ended 31 March 2011 Operations/ Unrestricted unrestricted designated Restricted Endowment Total funds Total funds funds funds funds funds 2011 2010 £’000 £’000 £’000 £’000 £’000 £’000 Incoming resources Incoming resources from charitable activities Grants receivable 15,242 - - - 15,242 15,590 Income from productions, tours and theatre operations 8,260 - - - 8,260 8,584 Learning and participation income 567 - 493 - 1,060 1,043 Incoming resources from generated funds Voluntary income Grants receivable - - 15,497 - 15,497 24,012 Income from sponsorship and donations 2,106 3 2,365 - 4,474 6,441 Activities for generating funds Trading income from subsidiaries 1,457 - - - 1,457 881 Share of income from joint venture 647 - - - 647 - Licensing of rights 434 - - - 434 557 Investment income and interest receivable 242 3 47 - 292 319 Total incoming resources including joint venture 28,955 6 18,402 - 47,363 57,427 Less: Share of joint ventures’ gross income (647) - - - (647) -

Total incoming resources 28,308 6 18,402 - 46,716 57,427

Resources expended Charitable activities Productions and theatre operations (26,507) (543) (1,093) - (28,143) (27,298)) Learning and participation expenditure (1,670) - (507) - (2,177) (2,173) Redevelopment costs - - (4,472) - (4,472) (2,321)

Costs of generating funds Costs of generating voluntary income (730) - - - (730) (738) Trading expenditure of subsidiary (1,687) - - - (1,687) (893)

Governance costs (129)) - - - (129) (82)

Total resources expended (30,723) (543)) (6,072) - (37,338) (33,505)

Net (outgoing)/incoming resources before joint venture (2,415) (537) 12,330 - 9,378 23,922 Share of net loss in joint venture (41) - - - (41) - Net (outgoing)/incoming resources before gains, losses and transfers (2,456) (537) 12,330 - 9,337 23,922 Transfers between funds 2,832 300 (3,132) - - - Net incoming/(outgoing) resources before other recognised gains and losses 376 (237) 9,198 - 9,337 23,922 Other recognised gains/(losses) Gains/(losses) on investment assets 76 - 55 (58) 73 1,580 Gains on revaluation of property - - - - - 3,000 Actuarial (losses)/gains on defined benefit pension scheme (437) - - - (437) 667

Net movement in funds 15 (237) 9,253 (58) 8,973 29,169

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

Total funds carried forward 6,384 9,136 82,272 4,567 102,359 93,386 49

CONSOLIDATED BALANCE SHEET OF THE CORPORATION at 31 March 2011 2011 2010

£’000 £’000 £’000 £’000 Fixed assets Tangible fixed assets 88,400 76,075 Intangible fixed assets 58 73 Listed investments 7,720 7,741 Investment in joint venture – Share of assets 3,392 3,186 Share of liabilities (433) (186)

2,959 3,000

99,137 86,889 Current assets Stock and work in progress 2,027 1,046 Debtors 2,446 4,427 Cash at bank and in hand 7,807 13,938

12,280 19,411 Creditors: amounts falling due within one year (9,865) (13,740)

Net current assets 2,415 5,671

Total assets less current liabilities representing net assets excluding pension asset 101,552 92,560

Defined benefit pension scheme asset 807 826

Net assets including pension asset 102,359 93,386

Endowment funds 4,567 4,625

Restricted funds 82,272 73,019

Unrestricted funds General operating fund 5,577 5,543 Defined benefit pension scheme surplus 807 826 Designated funds 9,136 9,373

Total unrestricted funds 15,520 15,742

Total funds 102,359 93,386

These accounts were approved by the Board on 21 July 2011, authorised for issue and signed on its behalf by:

Sir Christopher Bland John Hornby 50 51

Corporate Members Patrons Circle Gold Mr and Mrs Brian McGowan Baker Tilly The Hon Rupert Carington Hilary McGowan Birmingham Airport Peter and Leanda Englander David and Mary McKeith We would like to thank everyone who has donated to Bravissimo Rosalind and Alan Hearne Kerry and Patricia Milan the RSC in 2010/11 including all of our donors who wish Drivers Jonas Deloitte Elizabeth and Andrew Jeffreys Barbara and Ed Mills* George Pragnell Richard and Sarah Jones Michael and Sheila Mills to remain anonymous. Grove Industries Ltd Marcia Whitaker* Barbara Minto Honeywell Control Systems Limited Brian and Sheila Morris INBEV UK Limited Patrons Circle Silver Genevieve Muinzer and Nick Segal Innotech Advisers Limited David and Elizabeth Acland Jack Murphy RSC International RSC Transforming our Constance Travis Charitable Trust Lansons Communications Arlene Altman* Jane and Howard Nead 29th May 1961 Charitable Trust Lazard Sir Eric and Lady Anderson Mrs Gillian Nussey MBE Council Theatres Campaign Sir Siegmund Warburg's Voluntary Settlement Like Minds UK Robert Anthoine* Gilbert Omenn and Martha Darling* Garfield Weston Foundation Lloyds Banking Group Jeffrey Archer Margaret and John Pegler In order to raise the profile of the RSC and Public funders Mary Weston CBE NM Rothschild & Sons Ltd Patricia Baker The Porter Foundation its Transformation internationally, a leading The National Lottery Leslie and Abigail Wexner* Tesco Mr and Mrs Lawrence Banks Dr A K Prasad group of artists, philanthropists and advocates through Arts Council England The Wolfson Foundation UMECO plc Captain Peter Barnett and Marie Prutton has established the RSC International Advantage West Midlands Mrs Sandra Billinge Christopher Marek Rencki Council. The Company is delighted to Private funders Donations and Grants Maggie Best Mr Clive Richards OBE recognise this important group. Marie Alexander Bank of America Merrill Lynch Mrs E Bjorkman Patricia Rigby Jeffrey and Mary Archer The Annual Fund 2010/11 Berry Bros & Rudd Martin Bowley QC David Rocklin Dame Judi Dench DBE Honorary Chair John Ballantine Clore Duffield Foundation Dr and Mrs Douglas Bridgewater Mark and Jackie Rowlands Lady Sainsbury of Turville CBE Chair Lord and Lady Bhattacharyya After ticket sales and financial support from The Equitable Charitable Trust Roger Cadbury Sally and Anthony Salz Sir Christopher and Lady Bland Arts Council England, our most significant Esmée Fairbairn Foundation Russ and Linda Carr Bob Scott Sir Eric and Lady Anderson Lord and Lady Blyth of Rowington source of income is through grants and Sidney E. Frank Foundation Liz Crosoer Andrew and Edith Seth Frances Barber David and Sandra Burbidge donations. Individuals, trusts and companies Garfield Weston Foundation Gillian Davies Peter Sharpe MBE Sir Christopher and Lady Bland CHK Charities Limited have all helped to develop pieces of new work, The Gatsby Charitable Foundation Jill Davies-Bonnar Kate Shea Lee C Bollinger Michael and Susan Clasper train artists in our Ensembles and introduce Paul Hamlyn Foundation Irving David Mr Denys C Shortt Michael Boyd Michael and Felicia Crystal young people throughout the country to the Drue Heinz Trust* Lavinia A Davison Linda and Paul Sivelle David and Sandra Burbidge Miranda Curtis work of Shakespeare and live theatre. In The Jerwood Charitable Foundation Jane Drabble OBE Mrs Amanda Smith Michael and Susan Clasper Felix Dennis short, they have all contributed to the work The Kovner Foundation Ray and Eileen Dunn Brian Smith Michael and Felicia Crystal Jane and Howard Epstein* that makes the RSC one of the foremost theatre The Nomura Charitable Trust Robyn Durie Fiona Stockwell Miranda Curtis The Eranda Foundation companies in the world. The Polonsky Foundation Sir John and Lady Egan David Tang OBE Sinead Cusack Allan and Nesta Ferguson Charitable Trust The Progress Foundation Victoria Ellison Ben Tichband Gregory Doran and Sir Tony Sher KBE Fidelity UK Foundation For information on how to support the work RSC Friends Rev A Farrington Susan Tomasky* Mark and Sandy Foster Mark and Sandy Foster of the RSC visit www.rsc.org.uk/join-us Ian and Catherine Ferguson Robert and Felicity Waley-Cohen Tony and Linda Hales The Foundation for Sport and the Arts In memory of Jean Moulson Rankin Family Frost Edgar and Judith Wallner Sir Peter Hall CBE The Foyle Foundation Anne Gardiner Patricia Whitehead Charlotte Heber Percy The Gatsby Charitable Foundation Corporate Partners Dr J Gibbs Dr John Wollaston Vikki Heywood J Paul Getty Jnr Charitable Trust Gill Gimes Brian Wright Michael and Mercedes Hoffman* Tony and Linda Hales Supporters Ensemble Peter Gray Sue and John Zealley The Rt Hon Lord and Lady Iliffe Christine Hands Ros and Alan Haigh Laurence Isaacson CBE* Michael and Mercedes Hoffman* Artists Circle Val Hamilton We would also like to thank all the RSC Sir Derek Jacobi CBE The Iliffe Family Charitable Trust Lady Alexander of Weedon Mike Hammond Shakespeare’s Circle members for their Tussi Kluge* Laurence Isaacson CBE* The Anson Charitable Trust Brenda Harding continued support. Bruce and Suzie Kovner* Clive Jones and Vikki Heywood Neil and Ann Benson David Harrison MA Nick and Alyssa Lovegrove The John W Kluge Foundation* Sir Christopher and Lady Bland Mrs Drue Heinz DBE* Jon and Lillian Lovelace* The Kresge Foundation David and Sandra Burbidge John Hemingway and Robyn Oliver Sir Ian McKellen CBE RA Land Securities Sir Ronald Cohen and Ms Sharon Harel Lady Heseltine RSC America Inc Doug and Julie McPherson* LJC Fund Michael and Felicia Crystal Leonard Hoffmann Alexander Patrick DL and Valerie Patrick Nick and Alyssa Lovegrove* Mark and Sandy Foster Mr and Mrs Philip Holland Royal Shakespeare Company America is Mark Pigott OBE* Jon and Lillian Lovelace* Lydia and Manfred Gorvy* Jean Hooper proud to support the Royal Shakespeare Ian Ritchie CBE RA and Doug and Julie McPherson* Tony and Linda Hales Sir Robert and Lady Horton Company. United States taxpayers interested Jocelyne van den Bossche Catherine and Kenneth Mountney William and Kate Hobhouse Mary Hunt MA (Oxon) in supporting the unique work of the RSC Royal Shakespeare Theatre Trust Dr Barbara Oldham Michael and Mercedes Hoffman* James Joll may contribute to Royal Shakespeare Jonathan Slinger PACCAR Foundation Laurence Isaacson CBE* Professor Vivien Jones Company America, a tax-exempt, 501(c)(3) Raymond and Phyllis Smith* The Patrick Trust Ian and Caroline Laing Professor Joel Kaplan and Dr Sheila Stowell designated organisation. Contributions to Sir Patrick Stewart CBE PF Charitable Trust Nick and Alyssa Lovegrove Olivia Kew-Fickus and Joseph Fickus RSC America by US taxpayers are tax- Stratford-upon-Avon Town Trust The Pragnell Family Dina and Stephen Lucas Sue Knox deductible to the extent permitted by law. David Suchet CBE The Rigby Foundation In-kind support Michael and Jilli Priest Sir Eddie Kulukundis OBE Peter and Nancy Thompson The Sir John Ritblat Family Foundation Grey London A Rosemary Said David Lanch For further information Mary Weston CBE Sir Simon and Lady Robertson Lady Sainsbury of Turville CBE The Limoges Trust Telephone: 00 1 212-247-1705 Leslie and Abigail Wexner* The Rockefeller Foundation* Partnerships Peter and Nancy Thompson Sir Timothy and Lady Lloyd The Ohio State University - a three year education www.rscamerica.org Royal Shakespeare Theatre Trust Mary Weston CBE James and Béatrice Lupton partnership which uses the tenets of Stand Up For In memory of the late Elnora Ferguson RSC Friends Dr John Macaskill Shakespeare, our manifesto for Shakespeare in schools, Lady Sainsbury of Turville CBE Chairman and John Kluge, founding members The Shubert Organization* Juliette and Miles Macnair to raise the aspirations, achievements and literacy of Ric Wanetik Executive President of the International Council Raymond W and Phyllis L Smith* A Mandela children and young people across Ohio. Laurence Isaacson CBE Stratford-upon-Avon Town Trust Jacqueline B Mars* Dr Douglas McPherson Liam and Jackie Strong Mike and Jill Mata University of Warwick - an ongoing education Mark Pigott OBE The Schroder Foundation partnership through which we deliver Postgraduate Sharon McCullough Peter and Nancy Thompson courses for teachers and RSC ensemble actors. *Supporters of RSC America Inc 50 51

Ivan Douglas Nicholas Bell Events and Hege Bleidvin- THE COMPANY Costume Department David Harris Exhibitions Sandaker Administrator Design Engineers Carlotte Bailey Kathleen Bradley Denise Edwards David Jones Events & Exhibitions Hayley Burgess Advisory Director’s Helen Tyson Head of Ladies Charles MacCall Production Assistant Kate Butler Office Reservations Manager Costume Senior Draughtspeople Geraldine Collinge Claire-Louise Cairns John Barton David Williams Susie England Brett Weatherhead Director of Events and Jocelyn Carter Advisory Director Restaurant Manager Skilled costumier (Mens) Draughtsperson Exhibitions Alexandra Coke Julian Gilbert Martyn Wood Nicky Cox Lorraine Deller Artistic and Associate Chaperone Head of Footwear Project Draughtsperson Events Co-ordinator Charlotte Englishby Director’s Office Jenny Wilson and Armoury Gary Wright Beatrice Hendry Fiona Freeman Michael Boyd Brenda Gollnast Interim Logistics Exhibitions Co-ordinator Ellen Frost Artistic Director Honorary Chaplain Jane Rogalski Manager Georgia Mazower Hannah Greaves Amanda Carroll Revd Martin Gorick Senior Costumiers Events & Exhibitions Samantha Harding Assistant to the (Mens) Education Manager (Materniity Susan Harris Associates Cleaners Emma Harrup Head Fiona Clayton LPN Cover) Jenna Harvey Gregory Doran Paula Adlem of Mens Costume Programme Developer Helen Pollock Roy Holton Chief Associate Director David Aiken Charlotte Hobbs Rob Elkington Assistant to Director of Adam Hughes David Farr David Allcock Senior Dye Technician Head of RSC/Warwick Events and Exhibitions Daniel Jones Rupert Goold Rod Barnet Helen Hughes Centre for Teaching Nicola Salmon Rajvinder Kaur Deborah Shaw Adrian Barr Head of Dye Shakespeare Events and Exhibitions Laura Keating Roxana Silbert Anthony Burgess Natalie Kurzcewski Rob Freeman Assistant Ann Kelly Associate Directors Nanezda Cirule Principal Cutter (Mens) Co-ordinator Open Catherine Simpson Ben Luntley Anthony Neilson Elizabeth Clifford Yvette Manhood Access Programme Collection Officer Hilary Lynch Literary Associate Richard Cole First costumier (Mens) Nicole Gallagher Jo Whitford Claire Martin Niamh O’Flaherty Lisa Cowley Alistair McArthur E-Learning Developer Events and Exhibitions Katie McFaul World Shakespeare Linda Easthorpe Head of Costume Sonia Hyams Manager Kate Mills Festival Co-ordinator Jamie Fraser Zarah Meherali Lead Practitioner - Mardi Widdowson Carol Morris Tom Piper Alison Hannabus Assistant Costume Open Access Assistant to the Susan Newgas Associate Designer David Hannabus Supervisor Fiona Ingram Director of Events Bayley Pielow Helen Pollock Alex Hillsdon Elaine Moore Head of Head of Open Access and Exhibitions Ellie Richards Assistant to the Robert Holloway Hats and Jewellery Tracy Irish (Maternity Cover) Hefin Robinson Associate Directors Yvonne Hudman Alan Smith WSF Education Alan Robson Jane Tassell Michael Payne Acting Head of Programme Developer Executive Director’s Lynsey Rogers Assistant to the Rosemary Payne Footwear and Armoury Sarah Keevill Office Karen Rowley Artistic Director Ilona Rutko Jessica Smith First Assistant to Director Vikki Heywood Malley Salter Joanna Szymanska Footwear Technician of Education Executive Director Kevin Scott Assistant Directors Mark Usher Margaret Wakelin Jamie Luck Lyndon Jones Emily Showell Ben Brymor Irena Wisniewska Senior Milliner Lead Practitioner - LPN Assistant to the Nicola Smith Lisa Blair Cleaners Veronika Weidenhiller Alix Manning Executive Director Steven Smith Michael Fentiman Neil Fletcher Stock Keeper/Buyer Education Associate and Finance Director Dennis Southall Jack McNamara Manager Practitioner (Jerwood) Michele Percy Mary Taylor Drew Mulligan Elaine Moss Costume Hire Jacqui O’Hanlon Executive Assistant and Fiona Tursner-Upcott Supervisor Lindsey Archer Director of Education Clerk to the Governors Susan Whatmore Audience Insight Anna Taylor Lizzie Rawlinson Hannah Williams Becky Loftus Commercial Costume Store Interim Education Film Unit David Wimperis Head of Audience Sara Aspley Director of Assistants Partnership Chris McGill Linda Wimperis Insight Commercial Services Sarah Plowright Co-ordinator Assistant Film Director Sabrina Yates Julie Goode Costume Store Miles Tandy James Oprey Front of House Automation PA to Director of Administrator Head of Education Resident Film Maker Assistants Adam Harvey Commercial Services Stephanie Smith Partnerships Laura Benson Head of Automation and Director of Sales Costume Store Programme Finance Front of House Ian Kilpatrick and Marketing Manager Melanie Whitehead Ron Codrington Co-ordinator Richard Sharp Chris Hill Director of Education Insight Pensions and John Bradfield Automation Technicians Sales and Marketing Design Manager Insurance Officer Angela Bowman Ben Leefe Emma Bailey Linda Lloyd Tony Boyd Williams Daniel McDonald Company and Stage Georgia Lowe Engineering Bev Milne Abigail Carter Gillian Stephenson Management Trainee Designers Services Joyce Natzler Nikki Cockayne Senior Automation Michael Dembowicz Mark Farmer Theresa York Lesley Frampton Technicians Jondon Development Daniel Tilley Accounts Services Jackie Green Richard Smith Company Managers Helen Cave Maintenance Officers Rebecca Hallworth Principal Automation Suzanne Bourke Senior Manager Events Electricians Adrian Gelston Vivien Hefferman Technician Robbie Cullen and Stewardship Martin Simms Electrical Payroll Manager David Mears Haydn Wright Alix Harvey-Thompson Nicola Clements Test Technician (Maternity Cover) Anthony Peters Senior Automation Pip Horobin Events and Irina Gorbunowa Nicola Smith Programmer Heidi Lennard Stewardship Officer Enterprise Senior Management David Stevens Francis Lynch Matthew Collins Michelle Morton Accountant Valerie Thompson Casting Stage Managers New Business and e- Programme Becky Harris Theatre Guides Matthew Dewsbury Francesca Finney Philanthropy Officer Co-ordinator Payroll Manager Holly Clarke Casting Administrator Jenny Grand Michele Cottiss Kevin Wright Anthea Dauncey Audience Care and Hannah Miller Gabrielle Sanders Annual Fund Officer Commercial Manager Chris Harris Tours Co-ordinator Head of Casting Nina Scholar Joe Foulsham Helen Keyte Lisa Deane Helena Palmer Alison Tanqueray Major Gift Manager Estates Doreen Massey Deputy Front of House Casting Director Juliette Taylor Caroline Jones Sue Allen Srephen Mortimer Manager Janine Snape Deputy Stage Managers Development Nancy Cooper Beth Payne Elizabeth Green Assistant Casting Christie Gerrard Associate Linda Cousins Ben Waters Suzanne Harris Director Amy Griffin Catherine Kernot Anthony Helm Management Yvonne Harris Anastasia Kaimakamis Senior Manager Chapel Lane Reception Accountants Sheelagh Saunders Catering Mark McGowan Major Gifts Officers (Evening) Sarah Hedgecock Duty Managers Ricardo Buquet Emma McKie Hamble Padden Nanezda Cirule Internal Auditor James Kitto Bars Manager Will Treasure Head of Annual Fund Ann Kelly Antony Lines Front of House Manager Ryan Edge Joanna Vimpany (Maternity Cover) Postal Assistants Finance Systems Lucy Robertson Senior Sous Chef Assistant Stage Managers Kirstin Peltonen Grug Davies Manager Assistant Front of Rob Fredrickson Head of Annual Fund Estates Director Andrew Parker House Manager Head of Catering Costume Andrew Rye Suzanne Harris Director of Finance Elizabeth Wainwright Nick Funnell Rosie Armitage Stewardship Manager Properties Manager and Administration Head of Theatre Head Chef Sophie Brassington Louise Turner Suzanne Jones PA to Adam Pearson Operations Theodore Gibson Ruth Wade Research Manager the Director of Estates Payroll Officer Monica Szambelan First Assistants (Mens) Angela Vellender Sally Luntley Mike White Financial Gardener Antal Viszmeg Judith Clarke Corporate Partnerships Gemma Vowles Services Manager Robert Holt Assistant Restaurant Principal Cutter (Ladies) Manager Chapel Lane Reception Head Gardener Managers Jenny Cowgill Graeme Williamson Officers (Daytime) Front of House Rob Hall Skilled Dye Technician Acting Director of Christopher Oliver Sarah Alford Graphic Design Assistant Bars Sarah Collins Development Fire Officer James Allen Clare Booth Manager Deborah Jaunai-Recardo Sue Olver Annette Ashfield Graphic Designer Marta Llovet Canales Skilled costumiers Drawing Office Harry Teale Toby Barnett Matthew Boss Catering Co-ordinator (Ladies) Alan Bartlett Estates Co-ordinators Margaret Bidgood Artworker Dale Schaffer Helen Davenport Head of Construction Paul Tursner-Upcott Andrew Birnie Annette Bowery Sous Chef First costumier (Ladies) and Technical Design Senior Fire Officer Hannah Blaikie Digital Graphic Designer 53

Luke Herron Matthew Peel Richard Sandland Geoff Locker Ellen Reade Sound Graphic Designer Richard Power Music Co-ordinator Technical Director Jane Trotman Steven Atkinson (Print and Digital) David Richardson John Woolf Simon Marsden Marilyn Walton Sound Technician Gina Print Lauren Watson Head of Music Head of Production Sales Operators Sarah Hollyman Print Buyer and First Lighting Technicians Elizabeth Nicholson Kim Goodman Sales Gerry Marsden Graphics Co-ordinator Claire Gerrens Nursery PA to Technical Director Manager (Operations) Jonathan Ruddick Graham Rolfe Lighting Technician Laura Cameron David Tanqueray Steve Haworth Head of Chris Vernon Senior Graphic Designer Tim Baxter Nursery Assistant Assistant Production Sales and Ticketing Claire Windsor Andy Williams Tony Manthe Victoria Alcock Manager Melissa Heke First Sound Technicians Head of Graphic Design Maxwell White Kate Clifford Alun Thomas Staff Pauline Humphrey Andrew Franks Creative and Visual Georgina Edwards Scheduling Co-ordinator David Woodings Martin Slavin Green Room Media Technicians Ewelina Figlewska Sales Operators Senior Sound Sarah Furniss Simon Bayliss Dawn Francis Project Office (Support) Technicians Carole Sambrook-Hurst Assistant Head Elspeth Harding Peter Wilson Gerry Martin Sales Jeremy Dunn Veronica Treharne of Lighting Elizabeth Knowlton Project Director Manager (Systems) Head of Sound Catering Assistants Vince Herbert Nicola Lambourn Katie Martin Sylvia Hall Head of RSC Lighting James Pavitt Property Workshop Membership Sales Stage Green Room Supervisor June Prickett Maggie Atkins Administrator Nick Dobson Ruth Treharne Literary Department Anna Randall Malcolm Brain Samantha Thompson- Jess Gallagher Catering Manager Réjane Collard Nursery Practitioners Carl Taylor Taylor Tom Mellon Literary Assistant Christine Green Mel West Administration Grant Skidmore Health and Safety Pippa Hill Deputy Head of Nursery Prop Technicians Assistant Luke Skidmore Gail Miller Literary Manager Loraine Mitchell John Evans Lucy Thorpe Health and Safety Tarell Alvin McCraney Nursery Administrator Head of Property Scenic Art Ben Young Advisor RSC/CAPITAL Centre Yvonne Robbins Workshop Rebecca Ashley Stage and Props Jo Young International Playwright Deputy Head of Nursery Sharon Foley Head of Scenic Art Technicians (Grade 2) Health and Safety/ in Residence Kate Robinson Props Supervisor Lara Etherton Tom Horton Training Facilitator Jeanie O’Hare Head of Nursery Rufus McDermot Scenic Artist Steve Keeley Company Dramaturg First Assistant Prop Stephanie Kinsella Simon Packer Human Resources Press and Maker First Assistant Scenic Stage Technicians Libby Alexander London Operations Communications Christopher Simmonds Artist (Grade 1) Training and Carl Allen Dean Asker Press and Property Workshop Alice Watkins Acting Craig Almond Development Manager Wendy Turnstill Communications Apprentice Head of Scenic Art Matt Aston Rachel Barnes Clapham Caretakers Officer Mark Collins HR Administrator Lauren Rubery John Benfield Retail Scenic Engineering Senior Stage Technicians Lucy Carr Training London Facilities Head of Digital Media Deirdre Bayley Phil Malins Darren Guy and Development and Operations Lucy Billiard Sheila Day Gary Matthews Alistair Pitts Assistant Administrator Kathleen Bradley Jennifer Farmer Martin Robinson Tom Watts Adele Cope Communications Sophie Jarrett Carl Simons Kevin Wimperis Director of Human Maintenance and Assistants Sarah Moloney Scenic Engineers Specialised Senior Resources Electrical Jane Ellis Hayley Roberts Daren Ainsworth Stage Technicians Rachel Edmonds Fred Ashton Communications Gwen Rogers Kevin Neville Roger Haymes Director of Human Rob Berry Manager Imogen Watts Ian Rhind Stage Supervisor Resources (Maternity Team Leaders Danny Evans Shops Sales Assistants Senior Engineers Cover) Steve Cross Content Manager Biddy Carter Steve Bauckham Stage Door Jessica Harris Maintenance Assistant Philippa Harland Shops Senior Supervisor Chris Pepler Sue Allen Assistant HR Manager Adam Dickens Head of Press Jon Chandler Antony Smith Linda Cousins Darrell Mitchell Hard Service Manager Elsie King World Stores Senior Supervisor Welder Fabricators Pat Evans HR Manager Simon Maycock Shakespeare Festival Lynne Dunningham Jacob Robbins Anthony Helm Elizabeth Nicholson Shaun Oliver Communications Officer Paul Godfrey Rafal Wasilewski Sandra Holt PA to HR Director Engineers Lucien Riviere Senior Sales Assistants Assistant Engineers Shirley Penderell- Shirley Prenton-Jones Bill Rostron PA to Director of Pippa Green Tobias Robbins Goodricke Occupational Health Maintenance Manager Communications Merchandiser Acting Scenic Stage Door Keepers Advisor Paddy Sugrue Liz Thompson Sarah Holt Engineering Manager Contracts Manager Director of Mail Order Senior David Tinson Scenic Text and Voice IT Communications Supervisor Engineering Manager Cicely Berry Director Debby Bailey Marketing Nada Zakula Sarah Lovsey of Text and Voice Administrator Amy Clarke Senior Press Officer Retail Development Scenic Workshop Alison Bomber Senior Christine Chester Marketing Officer Manager Richard Brain Text and Voice Coach Database Developer (Corporate) Producers Lydia Winder Julian Crang Michael Corridge Wayne Evans David Collins Jeremy Adams Retail Sales Manager David Dewhurst Voice Practitioner Systems Manager Head of Marketing Kevin Fitzmaurice David Watson Lyn Darnley Head of Jacqui Hamp Natasha Goodge Producers Running Wardrobe Senior Scenic Text, Voice and Artist Support Services Marketing Officer Gareth Collins Heather Burtt Carpenters Development Manager (Productions) Zoe Donegan Josie Horton Andrew Clark Jane Hazell Ruth Harris Tessitura Elin Joseph Assistant Producers Assistant Wardrobe Matthew Jacques Manager Text, Voice Co-ordinator and Assistant Marketing Francesca Storry Mistresses Ross Kitching and Artist Development Manager Officer (Corporate) Assistant to the Jennifer Binns Benjamin Morris Development Alex Kirkwood Jo Litt Marketing Producers Deputy Wardrobe Gavin Reeves Web Developer Manager (Corporate) Gareth Collins Mistress Carpenters Wigs and Make-Up John Mills Anna Mitchelson Zoë Donegan Carolyn Daniels Paul Collins Kimberley Boyce Paul Willett Marketing Manager Assistant Producers Amy Gillott Assistant Machinist Sindy Cooper It Support Specialists (Productions) Josh Hill Wardrobe Mistresses Will Fagan Kirsten Job Chris O’Brien Rebecca Rimmer Matilda Production Jessica Allen Sam Reynolds Gemma Satterthwaite Head of Information World Shakespeare Assistant Joy Ashford Scenic Workshop Assistant Wig and Technology Festival Marketing Sally Hoskins Michelle Davies Apprentices Make-Up Artists Matthew Reading Officer Production Yvonne Gilbert Paul Hadland Scenic Lavinia Blackwell Network Manager Co-ordinator, Matilda Keith Lovell Workshop Manager Charlotte Griffiths Richard Santy Movement Sheila O’Sullivan Michael Nolan James Hicks Laura Odom It Support Technician Lucy Barriball Assistant to the Linda Williams Brian Robbins Rachel Seal Movement Producers Dressers Deputy Scenic Managers Senior Wig and Legal Administrator Victoria Picken Hamish Peters Roger South Make-Up Artists Caroline Barnett Struan Leslie Rachel Wall Deputy Wardrobe Storeman Sandra Smith General Counsel Head of Movement Planning Co-ordinators Master John Speakman Wig and Make-Up Emma Welch Denise Wood Scenic Assistant Department PA to General Counsel Music Lead Producer Sales and Ticketing Supervisor Kate Andrew Patricia Boycott Sales Security Lighting Music Manager Production Office Manager (Productions) Michael Breen Caroline Burrell David Gallagher Simon Ash Yolanda Cross Elliot Chalmers Keith Cookson Music Project Senior Production Emma Fleming Victor Landsbury Simon Spencer Manager Manager Susan Gardner Robert Skinner Specialised Senior James Jones Peter Bailey Elizabeth Gill Elliot Williams Lighting Technicians Nicholas Lee Deputy Technical Director Norma Henderson Security Officers Jake Brain Kevin Pitt Julian Cree Margaret Jackson Matthew Hemmings Kevin Carson Ian Reynolds Technical Manager Dolores Manteigna Paul Parker Chris Clark Andrew Stone-Fewings Mark Graham Defente Ben Wickham Mark Distin Musicians Peter Griffin David Mears Security Supervisors Jason Hackett Bruce O’Neil Rebecca Watts Chris Morgan Tim Owen Music Director Production Managers Kerry-Sue Peplow 54

CORPORATE GOVERNANCE

Patron Nominations Committee David Oyelowo Her Majesty The Queen Gilla Harris Chairman Charlotte Heber Percy Yasmin Alibhai-Brown Tim Pigott-Smith President Sir Christopher Bland Neil Rami His Royal Highness Michael Boyd Ian Ritchie CBE RA The Prince of Wales Lord Carter of Barnes CBE Lisa Houghton Reade Sir Geoffrey Cass MA CCMI Rosemary Said Deputy President Jane Drabble OBE Wafic Said Sir Geoffrey Cass MA CCMI Vikki Heywood Lady Sainsbury of Turville CBE Lady Sainsbury of Turville CBE Brockman Seawell Chairman of the Board David Suchet OBE Sir Christopher Bland Audit Committee Meera Syal MBE John Hornby Chairman Michael Wood Deputy Chairman David Burbidge OBE Lady Sainsbury of Turville CBE Robert Clarke FCA Honorary Emeritus David Wolffe Governors Board of Governors Lady Anderson Sir Christopher Bland Governors Charles Flower Professor Jonathan Bate George Alagiah OBE Drue Heinz DBE CBE FBA FRSL Yasmin Alibhai-Brown Frederick R Koch Michael Boyd Professor Jonathan Bate Leonard Mathews OBE David Burbidge OBE CBE FBA FRSL Professor Stanley Wells CBE Jane Drabble OBE Jana Bennett Damon Buffini Malorie Blackman OBE Honorary Governors Noma Dumezweni Sir Christopher Bland Robert Anthoine Mark Foster Lee C Bollinger Philip Bermingham Gilla Harris Michael Boyd Michael Crystal QC Vikki Heywood Damon Buffini Tony Hales CBE John Hornby David Burbidge OBE Sara Harrity MBE Baroness McIntosh of Hudnall Lord Carter of Barnes CBE Martin Iredale (Genista McIntosh) Sir Geoffrey Cass MA CCMI Roger Pringle Paul Morrell OBE Sinead Cusack Ian Rushton Tim Pigott-Smith Elizabeth Dixon Telfer Saywell Neil Rami Jane Drabble OBE Donald R Seawell Lady Sainsbury of Turville CBE Noma Dumezweni Derek Webster Sir Brian Follett Mary Weston CBE Mark Foster Lord Willoughby de Broke Gilla Harris The Town Mayor Vikki Heywood The Chairman, Stratford on John Hornby Avon District Council Laurence Isaacson CBE Director, The Shakespeare Lord Kestenbaum of Foxcote Institute Ian Laing CBE Director, The Shakespeare Sir Michael Lyons Birthplace Trust Baroness McIntosh of Hudnall Paul Morrell OBE Honorary Life Governor Sir William Dugdale Bt CBE 55

ASSOCIATE ARTISTS ADVISORS

Associate Artists Honorary Associate Auditors Roger Allam Artists Baker Tilly UK Audit LLP Alun Armstrong Bill Alexander St Philips Point Desmond Barrit Michael Attenborough Temple Row David Bradley John Barton CBE Birmingham David Calder Cicely Berry CBE B2 5AF John Carlisle David Brierley CBE Brian Cox Peter Brook CBE Bankers Sinead Cusack John Caird Barclays Bank plc Penny Downie Bob Crowley Charities Team Julian Glover Ron Daniels Floor 28 Mike Gwilym Howard Davies CBE 1 Churchill Place Sir Derek Jacobi Dame Judi Dench London E14 5HP Alex Jennings Chris Dyer Estelle Kohler David Edgar Investment Management Barbara Leigh-Hunt Sir Peter Hall CBE Schroder & Co Limited Anton Lesser Terry Hands CBE 31 Gresham Street Richard McCabe Sir Ian Holm CBE London EC2V 7QA Peter McEnery Alan Howard CBE Joe Melia Barrie Ingham Barclays Wealth Katie Mitchell OBE Richard Johnson 1 Churchill Place Gerard Murphy Sir Ben Kingsley London E14 5HP Joanne Pearce Ralph Koltai CBE Roger Rees Barry Kyle Solicitors Simon Russell Beale Jane Lapotaire Bates Wells & Braithwaite Mark Rylance Dame Helen Mirren London LLP Sir Antony Sher Christopher Morley 2-6 Cannon Street Juliet Stevenson John Napier London EC4M 6YH Malcolm Storry Richard Nelson David Suchet CBE Adrian Noble Foot Anstey David Troughton Sir Trevor Nunn CBE 21 Derry’s Cross Philip Voss Timothy O’Brien Plymouth PL1 2SW Dame Harriet Walter Richard Pasco CBE Sir Donald Sinden CBE Harbottle and Lewis LLP Associate Producer Sir Patrick Stewart OBE Hanover House Thelma Holt CBE Dame Janet Suzman 14 Hanover Square David Warner London W1S 1HP Peter Whelan Guy Woolfenden OBE Pinsent Masons LLP 3 Colmore Circus Birmingham B4 6BH

Wragge & Co LLP 55 Colmore Row Birmingham B3 2AS 56

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, number 212481.

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.

The Report and Accounts comply with current statutory requirements, the requirements of the Statement of Recommended Practice “Accounting and Reporting by Charities” (SORP 2005) and of the Royal Charter. Design from The Drawing Room www.drawingroom.uk.com Photo: Ellie Kurttz , the first The Rape of Lucrece Internationally renowned singer and singer renowned Internationally returned O’Sullivan, Camille performer, to perform out of the RSC to come work of piece established provides Studio. The Studio to the time and resources with artists to approaches support innovative work, and new text classical Shakespeare, year. supported this with 19 projects Royal Shakespeare Company Waterside Stratford-upon-Avon Warwickshire CV37 6BB

Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk