National Theatre Annual Report and Financial Statements 2013-14 v2

Annual Report 2013–2014

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nnual Report 2013–2014

National Theatre Annual Report 2013–2014 1

2 Board and Advisers

4 Purpose, Vision and Objectives

6 John Makinson, Chairman

8 Nicholas Hytner, Director

12 Nick Starr, Executive Director

15 The National Theatre on tour

16 Plays and Artists

21 National Theatre Productions

25 Awards

26 National Theatre 50th Anniversary celebrations

30 Audiences

33 National Theatre Live, Digital Innovation and Broadcast

37 Learning

40 Public Engagement

42 National Theatre Future

44 NT Studio

46 Leadership

48 Finance and Sustainability

55 Fundraising

56 Supporters

64 Performers

68 NT Associates, Committee Membership and Heads of Departments

69 Photo captions

Annual ReportFor the 52 weeks ended 30 March 2014

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

The full Financial Review and Financial Statements (and this Annual Report) are available to download at www.nationaltheatre.org.uk/annualreport The Trustees’ Report comprises those items on pages 2 – 5 and12 – 69 of the Annual Report and pages 1 – 20 of the Financial Statements.

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

2 National Theatre Annual Report 2013–2014 National Theatre Annual Report 2013–2014 3

Board Members

Chairman John MakinsonPeter Bennett-JonesDame Ursula Brennan DCBDominic Casserley Susan Chinn CBETim ClarkHoward DaviesLloyd Dorfman CBEGlenn Earle Aminatta FornaFarah Ramzan Golant CBERos HaighNeil MacGregorKate Mosse OBEJames PurnellClive Sherling

Executive

Director* Nicholas HytnerExecutive Director Nick Starr CBEChief Operating Officer Lisa BurgerChief Executive Designate Tessa Ross Director Designate Rufus Norris

Associate Directors

Sebastian BornHoward DaviesMarianne ElliottRufus NorrisBen PowerBijan Sheibani

Bankers

Coutts & Co440 Strand, London WC2R 0QS

Auditors

PricewaterhouseCoopers LLP7 More London Riverside London SE1 2RT

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

‘A swirling, postmodern maelstrom of a production, where modern dress and medieval garb collide.’ Andrzej Lukowski, Time Out

Board and Advisers

4 National Theatre Annual Report 2013–2014

Our PurposeThe National Theatre is dedicated to the constant revitalisation of the great traditions of the British stage and to expanding the horizons of audiences and artists alike. In its three theatres on the South Bank in London, it presents an eclectic mix of new plays and classics from the world repertoire with seven or eight productions in repertory at any one time. The National Theatre aspires to reflect in its repertoire the diversity of the nation’s culture.

With a commitment to openness, wide-reaching engagement and access for everyone, the National shares its resources, energy and creativity with audiences and theatre-makers around the globe; using its Studio for research and development of new work, offering

extensive learning and public engagement programmes, touring and broadcasting in the UK and internationally, and creating innovative digital content.

Our Vision

The National Theatre strives to be a national centre of theatrical arts, central to the creative life of the country and unmatched in the world for scale, range of repertoire and audience reach. It aspires to produce to the highest standards by attracting the best artists and staff and by providing an environment which stimulates them to realise the fullest extent of their talents. Education and public engagement are founding principles for the NT and are central to our vision of the future.

Our Objectives— The Artistic Programme and

Artistic Development. The NT presents a balanced artistic programme, staging around 20 productions a year from the whole of world drama, with a specific responsibility for the creation of new work and representing the widest range of voices.

— Audiences. The NT is tireless in trying to reach more people, broaden our audiences and give them an unparalleled experience.

— Learning & Engagement. The NT aims to be an inspirational, internationally recognised resource for lifelong learning about and through theatre.

— Broadcast. The NT broadcasts a selection of its repertoire to cinemas in the UK and internationally.

— Leadership. As a national theatre, the NT takes responsibility for fostering the health of the wider British theatre.

— Sustainability. The NT operates in a financially and environmentally responsible manner, whilst striving to increase self-generated income.

— Innovation. The NT actively considers the way in which it operates, and strives to innovate in all areas of its activity.


National Theatre Annual Report 2013–2014 76 National Theatre Annual Report 2013–2014

The National Theatre’s Board had three challenging priorities during the 12 months covered by this review. The first was to ensure that the NT’s 50th birthday was celebrated with a creative and commercial flourish; the second was to guide NT Future, our £80m redevelopment programme, towards a successful conclusion; and the third was to provide a smooth and compelling transition from the most successful executive team in the theatre’s history to a new leadership possessing the skills and experience to build on the achievements of the past decade, as well as the confidence and vision to steer the NT in fresh and exciting new directions.

The achievements of the year are documented in detail later in this report. In a nutshell, we presented more theatre to more people in more places and formats than ever before. But it was a birthday year to remember in so many other ways. One million people watched BBC Television’s transmission of Live from the National Theatre: 50 years on stage, an extraordinary celebration of the NT’s first half-century orchestrated and directed by Nicholas Hytner.

Throughout the year visitors to the NT will have seen (and occasionally heard) the physical evidence of our ambitious NT Future project. We have kept the Olivier and Lyttelton theatres running at full throttle – and close to full capacity – over this period of construction, while The Shed has offered new and often younger audiences a breathtaking mix of contemporary theatre during the period of the Cottesloe’s closure. By the time this annual report is published, the temporary construction walls will be coming down and visitors will have the opportunity to experience a dramatically enlarged and enhanced National Theatre. New restaurants and bars are preparing to receive customers, the Clore Learning Centre and Max Rayne Centre are approaching completion, and the Cottesloe theatre will reopen as the Dorfman in September. There is more work to be done over the next 12 months but the project is on track for a successful completion, and all but £3m of the £80m fund-raising target has been committed.

It is appropriate that I wind up this statement by paying tribute to Nicholas Hytner and Nick Starr, respectively the Director and Executive Director of the National Theatre, because none of the achievements that I have listed earlier in this narrative would have been possible without their creativity, drive, intelligence and determination. They have led the NT for over a decade and in that time the NT’s creative reputation, commercial income, international reach, and commercial production capacity, on screens as well as on stages, have grown in ways that no-one could have dared to predict when they set out. Nick Starr will leave us in

October of this year and Nicholas Hytner will follow next March at the end of his final season. Anyone who cares about theatre, in the UK and indeed elsewhere, owes the two of them an enormous debt of gratitude. We wish them every success in their future enterprises.

Planning the succession to the two of them was of course the most challenging of the Board’s three assignments. We were delighted, however, that we were able to persuade Rufus Norris, a director whose ground-breaking work at the NT and elsewhere needs little introduction to regular theatre-goers, to become the next Director of the National Theatre. Soon after, we announced with some fanfare that Rufus would be joined at the helm of the NT by Tessa Ross, the current head of Film4, and one of the most respected and admired film and television executives in the world. In recognition of the scale and reach that the NT has grown to over the last decade, the Board has decided to embrace a joint leadership model. Tessa joins the NT in November, formally becoming Chief Executive when she and Rufus pick up the reins next April. Both are already fully engaged in planning the future of the NT, working in close partnership with the extraordinary Lisa Burger, who has been promoted to the role of Executive Director. These are early days but the Board’s view is that the future leadership of the National Theatre could not be in stronger hands.

I am also delighted to report that Kate Mosse, who has served as an NT Board member for three and a half years, has agreed to accept the role of Deputy Chair of the National Theatre. The NT has grown enormously in scale and complexity over recent years and Kate’s appointment will help to ensure that, as a Board, we are keeping pace with that growth and development.

I know that I also speak for the executive teams of the NT present and future in paying tribute to all the exceptional people who work and perform at the National Theatre, and who help to make it the unique place that it undoubtedly is.

John Makinson Chairman

‘As irresistible Jesus music seems to be flying sky high,

carrying us with it, a jazz riff in the background calls out

for not following the flock but going your own way.’

Susannah Clapp, The Observer


The NT celebrated its 50th birthday on 22 October 2013. On the day itself HM The Queen visited us, watched a rehearsal of Emil and the Detectives, spent some time in the Props department and finally saw a performance of ‘Sit Down You’re Rocking the Boat’ from Guys and Dolls. On the way back to her car, she said “They still work, those old shows, don’t they?”

The Theatre was awash with that sentiment a couple of weeks later when we staged our anniversary celebration, National Theatre: 50 years on stage. In an extraordinary evening that covered 36 old shows that still worked, there were appearances from 100 actors from each decade of our existence, including Roger Allam, Simon Russell Beale, Benedict Cumberbatch, Frances de la Tour, Judi Dench, Christopher Eccleston, Ralph Fiennes, Michael Gambon, Derek Jacobi, Alex Jennings, Rory Kinnear, Adrian Lester, Anna Maxwell Martin, Helen Mirren, Joan Plowright, Andrew Scott, Maggie Smith and Penelope Wilton. The cast in the auditorium was as dazzling as the company on stage, embracing many of the most distinguished writers, actors, directors, designers and musicians who have been part of the National, as well as nearly 80 recipients of our 25-year service medal.

The evening was a vivid demonstration of what has remained constant over 50 years, and of what has changed profoundly. We started with the first three minutes of Hamlet – the play with which Laurence Olivier opened his first National Theatre season at the Old Vic, and which has been staged anew under all four of his successors. Derek Jacobi, who played Laertes in 1963, appeared 50 years later as the Ghost of Hamlet’s father. At the end of the evening, Adrian Lester and Rory Kinnear recreated the climactic temptation scene of their 2013 Othello, and gave way briefly to a recording of Laurence Olivier and Frank Finlay playing the same scene in 1964. The reinvigoration of the great classical texts has been the National’s bedrock, and over 50 years our acting company has included the most distinctive talents of our age. Joan Plowright returned to the Old Vic to film part of Shaw’s Saint Joan, which she played there in 1963. One of the finest productions of my directorship was Marianne Elliott’s Saint Joan, with a central performance by Anne-Marie Duff in 2007, which can stand proudly now beside Dame Joan’s. Lester, Harewood, Scofield and Olivier have played Othello; Kinnear, Russell Beale, Charleson, Day Lewis, Finney and O’Toole have played Hamlet; Mirren and Dench have played Cleopatra; Wanamaker, Wilton and Smith have played Beatrice. The meticulous attention of

these great actors to great texts has been matched only by the daring of their imaginations.

The National’s commitment to the great plays of the past goes hand-in-hand with a determination to seek out the best of the new. We are young enough to be working still with playwrights who worked for Olivier. In January 2015 Tom Stoppard will give us his new play The Hard Problem, 48 years after the Old Vic premiere of Rosencrantz and Guildenstern Are Dead. It will play in repertoire in the Dorfman Theatre with Sam Holcroft’s Rules for Living, and there is every reason to believe that she will be around for the National’s 100th birthday with her newest play.

But it was also striking how much has changed. Almost all of the new plays that made the cut on 2 November were by men. The fact that our selection of highlights barely differed from the many wish-lists published in advance by the handful of critics who’ve been around for as long as we have makes this no less noticeable a reflection on the way things have – mercifully – changed. Over the last ten years the number of women writing plays for the National has gradually risen, and both this year and last year there have been more new plays at the National by women than by men (19 out of 32), so it is a belated relief to know that the dominance of male playwrights is over.

Just as striking has been the emergence on our stages of artists and voices who reflect the full diversity of the nation and in particular of London. 2013-15 have included new plays like The World of Extreme Happiness, nut, Yellow Face, Here Lies Love, Behind the Beautiful Forevers, Dara and revivals like The Amen Corner and Moon on a Rainbow Shawl which have focused on (and in many cases have emerged from) communities that were under-represented on our stages 50 years ago and in some cases were barely represented in the city. The National will always be running to keep up with the ever-evolving, ever-changing fabric of the interlocking communities that make up our potential audience. I don’t think we’ve gone far enough, but I’m confident that under my successor Rufus Norris the experience on the

Nicholas Hytner Director

stages and in the auditoriums of the National Theatre will continue to change, and continue to respond to the society of which we are a part.

For the last 11 years I have been galvanised by every part of the National’s mission. I have been bowled over by the quality of our actors and the daring of our writers and directors. I have been moved as much by our forays outside the great literary tradition as by plays like Simon Stephens’ Harper Regan and Lucinda Coxon’s Happy Now? which use traditional forms to explore apparently ordinary lives. Recent plays by James Graham and John Hodge (This House and Collaborators) have explored the corridors of power; while Lucy Prebble and Tena Štivičić (The Effect, 3 Winters) have explored issues as diverse as the pharmaceutical industry and Balkan history.

I have been gripped by plays in the intimate surroundings of our amazing red temporary space in Theatre Square, and elevated by great communal events in the Olivier. I’ve been thrilled to see our work play to packed houses all over the country (a record 392,000 people saw our shows on tour in the UK in the past 12 months), and was particularly proud this year to speak to my home crowd at The Lowry Theatre in Salford, and to discover how many Mancunians appreciate our twice-yearly visits there. NT Live now brings our work to all corners of the country, and indeed of the globe. I spoke at the Galway Festival recently to an audience that was almost as familiar with what we do on the South Bank as the London audience is.

By the time I relinquish the directorship of the National in March 2015, the transformational work of NT Future will be almost complete. There will never be enough time or space to pay tribute to the hundreds of colleagues with whose achievements I have all too often been credited; but I cannot sign off without saying unequivocally that Nick Starr and Lisa Burger have been the two main reasons why I am, for the eleventh consecutive year, able to produce a report that is testament to the National’s continuing rude health.


Nick Starr Executive Director

For the last five years, we have been listing in these annual reports as one of our main objectives the endeavour to reach ever more people. This is more than fine words; the spur to find ways of enacting the ‘national’ part of our name by being as ubiquitous as possible is fully felt. And in this past year – thanks to the burgeoning innovation of National Theatre Live and the great growth in our touring in the UK, international productions and continued popularity in the West End – the number of people who paid to see the NT’s shows around the world reached a high-water mark of 4.3million.Our total audiences in the UK last year were 2.8million people. About half of that number were outside London. For a few months this year, we shall have three large-scale shows on the road simultaneously; between September 2013 and November 2015, with 80 visits to towns and cities across the UK, something like 1.3m people will see a high-quality production that originated at the NT on the South Bank. At the same time as this big surge in touring, we have been developing the UK coverage of NT Live cinemas. It is a remarkable growth – from 70 at the outset five years ago, to 550 now. We have long suspected that NT Live doesn’t satisfy but rather stimulates the appetite for theatre-going, and a ‘big data’ study by Nesta confirms that view1. We’ve put this to the test ourselves by broadcasting War Horse and Curious Incident into cinemas while they played in West End theatres and, in the former case, on tour too.

Now that NT Live has become profitable – having widened its scope beyond the South Bank

(and capturing its first New York production in July 2014) – it has become one element in the mix of what the NT does as part of fulfilling its mission which also contributes to our income (which reached £100m last year, 65% earned at a box office). We have long felt that the value of our work oughtn’t to be equated in some simplistic way with whether it’s ‘commercial’ or subsidised, as if there is some inherent virtue – or defect – in either. It has been our great good fortune that, at the same time as our public subsidy began to be reduced (by 2017-18 it will have declined 37% in real terms over the seven-year period since 2010-11), the opportunities have presented themselves to earn from this greater reach. At the beginning of this current régime, we benefited from an uplift in grant from the Arts Council to respond to what we wanted to do, and to back the kind of new work we wanted to develop through the NT Studio, which was refurbished in 2006-7 to be able to host more workshops. It’s only fitting that, 12 years on, it’s the successful exploitation of this strand of work which is balancing our yearly budgets. Our temporary theatre, The Shed, was built on the profit made by War Horse in New York. The case for funding emergent and experimental work isn’t just a nostrum of the British subsidised arts: it’s a clearly effective way of creating the vibrancy that is fuelling the current theatre boom2 .

If there is a life-cycle to creation and production in the theatre, the same is true but on a longer time-scale for the architecture of the NT. We started addressing ourselves to the need for a masterplan for the building and its infrastructure as long ago as 2006 which, crystallised as the NT Future scheme, reaches fruition under the direction of its co-creator Lisa Burger over the next six months with the opening of the Dorfman Theatre, the Clore Learning Centre, the Max Rayne Production Centre and a transformation of the river frontage and public facilities. Eight years to conceive, design, re-design, fundraise and build a scheme – all while the organisation is fully active – is probably about the right amount of time, and says a lot for the staying-power of chairmen and trustees past and present. Without NT Future we were

coming close to breakdown in a number of backstage areas. One of the private joys of the scheme is its great investment in the working conditions and facilities for people to practise their craft, which range from the traditional theatre-making staples of paint, carpentry, prop-making, costumes and wigs through to cutting-edge techniques in digital design, lighting, sound, automation and projection. For the first time these crafts-people will be together, and for the first time too, the NT will give proper facilities and space for designers and other theatre-makers. Alongside the apprenticeships, bursaries and training schemes we run, some in concert with the RNT Foundation, this is another way of being ‘national’.

In 2014-15 we have set the following specific objectives:

— The opening of the Dorfman Theatre; Clore Learning Centre; Max Rayne Centre; Sherling High-Level Walkway; Sackler Pavilion; new restaurant, café, bookshop and bar; re-landscaped terraces; and refurbished workshops, offices and resource areas: all part of the NT Future scheme

— The continuation of NT Future building works, with possible completion within the financial year, and further fundraising for the final £3m towards our £80m target

— The launch of the UK tour of The Curious Incident of the Dog in the Night-Time, further growing the NT’s audience in theatres outside London

— Widening the scope and reach of NT Live to include more productions beyond the South Bank

— The launch of the Chinese production of War Horse in partnership with the National Theatre of China; the Broadway production of Curious Incident; and the co-production with the National Theatre of Scotland and Edinburgh International Festival of Rona Munro’s The James Plays.

2013-14 Objectives

In 2013-14, the following specific objectives were set with the aim of advancing the NT’s constant organisational objectives (page 4); these are reviewed in the appropriate sections, as indicated, throughout this Annual Report:

— Continued fundraising for the increased scope of NT Future and completion of the building works (page 42)

— A renewed focus on training and development with the introduction of further apprenticeships; and the re- launch of Step Change to create a national programme of early to mid-career professional development with regional partners (page 47)

— Development of a new business model to address the challenge of continued reduction in government funding and increased emphasis on fundraising (page 48)

— The launch of the UK tour and German production of War Horse in autumn 2013, and planning for involvement in the centenary of World War One from 2014 (pp 18 & 38)

— Continued innovation, particularly in Digital and Learning, while the NT is in transition to a new Director taking over from Nicholas Hytner in April 2015 (pp 33 – 35 & pp 37 – 39)

2 London Theatre Report, commissioned by the Society of London Theatre and the National Theatre, 2014: solt.co.uk/downloads/pdfs/pressroom/London%20Theatre%20Report%202014.pdf

1 nesta.org.uk/publications/estimating-impact-live-simulcast-theatre-attendance-application-london%E2%80%99s-national


Aberdeen

Albuquerque

Amsterdam

Appleton

Austin

Aylesbury

Baltimore

Bath

Beijing

Belfast

Berlin

Birmingham

Birmingham, AL

Blackpool

Bradford

Brighton

Bristol

Bromley

Brisbane

Buffalo

Calgary

Canterbury

Cape Town

Cardiff

Charlotte

Cincinatti

Cleveland

Columbus

Crawley

Dartford

Dayton

Detroit

Dublin

Eastbourne

Edinburgh

Fayetteville

Fort Lauderdale

Glasgow

Greenville

Hartford

Hersey

High Wycombe

Houston

Hull

Jacksonville

Johannesburg

Kansas City

Las Vegas

Leeds

Leicester

Liverpool

Los Angeles

Louisville

Madison

Melbourne

Memphis

Miami

Milton Keynes

Milwaukee

Minneapolis

Myers

Nashville

New Orleans

Newcastle-upon-Tyne

New York

Northampton

Nottingham

Norwich

Omaha

Orlando

Ottawa

Oxford

Plymouth

Providence

Richmond, VA

Rochester

Salford

Salt Lake City

Schenectady

Shanghai

Sheffield

Sioux Falls

Southampton

Stoke-on-Trent

Sunderland

Sydney

Syracuse

Tampa

Toledo

Tokyo

Truro

Vancouver

West Palm Beach

Wimbledon

Winnipeg

Woking

Wolverhampton

York

The National Theatre on tour

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

3,149performances in the UK and internationally

65%of income from box office receipts

33productions in repertoire on the South Bank


The NT’s repertoire in 2013-14 was true to its constant aim of drawing from the whole of world drama, with a specific responsibility for the creation of new work and representing the widest range of voices.

The eleventh Travelex £12 Tickets season offered four fascinating rediscoveries. In the Lyttelton, director Howard Davies continued his fruitful exploration of 19th and 20th-century Russian drama with Maxim Gorky’s Children of the Sun, in a new version by Andrew Upton; and former NT Director Richard Eyre returned to direct Pirandello’s rarely performed and atypical Liolà, in a new version by Tanya Ronder. In the Olivier, Rufus Norris directed James Baldwin’s The Amen Corner, with Marianne-Jean Baptiste making a long-awaited return to the stage in a production suffused with gospel music and jazz; and John Heffernan played the title role in Christopher Marlowe’s Edward II, given a contemporary take by Joe Hill-Gibbins in his first production for the National.

Nicholas Hytner’s revelatory production of Shakespeare’s Othello in the Olivier saw Adrian Lester (in the title role) and Rory Kinnear (Iago) recognised with a joint Evening Standard Award for Best Actor. Another long-anticipated collaboration, Simon Russell Beale and director Sam Mendes’ interpretation of King Lear, also played to packed houses. On a different scale, Ben Power adapted Romeo and Juliet for young audiences in a production by Bijan Sheibani which toured London schools, visited Derry-Londonderry for the UK City of Culture 2013 celebrations, and played in The Shed.

Anne-Marie Duff led the cast of Eugene O’Neill’s epic masterpiece Strange Interlude, with director Simon Godwin making his NT debut in the Lyttelton; and Melly Still directed Adam Godley

Fall, giving voice to young residents of an inner city hostel, was a critically acclaimed sell-out. An examination of contemporary China, The World of Extreme Happiness by Frances Ya-Chu Cowhig, received its UK premiere directed by Michael Longhurst; and debbie tucker green made her NT debut directing her new play nut.

For young audiences, an adaptation of Ross Collins’ The Elephantom directed by Finn Caldwell and Toby Olié, saw The Shed invaded by a group of giant pachyderm puppets for daytime performances over Christmas; while in the evenings, Protest Song by Tim Price, exploring the reality of the Occupy movement, gave actor Rhys Ifans a powerful solo vehicle. Blurred Lines, created by Carrie Cracknell and Nick Payne, featured an all-female cast in a journey through the minefield of contemporary gender politics. Olwen Fouéré performed her own adaptation of the voice of the river in James Joyce’s ‘Finnegan’s Wake’, riverrun, presented by TheEmergencyRoom and Galway Arts Festival; and Michaela Coel’s one-woman play embodying an east London teenager, Chewing Gum Dreams, was directed by Nadia Fall, whose revival of Home ended The Shed’s first year. Such was the temporary theatre’s success that planning permission has been granted to extend its life until March 2017 (it will be relaunched in 2015 – the trademarked title ‘The Shed’ having only been licensed for one year).

in Georg Kaiser’s From Morning to Midnight, in a new version by Dennis Kelly. Daniel Kitson returned to the National with his new solo show, Analog.Ue; and Lesley Sharp led a revival of Shelagh Delaney’s defining play of the 1950s, A Taste of Honey, directed by Bijan Sheibani.

The Light Princess, a new musical with music and lyrics by Tori Amos, and book and lyrics by Samuel Adamson, premiered in the Lyttelton under the direction of Marianne Elliott, and earned Rosalie Craig an Evening Standard Award for Best Musical Performance for her astonishing floating heroine. The latest in the National’s tradition of shows for family audiences, Carl Miller’s new adaptation of Erich Kästner’s classic tale Emil and the Detectives, filled the Olivier stage with three teams of local children – 180 in all.

If the National Theatre’s repertoire over the year embraced an even more diverse selection of new work than hitherto, it was largely thanks to the addition of The Shed: the temporary space providing a third stage following the Cottesloe’s closure for its NT Future redevelopment. Celebrating original, ambitious and unexpected theatre, it presented work by theatre-makers familiar to the NT as well as emerging voices.

The opening production was Table, a new play by Tanya Ronder tracing six generations and a piece of furniture across two continents, directed by Rufus Norris. It was followed by three visitors: Rob Drummond’s solo show Bullet Catch from the Arches, Glasgow; Mission Drift, created by American experimental company the TEAM; and The Grandfathers by Rory Mullarkey, originally commissioned for Connections and performed by Bristol Old Vic Young Company. The Hush, created by Matthew Herbert with Ben Power, was followed by the Paines Plough production of Sea Wall by Simon Stephens, with Andrew Scott recreating his devastating solo performance. A Limited Editions festival featured short runs of work by Still House, Little Bulb Theatre, Myrtle Theatre Company, Sleepdogs and The Wardrobe Ensemble. Home, created and directed by Nadia

Plays and Artists

The Repertoire

10new plays

653actors and musicians employed by the NT in London

‘Not all mistakes can be fully rectified, all damage repaired and all love restored – at least, not here and now.’ Simon Russell Beale, Daily Telegraph


Plays and Artists continued

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

War Horse embarked on a year-long, ten-venue tour of the UK and Dublin in September 2013, visiting Plymouth, Birmingham, Salford, Edinburgh, Southampton and Dublin, creating box office stampedes and sell-out audiences of 327,000. The tour continues to Sunderland, Bradford, Cardiff, Stoke-on-Trent, Bristol and a return visit to Salford in 2014-15.

National touring will continue to expand next year, with One Man, Two Guvnors beginning a third UK tour to 37 cities in May 2014, and The Curious Incident of the Dog in the Night-Time opening a 31-city UK tour in Salford in December 2014.

West End and international transfersWar Horse entered its seventh year in London and is booking until February 2015. The North American touring production, in its second year, visited 37 cities over 43 weeks. The Australian production concluded with visits to Sydney and Brisbane; the German-language production opened in Berlin in October 2013; a Dutch-language production opens in Amsterdam in June 2014, followed by a tour of the Netherlands; and a Chinese-language production will open in autumn 2015 in Beijing, followed by touring in China, as part of the NT’s new partnership with the National Theatre of China (see page 46). War Horse will also visit South Africa, the home of Handspring Puppet Company, visiting Johannesburg and Cape Town in autumn/winter 2014-15. The production continues to travel with a strong ethos and emphasis on learning and participation; the centenary commemorations of World War One will offer numerous opportunities for involvement, including a ‘War Horse Prom’ exploring the music and stories of the Great War during the 2014 BBC Proms season at the Royal Albert Hall.

One Man, Two Guvnors completed its West End run on 1 March 2014, having played almost 900 London performances and becoming the longest-running show at the Theatre Royal, Haymarket in almost 200 years. The 20-week international tour ended in Melbourne in May 2013; and a third UK and Ireland tour begins in May 2014. The production has been seen by over one million people worldwide.

Alan Bennett’s Untold Stories completed its scheduled 12-week run at the Duchess Theatre in June 2013.

Following the partial ceiling collapse of the Apollo Theatre during a performance of The

Curious Incident of the Dog in the Night-Time on 19 December 2013, the production resumes its West End run at the Gielgud Theatre from 24 June 2014. Winner of seven 2013 Olivier Awards, Curious had played to 100% capacity at the Apollo since opening in March 2013; the closure of the gallery to enable the theatre’s restoration meant that the show was no longer economically viable there. In February, during the lay-off of the production, the NT took the opportunity to offer free performances of Curious Incident in a rehearsal-room format, with minimal settings and lighting, for students from fourteen secondary schools in east London: at The Old Town Hall, Stratford, in association with

the Theatre Royal, Stratford East and the London Borough of Newham. Similar performances were also given – for South London community groups, along with representatives of local employers and businesses, the emergency services and audiences who had been at the Apollo on 19 December – at Rambert Dance Studios (the NT’s new neighbour on the South Bank). Curious Incident will open at the Barrymore Theatre on Broadway in October 2014, produced from the National’s New York office.

36weeks of UK touring

72weeks of international touring


TABLE A new play by Tanya Ronder

Director Rufus NorrisDesigner Katrina LindsayLighting Designer Paule ConstableMovement Director Javier de FrutosMusic David ShrubsoleSound Designer Rich WalshCompany Voice Work Jeannette NelsonDialect Coach Richard RyderThe Shed 12 April 2013Supported by The Shed Partner Neptune Investment Management

CHILDREN OF THE SUN Maxim Gorky, in a new version by Andrew Upton

Director Howard DaviesDesigner Bunny ChristieLighting Designer Neil AustinMusic Dominic MuldowneySound Designer Paul GroothuisCompany Voice Work Kate GodfreyStaff Director James BlakeyLyttelton 16 AprilSponsored by Travelex

OTHELLO William Shakespeare

Director Nicholas HytnerDesigner Vicki MortimerLighting Designer Jon ClarkMusic Nick PowellFight Director Kate WatersSound Designer Gareth FryCompany Voice Work Jeannette NelsonStaff Director Natasha NixonOlivier 23 April

An Arches, Glasgow productionBULLET CATCH

Writer, Director, Performer Rob DrummondCo-Director David OverendStage Designer Francis GallopLighting Designer Simon HayesSound Designer Ross RamsayThe Shed 21 MaySupported by The Shed Partner Neptune Investment Management

STRANGE INTERLUDE Eugene O’Neill

Director Simon GodwinDesigner Soutra GilmourLighting Designer Guy HoareMusic Michael BruceMovement Director Jonathan GoddardSound Designer Christopher ShuttCompany Voice Work Jeannette NelsonDialect Coach Judith WindsorStaff Director Caitlin McLeodLyttelton 4 June

MISSION DRIFT Created by the TEAM In collaboration with Heather Christian and Sarah Gancher

Music composed by Heather ChristianLyrics by Heather Christian and the TEAMDirector Rachel ChavkinSet Designer Nick VaughanCostume Designer Brenda AbbandandoloLighting Designer Jack HeinrichSound Designer Matt HubbsThe Shed 5 JuneSupported by The Shed Partner Neptune Investment Management

THE AMEN CORNER James Baldwin

Director Rufus NorrisSet Designer Ian MacNeilCostume Designer Joan WadgeLighting Designer Paul AndersonMusic Supervisor & Vocal Arranger The Reverend Bazil MeadeMusic Director & Composer Tim SuttonAdditional Music Byron Wallen & Joseph RobertsMovement Coral MessamSound Designer Simon BakerCompany Voice Work Kate GodfreyDialect Coach Jeannette NelsonStaff Director Kimberley SykesOlivier 11 JuneSponsored by Travelex

THE HUSH Created by Matthew Herbert with Ben Power

Devised by the CompanyDirector Matthew HerbertDesigner Sarah HopperLighting Designer Paul KnottSound Designer Matthew HerbertAssociate Sound Designer Mike WinshipCompany Voice Work Richard RyderStaff Director Kate SagovskyThe Shed 22 JulySupported by The Shed Partner Neptune Investment Management

ROMEO AND JULIET William Shakespeare In a version for young audiences by Ben Power

Director Bijan SheibaniDesigner Becs AndrewsLighting Designer Paul KnottMusic Soumik DattaChoreographer Aline DavidSound Designer Mike WinshipCompany Voice Work Richard RyderStaff Director Cheryl GallagherThe Shed 24 JulySupported by The Shed Partner Neptune Investment Management

Paines Plough presentsSEA WALL Simon Stephens

Director George PerrinThe Shed 25 JulySupported by The Shed Partner Neptune Investment Management

LIOLÀ Luigi Pirandello In a new version by Tanya Ronder

Director Richard EyreDesigner Anthony WardLighting Designer Neil AustinMusic Orlando GoughChoreographer Scarlett MackminSound Designer Rich WalshFight Director Kate WatersCompany Voice Work Kate GodfreyStaff Director Rebecca FrecknallLyttelton 7 AugustSponsored by Travelex

National Theatre Productions 2013–14

‘A Taste of Honey is one of those faintly occult works of British literature: one that has meaning for people who have never seen it. It’s a play that brought a new sensibility to the theatre.’Matthew Sweet, Daily Telegraph


HOMECreated by Nadia Fall

Director Nadia FallDesigner Ruth SutcliffeLighting Designer Ciaran BagnallMovement Director Jack MurphyMusic Tom Green and ShakkaMusic Director Gareth ValentineFight Director Kate WatersSound Designer Mike WalkerCompany Voice Work Richard RyderStaff Director/Assistant Dramaturg Rob DrummerThe Shed 9 August, revived 26 March 2014Supported by The Shed Partner Neptune Investment Management

EDWARD IIChristopher Marlowe

Director Joe Hill-GibbinsSet Designer Lizzie ClachanCostume Designer Alex LowdeLighting Designer James FarncombeVideo & Projection Designer Chris KondekMusic Gary YershonMovement Director Imogen KnightSound Designer Paul ArdittiMusic Associate Sam CableDramaturg Zoë SvendsenCompany Voice Work Jeannette NelsonStaff Director Jeff JamesOlivier Theatre 4 SeptemberSponsored by Travelex

LIMITED EDITIONSTHE BULLET AND THE BASS TROMBONE created by SleepdogsSQUALLY SHOWERS created & devised by Little Bulb TheatreOURS WAS THE FEN COUNTRY created by Dan Canham & the CompanyRIOT devised by The Wardrobe EnsembleUP DOWN BOY by Sue ShieldsThe Shed 9-21 SeptemberSupported by The Shed Partner Neptune Investment Management

National Theatre Productions 2013–14 continued

THE WORLD OF EXTREME HAPPINESSFrances Ya-Chu Cowhig

Director Michael LonghurstDesigner Chloe LamfordLighting Designer Philip GladwellMovement Anna MorrisseyMusic & Sound Designers Max and Ben RinghamFight Director Bret YountCompany Voice Work Kate GodfreyStaff Director Teunkie van der SluijsThe Shed 30 SeptemberSupported by The Shed Partner Neptune Investment Management

THE LIGHT PRINCESSA new musical Music & lyrics by Tori Amos Book & lyrics by Samuel Adamson Suggested by a story by George MacDonald

Director Marianne ElliottDesigner Rae SmithLighting Designer Paule ConstableChoreographer Steven HoggettMusic Supervisor Martin LoweOrchestrations John Philip ShenaleVocal Arrangements & Additional Orchestrations Tori Amos & Martin LoweAnimations Matthew RobinsProjection Designer Ian William GallowayPuppetry Director Finn CaldwellPuppetry Designer Toby OliéAerial Effects Designer Paul RubinSound Designer Simon BakerAssociate Set Designer Paul AtkinsonAssociate Choreographer Neil BettlesAssistant Music Director Tom BradyStaff Director Paul FosterLyttelton 9 October

NATIONAL THEATRE: 50 YEARS ON STAGE Director Nicholas HytnerDesigner Mark ThompsonLighting Designer Mark HendersonMusic for short films George FentonSound Paul ArdittiMusic Director Gareth ValentineAssociate Director Adam PenfordOlivier 1 & 2 November

nutA new play by debbie tucker green

Director debbie tucker greenDesigner Lisa Marie HallLighting Designer Tim MitchellMovement Polly BennettMusic Matthew ScottSound Designer Emma LaxtonCompany Voice Work Jeannette NelsonStaff Director Ng Choon PingThe Shed 5 NovemberSupported by The Shed Partner Neptune Investment Management

EMIL AND THE DETECTIVESErich Kästner, adapted by Carl Miller

Director Bijan SheibaniDesigner Bunny ChristieLighting Designer Lucy CarterMovement Director Aline DavidProjection Design 59 ProductionsMusic Paul EnglishbyFight Director Bret YountSound Designer Ian DickinsonAssociate Sound Designer Peter RiceCompany Voice Work Kate Godfrey & Richard RyderStaff Directors Jesse Jones & Emily KempsonOlivier 4 December

FROM MORNING TO MIDNIGHTGeorg Kaiser, in a new version by Dennis Kelly

Director Melly StillDesigner Soutra GilmourLighting Designer Bruno PoetVideo & Projection Designer Andrzej GouldingMusic Dave PriceMovement Director Al NedjariFight Director Kate WatersSound Designer Christopher ShuttPhysical Comedy Consultant Jason ThorpeCompany Voice Work Jeannette NelsonStaff Director Rebecca FrecknallLyttelton 6 December

THE ELEPHANTOMRoss Collins, adapted by Ben Power

Directors Finn Caldwell and Toby OliéDesigner Samuel WyerPuppet Designer Toby OliéLighting Designer Matt DawMusic Adam PleethSound Designer Alma KelliherConsultant Director Marianne ElliottThe Shed 13 DecemberSupported by The Shed Partner Neptune Investment Management

PROTEST SONGA new play by Tim Price

Director Polly FindlayDesigner Merle HenselLighting Designer Lee CurranMovement Director Jack MurphySound Designer Carolyn DowningVoice & Dialect Coach Richard RyderStaff Director Sean LinnenThe Shed 19 DecemberSupported by The Shed Partner Neptune Investment Management

BLURRED LINESCreated by Nick Payne & Carrie Cracknell Devised by the Company, with poetry by Michaela Coel Text Nick Payne

Director Carrie CracknellDesigner Bunny ChristieLighting Designer Lucy CarterMusic Stuart EarlMovement Ann YeeSound Designer David McSeveneyDramaturg Jenny WortonFight Director Kate WatersCompany Voice Work Richard RyderStaff Director Jeff JamesPoetry Michaela CoelThe Shed 22 January 2014Supported by The Shed Partner Neptune Investment Management

KING LEARWilliam Shakespeare

Director Sam Mendes Designer Anthony WardLighting Designer Paul PyantMusic Paddy CunneenProjection Designer Jon DriscollFight Director Terry KingSound Designer Paul ArdittiCompany Voice Work Jeannette NelsonStaff Director Tim HoareOlivier 23 JanuarySponsored by Julius Baer

A TASTE OF HONEYShelagh Delaney

Director Bijan SheibaniDesigner Hildegard BechtlerLighting Designer Paul AndersonMusic Paul EnglishbyMovement Director Aline DavidSound Designer Ian DickinsonCompany Voice Work Kate GodfreyDialect Coach Richard RyderStaff Director Ola InceLyttelton 18 February

ANALOG.UEWritten and performed by Daniel Kitson

Lyttelton 25 February

TheEmergencyRoom & Galway Arts FestivalRIVERRUNThe voice of the river in James Joyce’s Finnegans Wake Adapted and performed by Olwen Fouéré

Director Olwen Fouéré with Kellie HughesSound Designer/Composer Alma KelliherLighting Designer Stephen Dodd Costume Designer Monica FrawleyThe Shed 12 MarchSupported by The Shed Partner Neptune Investment Management

CHEWING GUM DREAMSWritten and performed by Michaela Coel

Director Nadia FallLighting Designer Jamie SpiritoSound Designer Mike WalkerThe Shed 17 MarchSupported by The Shed Partner Neptune Investment Management

National Theatre Touring Productions

PEOPLEUK tour, 3 September – 16 November 2013Birmingham Rep TheatreThe Curve, Leicester Theatre Royal, NorwichThe Lowry, Salford Marlowe Theatre, Canterbury Milton Keynes Theatre Grand Theatre, LeedsTheatre Royal, Plymouth

WAR HORSEUK & Dublin tour, 27 September 2013 – 30 March 2014 Theatre Royal, PlymouthBirmingham HippodromeThe Lowry, SalfordFestival Theatre, EdinburghMayflower Theatre, SouthamptonBord Gáis Energy Theatre, Dublin(UK tour continues in 2014-15)North American tour, 7 April 2013 – 30 March 2014Cincinatti, Cleveland, Columbus, Tampa, Ft. Lauderdale, Fayetteville, Charlotte, Providence, Minneapolis, Appleton, Sioux Falls, Calgary, Vancouver, Las Vegas, Los Angeles, Greenville, Dayton, Richmond, Rochester, Buffalo, Louisville, Syracuse, Toledo, Hersey, Detroit, Milwaukee, Schenectady, Ottawa, Hartford, Baltimore, West Palm Beach, Jacksonville, Orlando, Miami, Myers, Birmingham, Memphis (tour continues in 2014-15)Australia, 1 April – 30 June 2013Lyric Theatre, Sydney; Lyric Theatre, Brisbane Berlin, 21 October 2013 – 30 March 2014 (ongoing) Theater des Westens

ONE MAN, TWO GUVNORSAustralia, 30 March – 29 June 2013Sydney Theatre Arts Centre, Melbourne (previously Hong Kong, Adelaide and Auckland, 15 February – 23 March)


2013 Olivier AwardsBest Actress in a Supporting Role

Nicola Walker for The Curious Incident of the Dog in the Night-TimeBest Lighting Design

Paule Constable for The Curious Incident of the Dog in the Night-TimeBest Sound Design

Ian Dickinson and Adrian Sutton for The Curious Incident of the Dog in the Night-TimeBest Set Design

Bunny Christie and Finn Ross for The Curious Incident of the Dog in the Night-TimeBest Actor

Luke Treadaway for The Curious Incident of the Dog in the Night-TimeBest Director

Marianne Elliott for The Curious Incident of the Dog in the Night-TimeBest New Play

The Curious Incident of the Dog in the Night-Time

TripAdvisor Certificate of Excellence 2013Royal National Theatre (awarded to

businesses that rank in the top 10%

worldwide for traveller feedback)

Drama Victoria Award (Melbourne, Australia)Best Performance by a Theatre Company

for Secondary Students

One Man, Two Guvnors

2013 Evening Standard AwardsBest Actor

Rory Kinnear and Adrian Lester for Othello (won jointly)Best Designer

Bob Crowley for People (with The Audience and Once)Best Musical Performance

Rosalie Craig for The Light Princess

2013 Walpole British Luxury AwardsBritish Cultural Excellence

The National Theatre

2013 New London AwardsTemporary Project

Haworth Tompkins for the National Theatre: The Shed

2013 Broadway World.com UK AwardsBest Direction of a New Production of a Play

Marianne Elliott for The Curious Incident of the Dog in the Night-TimeBest New Play in the West End

The Curious Incident of the Dog in the Night-Time

2013 Empty Space… Peter Brook AwardThe Shed

2013 Critics’ Circle AwardsBest Shakespearean Performance

Rory Kinnear for OthelloMost Promising Newcomer

Kate O’Flynn for Port

2014 Civic Trust Special AwardsPro Tem Special Award

(presented to an exemplar project)

The Shed

2013 Manchester Theatre AwardsBest Visiting Production

War Horse, National Theatre at The Lowry

2014 Association for Cultural Enterprises AwardsBest New Range

The National Theatre’s Everybody Dies merchandise

2014 American Institute of Architects UK ChapterExcellence in Design Award

Haworth Tompkins for The Shed

Awards 2013–14

2014 Olivier AwardsBest Actor

Rory Kinnear for OthelloBest Actress in a Supporting Role

Sharon D Clarke for The Amen CornerSpecial Award

Nicholas Hytner and Nick Starr

2014 Learning on Screen Awards (British Universities Film & Video Council)Educational Multimedia Award

50 Years of the National Theatre iPad appCourseware and Curriculum Broadcast

Award

The Curious Incident of the Dog in the Night-Time: From Page to Stage (BBC for BBC Two Learning Zone)

2014 RIBA London Regional AwardsThe Shed by Haworth Tompkins

‘A magical and ravishingly distinctive fusion of the theatrical arts.’ Paul Taylor, The Independent


The National Theatre opened its doors in 1963 at the Old Vic under Laurence Olivier. Eight hundred productions later, its 50th anniversary was marked in autumn 2013 with a short season celebrating the remarkable people and plays that have made the NT one of the most cherished and creative of great British institutions.

Three years in the making, Arena: The National Theatre was a two-part documentary which told the story of the National from the appointment of Olivier as its first Director, and the great period of legendary productions at the Old Vic, to the move to the controversial and now iconic building on the South Bank. Using rare footage of historic productions from the National’s own archive, the film went inside the workings of the theatre and looked at recent hit productions including Othello, Frankenstein and War Horse in the making. Produced in partnership with Lone Star Productions and BBC Arena, the documentary aired on BBC 4, was seen by over half a million viewers,

and won a FOCAL Award for Best Use of Archive Footage in an Arts Production.

Live from the National Theatre: 50 years on stage, broadcast live on BBC Two on 2 November and to cinemas internationally, was an unforgettable evening of live performance and rare glimpses from the archive, featuring many of the most celebrated actors who have performed on the National’s stages over the past five decades and directed by Nicholas Hytner. Extracts ranged from Rosencrantz and Guildenstern Are Dead to The History Boys, from Antony and Cleopatra to Angels in America, and from Guys and Dolls to London Road. The cast of over 100 included Roger Allam, Simon Russell Beale, Benedict Cumberbatch, Frances de la Tour, Judi Dench, Christopher Eccleston, Ralph Fiennes, Michael Gambon, Derek Jacobi, Alex Jennings, Rory Kinnear, Adrian Lester, Anna Maxwell Martin, Helen Mirren, Andrew Scott, Maggie Smith, Penelope Wilton and many more – joined at the curtain-call by the dozens of backstage staff who had helped make it happen.

Over a million people watched live on television and an additional 200,000 on BBC iPlayer. A slightly edited version of 50 Years on Stage was shown on US television in February 2014 as part of PBS’ Great Performances. The documentary and the gala performance have been released as a double-disc DVD, currently sold exclusively through the NT Bookshop; it has sold over 3,000 copies and will soon be made available more widely.

Two contrasting exhibitions reflected on the NT’s half century. Chris Arthur: Scenes from National Life included unseen portraits of Anthony Hopkins, Maggie Smith and Laurence Olivier taken by a member of the original lighting team with unique access to document the shows, company life and backstage world of the Old Vic. National Theatre Lampoon uncovered the story of the National from the early 1900s to the present day through rarely-seen cartoons and caricatures, satirical swipes from diarists, and records from the National’s own archive.

An anniversary programme of 29 Platforms told three distinct stories. Scene Changes looked at the sweeping changes that have taken place across the theatre sector over the last 50 years, both onstage and off; National Histories told very personal stories about the National by some of the leading artists who have been part of the company; while Future Questions looked ahead at the challenges facing writing, funding and regional theatre over the next 50 years. The 119 contributors ranged from distinguished designers, architects, administrators and critics to leading actors and directors. All 29 Platforms were made available online and watched by over 150,000 people.

Part-treasure hunt, part-history tour, a National Trail created by innovative company metro-boulot-dodo took the audience on an interactive journey around the NT. A pop-up shop appeared on the South Bank for unique items created for the anniversary, including signed, limited edition prints by designers Michael Craig-Martin, Jamie Reid, Paula Scher, David Carson and Graphic Thought Facility; and a

witty range of gifts centred on Shakespeare’s tragedies, ‘Everybody Dies’, which won Best New Range at the 2014 Association for Cultural Enterprises Awards (the second year running the NT Bookshop had carried off this award). A specially commissioned poster was sent to every secondary school across the country for display in drama studios and English classrooms to inspire young people to make and enjoy theatre.

National Theatre Live presented encore screenings of some of the National’s most acclaimed recent productions: Shakespeare’s Hamlet, with Rory Kinnear; Danny Boyle’s production of Frankenstein by Nick Dear, based on the novel by Mary Shelley, with Benedict Cumberbatch and Jonny Lee Miller alternating the roles of Frankenstein and the Creature; and Alan Bennett’s The Habit of Art, with Alex Jennings and the late Richard Griffiths.

The National launched its first app, 50 Years of the National Theatre, an interactive timeline available to download free for iPad. Focusing

The National Theatre at 50

on 50 seminal productions, it includes specially written introductions to each play by playwright Nicholas Wright, newly created content and a wealth of assets from the Archive, including photography, exclusive video interviews, costume and set designs, audio features and original programme articles. Having featured as a ‘best app of the week’ in The Guardian, it went on to win the 2014 Learning on Screen ‘Educational Multimedia’ Award and has now been downloaded over 12,000 times. An updated version containing interview footage from Arena: The National Theatre will be released in 2014 and will also be available on iPhone.

A social history project called Your National Theatre was initiated as part of a three-year project, asking audiences to share their memories of the NT’s last 50 years. Over 500 people submitted memories which are featured online; collectively, they will help to create a unique record that will form a vital part of the history of the National for future generations. A series of six digital exhibitions with the Google

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


Cultural Institute was launched, showcasing the treasures of the National Theatre archive, offering unique insights into the theatre’s rich history and reaching out to a global audience. The first exhibition centred on Greek tragedy, while the second focused on staging children’s stories at the National. Exhibits on Shakespeare and costume, among others, will follow in the next two years.

On 22 October, HM The Queen, accompanied by HRH The Duke of Edinburgh, marked 50 years to the day of the National’s opening with a backstage visit. The royal party watched rehearsals for Emil and the Detectives and ‘Sit Down You’re Rocking The Boat’ from Guys and Dolls (which was to be performed in the live gala performance), toured the new prop-making workshop and met Dame Joan Plowright (Lady Olivier). After unveiling a plaque, the Queen was escorted from the Theatre by Joey, the horse puppet from War Horse, who had given the National’s Jubilee Salute during the Thames Pageant of 2012.

That evening, the anniversary was marked with speeches from the stage not only in the three theatres on the South Bank – where celebratory fireworks lit up the night sky – but also in three West End theatres where War Horse, One Man, Two Guvnors and The Curious Incident of the Dog in the Night-Time were playing; in Canterbury, where Alan Bennett’s People was on tour; and in Birmingham, in Dayton, Ohio and in Berlin, where War Horse was also playing. Across the world, the NT’s recent Hamlet, with Rory Kinnear, was seen in 600 cinemas in 25 countries as part of the National Theatre Live ‘Encore’ programme: 50 years after Peter O’Toole’s performance in the same play on the NT’s opening night.

Your National Theatre, Chris Arthur: Scenes from National Life, National Theatre Lampoon, online exhibitions and the Timeline app were supported by the National Lottery through the Heritage Lottery Fund. Digital and broadcast work was also supported by the Sydney E Frank Foundation.

‘The mix of live performances from a stellar cast and film clips of performances in earlier years was one of the most moving and exhilarating nights I have ever spent in a theatre.’Charles Spencer, Daily Telegraph

The National Theatre at 50 continued


Audiences

392,122people saw an NT touring production in the UK

74,000Travelex £12 Tickets sold

33%of South Bank audiences were first-time bookers

The expansion of touring and National Theatre Live means that more people in the UK now see National Theatre productions in their local theatres and cinemas regionally than at the NT on the South Bank. Between September 2013 and November 2015, NT productions will make over 80 visits to British cities, spending 133 weeks on the road. In 2013-14, the National’s audience reached almost 4.3million globally, 2.8million of them in the UK.

Audience DevelopmentThe eleventh Travelex Tickets season took the number of £12 (originally £10) Tickets sold since 2003 to 1,375,000 (74,000 in 2013); 2.26 million people in total have attended the Seasons. Travelex Tickets continue to attract first-time ticket-buyers: 25% in 2013.

156,000 discounted tickets for young people were sold for NT performances in London. Entry Pass, our popular free discount ticket scheme for 16-25-year-olds, now numbers over 47,000 members. Further engagement with the scheme was encouraged through 20 workshops and events, ranging from a practical workshop exploring the use of puppetry in live performance to post-show Q&As with actors. The scheme also offered two four-day introductory courses

for young producers and playwrights. Half-price tickets for under-18s continue to be available for all productions outside the Travelex season.

Over 23,000 concessionary tickets were sold to disabled people and their companions for NT productions in London, where we provided 41 captioned performances, two sign language-interpreted performances and 41 audio-described performances, along with 29 touch tours. For Untold Stories at the Duchess Theatre, a pilot was run offering audio introduction for every performance. Outside the capital, for People and War Horse on tour, there were 11 captioned performances, seven sign language-interpreted performances and 12 audio-described performances with 12 touch tours. Following the success of last year’s pilot ‘relaxed performances’ – specifically designed to welcome people with an Autistic Spectrum Condition, learning disability or sensory and communication disorders into the theatre – four further relaxed performances were programmed, for Curious Incident at the Apollo and Romeo and Juliet, Up Down Boy and The Elephantom in The Shed.

In order to ensure The Shed attracted a mix of audience members – including younger people with a propensity to book late – a marketing, press and ticketing strategy was developed to target key groups outside the NT’s core audience, and ensure tickets were available close to the performance date. This approach contributed to the venue attracting almost double the percentage of ticket-bookers aged under 35, when compared to the Lyttelton and Olivier theatres in the same period.


89%capacity houses on the South Bank

1,453,104people saw War Horse in the UK, North America, Australia & Berlin and via NT Live

4.3mpaying audience worldwide

Audience Experience at the NationalCommercial Operations is run by and for the National Theatre and comprises Catering, Hospitality Events, Retail, House Management, Tours and Visiting, Building Operations and Housekeeping. Its focus is to deliver an exceptional audience experience to help support the NT’s commitment to reaching and retaining more audience members; and to generate revenue to support the ongoing work of the NT.

Propstore, the café-bar created for the Inside Out festival in 2012, returned to the river bank for the summer of 2013 and outdid its previous success: thanks to a programme of bands and DJs, it served 200,000 customers, well up on last year. For the second year running, the NT Bookshop won best product range at the Association of Cultural Enterprises awards (see under 50th Anniversary above). In three hives on the NT’s roof, 60,000 bees produced 100 jars of honey, which sold out in 24 hours.

From the summer of 2013, considerable planning and attention was given to the impact NT Future building works would have on audiences. While maintaining a full programme of performances, efforts have been made to keep disruption to a minimum. New parking arrangements for Blue Badge (disabled) holders have worked well. The relocation of the main box office to the Lyttelton foyer and the move of the main entrance to the temporary theatre foyer while the new Sackler Pavilion is under construction have proved more challenging for regular visitors; however, new signage, colourful hoardings and increased staffing have helped to combat confusion. The temporary housing of the Bookshop in a pop-up location on the riverbank in spring 2014 proved popular with South Bank visitors.

‘Earthy, exuberant and fecund with symbolism and superstition… Nature’s life force triumphs over human tragedy.’Sam Marlowe, The Times


‘Betrayal is the most heinous of military sins so it is the last to be suspected.’Jonathan Shaw, military adviser


National Theatre Live

The remarkable growth of the NT Live programme of cinema broadcasts has continued, reaching an impressive audience of 1.49 million in 2013-14: a growth of over 200%, with a total UK audience of 890,000 (in over 500 cinema screens across the country) and overseas audience of 597,000. It is now regularly available in 1,000 cinemas across the world in more than 35 countries; the worldwide audience since National Theatre Live launched in 2009 has now reached 2.7 million.

A strong driver of this growth was the series of NT Live broadcasts of productions from other British theatre companies, with 676,000 tickets sold over the year for The Audience (Playful Productions), Macbeth (Manchester International Festival) and Coriolanus (Donmar Warehouse), while the audience for the NT’s own productions grew by 69% to reach 811,000.

Peter Morgan’s The Audience, with Helen Mirren giving an Olivier Award-winning performance as The Queen, was broadcast from the Gielgud Theatre in London’s West End to a worldwide audience of almost 400,000 people, the largest to date for a single National Theatre Live production. Partnerships with Manchester International Festival for Kenneth Branagh’s Macbeth and the Donmar Warehouse for Coriolanus with Tom Hiddleston both drew audiences approaching 150,000 (the latter marking our second partnership with the Donmar, following Derek Jacobi’s King Lear in 2011).

Back at the National, James Graham’s new play This House was broadcast to over 70,000 people from the Olivier Theatre; Nicholas Hytner’s much-acclaimed production of Othello reached 130,000 and included more than 130 screenings aimed specifically at a schools audience. As noted earlier, encore screenings of Hamlet, Frankenstein and The Habit of Art were given to mark the NT’s 50th anniversary and the celebratory performance Live from the National Theatre: 50 years on stage was broadcast to international cinemas. The final broadcast of the year was the long-anticipated War Horse from the New London Theatre which, by the end of the financial year, had played to 322,000 people with many encore screenings still to come.

530venues in the UK

1,000NT Live venues worldwide

36countries

1600

1400

1200

1000

800

600

400

200

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

UK Audience (’000) International Audience (’000) Total Audience (’000)

National Theatre Live Audiences

2,700,000+worldwide audience for National Theatre Live since its launch

22%

8%

7%

0.5%0.5%

62%

UK

North America

Europe

Australia and New Zealand

Asia

South Africa

22%

8%

7%

0.5%0.5%

62%

UK

North America

Europe

Australia and New Zealand

Asia

South Africa


Digital Innovation and Broadcast

Much of the Broadcast and Digital department’s work this year centred around the National’s 50th anniversary celebrations covered earlier in this Report, with a range of activities across broadcast and digital platforms to reach as wide and varied an audience as possible. The National continued to grow and develop its audiences for digital content about productions in the repertoire and behind-the-scenes theatre craft. In 2013-14 there was a total of 1.9 million downloads and streams of free digital content across five online channels (YouTube, iTunes, iTunesU, SoundCloud and the NT website).

A high quality archive recording of Polly Findlay’s 2012 production of Antigone was made freely available with protected access through a content partnership with Clipbank, a digital learning experience for secondary schools, and was seen by over 40,000 students. This was followed by a high quality archive recording of the Primary Classics production of Romeo and Juliet, also made available with a range of supporting digital resources through Clipbank to over 20,000 school children.

The Hour, a 30-minute documentary following six actors in the 60 minutes before curtain-up as they prepared to go on stage at the NT, was made exclusively available on the Guardian website in October and attracted nearly 20,000 viewers in four weeks.

The National also launched a bold new venture, starting production on a feature film adaptation of Alecky Blythe and Adam Cork’s London Road, first seen at the National in 2012. Financed by the National, BBC Films, the BFI and Lip Sync, the film is being co-produced with Cuba Pictures and directed by Rufus Norris, and will feature all the original cast members from its runs in the Cottesloe and Olivier Theatres. The film began production in March 2014 for likely release in early 2015.

1.9mDownloads and streams of NT digital content in 2013

60,000Views and downloads of Antigone and Romeo and Juliet on Channel 4’s Clipbank


In October 2013, marking its 50th birthday, the National sent a specially-commissioned poster with a letter from Nicholas Hytner to every secondary school in the country. The poster (illustrated opposite) celebrates the many ways in which young people can use their skills and imagination in making theatre: a visual manifesto for the National’s aim to open up the breadth of expertise in making theatre.

The National’s new Clore Learning Centre opens in autumn 2014 and will widen still further the opportunities we offer to schools, young people, families and adults, with the invitation to discover and explore theatre at the heart of the NT.

Exploring theatre with schoolsBen Power’s adaptation of Romeo and Juliet for primary schools, directed by Bijan Sheibani, opened at the Waterside Theatre in Derry-Londonderry as part of City of Culture 2013, toured to schools in London in June and July and played in The Shed during the school summer holidays. Over 8000 children saw the play; 2,135 took part in the creative education programme offered with the production; and 24 primary schools and three secondary schools hosted performances.

It was an outstanding performance. The costumes, the production, the multi-cultural cast together reminded me of the great tradition of contemporary theatre our lucky children are being exposed to, via the National Theatre. Year 5 teacher – Lauriston Primary School

Bijan Sheibani’s production of Emil and the Detectives was also the inspiration for a series of projects focusing on playwriting and design. 540 children from 13 schools wrote their own short plays inspired by the production, and saw excerpts performed by NT actors in The Shed. Another 90 children from three schools worked with a theatre designer to create their own settings for the play. The Elephantom provided an opportunity to work with younger children from six local schools, who created

elephant puppets, songs and dances which they performed for other classes in their schools.

It was really good to see them expressing themselves so confidently in front of an audience… Coming to the performance was just amazing and an unforgettable experience for the children which they’re still talking about. Year 1 Teacher – Griffin Primary School

An in-depth project for secondary schools runs alongside The Curious Incident of The Dog in the Night-Time, working with students on the autistic spectrum or who have other social and communication difficulties. Each project culminates in performances by the young people for their families:

I loved the show last night and I loved the way that the show acknowledged what our children find difficult and through drama presented them with a way around difficult social situations. Parent, Ashcroft Academy

The NT’s secondary school programme has explored repertoire through a series of projects on the Black Plays Archive and on Port, sixth form conferences on Othello, King Lear and Katie Mitchell’s Five Practitioners films, and events on Edward II and A Taste of Honey. Students also have the opportunity to explore theatre production and careers in theatre, with events focusing on Lighting and Sound, Costume, Wigs, Hair and Make-up, and Voice. A wide programme of teacher training included in-depth courses on Verbatim Theatre, Devising and Adaptation and active approaches to teaching Shakespeare.

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

Learning

National reach The National’s flagship youth programme, Connections, marks its 20th year in 2014-15. It continues to grow in reach and popularity, with 235 youth and school theatre companies participating in the 2012-13 cycle. Almost 300 companies applied to take part in 2013-14. Of the 240 accepted onto the programme, half were new to the scheme and more than a quarter received bursary support to take part, recognizing scarce funding or a group or school based in a disadvantaged community. Companies come from across the UK, with an increase this year in participants in Wales and in Scotland. The number of partner theatres across the UK has grown to 26: each partner works with the NT to recruit and support local youth theatres and host a Connections festival. The National has now commissioned over 150 plays for young people, creating a lasting repertoire for youth theatre companies worldwide, and Dennis Kelly’s DNA, commissioned in 2007, is included in the GCSE English syllabus. This year’s Connections writers are Deborah Bruce, Matt Hartley, Sam Holcroft, Dafydd James, Catherine Johnson, Pauline McLynn, Sabrina Mahfouz, Luke Norris, Evan Placey and Simon Vinnicombe.

New Views, another national programme, challenges young people to try their hand at playwriting. Now in its third year, New Views supports playwriting groups in schools and invites participating students to submit short plays to an annual competition. 300 plays were submitted in 2013, of which nine were given rehearsed readings by members of NT companies, and one, Carpe Diem by 14-year-old Ella Thompson from Dorothy Stringer High School in Brighton, was given a staged performance in The Shed. New Views has continued to grow, with 66 schools from across the UK signing up in September 2013 and groups set up at Bristol Old Vic, Leicester Curve and the NT.


240school and youth theatres participated in Connections at

26regional theatre partner festivals

88,000school and college students saw NT performances in London

5,000young people from

Completely terrific in every way. A wonderful, fully resourced opportunity for both staff and students to be involved in. … The joy of working with students in an organic and free way. The knowledge that I can escape the prescription of the curriculum. Teacher, New Views 2013-14

The UK tour of War Horse has been the catalyst for a wide range of projects developed in partnership with tour venues. These aimed to reach audiences that would not otherwise have the opportunity to see the production, and to connect with local histories around the centenary of the First World War. In addition, a partnership with the National Army Museum has provided free historical workshops and sessions handling First World War artefacts in schools across the UK. In Birmingham a teacher commented on the ‘noticeable difference’ in her students’ practical drama work after taking part in War Horse workshops and added:

For me, the highlight of the whole project was seeing Mohammed [a student] interacting with the actors of War Horse and then taking his horse to meet THE horse… something in the War Horse trailer and the puppetry it displayed captured his imagination and all of a sudden he started his own designing and building project. It was lovely to see him so engaged and filled with confidence talking to the cast and asking questions. He was so proud of his work, as was I. Teacher, Yardleys School, Birmingham

Digital provision is also key to national reach, providing access to the work of the NT in classrooms across the country. As well as offering high quality archive recordings of Antigone and Romeo and Juliet through Clipbank, the NT worked with BBC Learning to develop educational resources on Curious Incident – winning the Courseware and Curriculum Broadcast Award in the 2014 Learning on Screen Awards.

Informal learning and trainingActivity for young people at the NT has continued to develop, building towards the launch of a larger programme in the Clore Learning Centre. Partnership projects with Blackfriars Settlement, Spotlight Youth Centre, Barnardos and Coram Family have enabled more than 70 young people with no previous access to theatre to take part in youth theatre programmes. Entry Pass has offered repertoire-based workshops and short courses in playwriting and producing. Young people have also had the opportunity to create their own work in collaboration with NT artists and the NT Studio through Young Studio. Three seasons of intensive activity took place over the year, culminating in an immersive installation at the NT Studio, a production devised for The Shed, and a site-specific performance in an abandoned office space in Oxford Street, inspired by a week-long residency with Punchdrunk. Young Studio members have also collaborated with NT Studio artists over the year, including the TEAM and playwright Sam Holcroft. The NT’s Youth Programme is supported by the Paul Hamlyn Foundation.

Theatreworks Partnerships engage hard-to-reach community groups with the work of the NT, providing opportunities for development through theatre. Projects this year explored many different aspects of theatre, including puppetry-making, playwriting, the Commedia tradition, scenic art and set design, and music. Fourteen projects took place during the year involving 200 participants from groups including the National Autistic Society, Crisis, outpatients from the Maudsley Psychiatric Hospital and the Jagonari Centre in Tower Hamlets.

This project has generated my creativity again. Using skills I forgot I had, or didn’t think I had. Participant, nut partnership project.

Theatreworks also offers internal training programmes for the NT, this year devising a training and mentoring programme to support NT apprenticeships and continuing to provide training for Front of House staff. The Theatreworks corporate programme reached 800 clients over 80 sessions, generating £82,000 to support NT Learning.

NT Archive The Archive played a key role in the NT’s 50th anniversary celebrations: both the BBC Arena documentary and the live 50th anniversary performance drew heavily on its collection and featured documentary footage. NT Archivist Gavin Clarke curated two exhibitions for the 50th anniversary: National Lampoon and Scenes from National Life (see page 26), and Archive content features in the 50 Years of the National Theatre app and Google Cultural Institute digital exhibitions. The Archive also played a vital role in Daniel Rosenthal’s research for The National Theatre Story.

The Archive is increasingly a focus for Learning activity, with its resources widely used by secondary schools. A series of projects supported by the National Lottery through the Heritage Lottery Fund have taken place over the year, including several teacher residencies developing archive-based resources for primary and secondary schools and a primary school project exploring the Archive and the architecture of the NT’s South Bank building.

Work has continued on the Black Plays Archive, which provides access to a range of resources designed to support the study of black British theatre history; it now documents 511 productions by 168 playwrights. Cataloguing

of the Shakespeare Memorial National Theatre Collection – documenting the movement to found a national theatre – is now complete. The papers of Ken Briggs, the NT’s first graphic designer, have been donated to the Archive and cataloguing is underway.

Volunteers continue to play a valued role in the work of the Archive, and the NT is grateful for their support. The NT Archive is open to everyone by appointment.

6,472secondary schools and colleges received an NT 50th anniversary poster

300scripts submitted for New Views

570teachers and youth theatre leaders trained

Learning continued


24,500attended platforms

21,000people took a backstage tour

8free exhibitions

Public Engagement

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

PlatformsPlatforms offer audiences a deeper insight into the work on stage and other aspects of cultural life. 402 guests took part in 93 Platforms, attended by 24,500 people. In addition to the NT-at-50 Platforms (covered earlier), three other birthdays were celebrated: Michael Frayn at 80, Paines Plough at 40 and Complicite at 30. The actor Giles Terera led a week of events called Walk in the Light, honouring the rich contribution that black artists have made to British theatre over the past 50 years, which culminated in a performance in the Lyttelton featuring 79 actors and musicians. Perennial favourites Simon Russell Beale, Alan Bennett, Nicholas Hytner, Peter Brook and Private Eye once again drew sell-out audiences; ten Platforms were devoted to Shakespeare, and 14 were followed by book-signings. New this year were ShedTalks, ten pre- and post-show discussions with the creative teams and companies in the temporary theatre.

Free ExhibitionsThe major exhibitions of autumn 2013, marking the NT’s 50th anniversary, are covered earlier in this Report, but there was no shortage of highlights during the rest of the year. Peter Bobby’s photographic exhibition High-rise, presented as part of the London Festival of Architecture, looked in a compelling and imaginative way at the world’s developing love affair with the skyscraper. The British Press Photographers’ Association returned after a year’s absence to survey the major stories of 2011 and 2012 in images that were in turn joyous, dramatic and highly controversial. The 2013 Linbury Prize displayed the work of 12 graduate stage designers; and Take a View (the Landscape Photographer of the Year competition) proved as crowd-pleasing as ever.

The year under review ended with Photo Noir, The Art of Cornel Lucas, a tribute to the doyen of film photography featuring the immaculately composed high-contrast portraits that – alone among photographers – won him a BAFTA.

Watch This Space

With The Shed occupying much of Theatre Square, the annual Watch This Space festival took a break from its usual large-scale programme and presented a more modest offering entitled August Outdoors in partnership with American Express. This pop-up mini-festival of free entertainment in the gap between the NT main entrance and The Shed, included funky music, a gallery in a caravan, a hairdresser in a caravan, an explorer in a garden shed, a contemporary dance/circus fusion and interactive children’s puppetry, much enjoyed by visitors of all ages. Backstage Tours

Just under 21,000 people joined a Backstage Tour this year. As well as seeing productions evolve and how the repertoire runs, the changing environment of the building while NT Future works progress provided much to engage and inspire visitors – not least, a whole new theatre and additional space backstage.

Many were fascinated to see seating and other elements from the Cottesloe recycled in The Shed; how the Speaker’s Chair from the House of Commons doubled up as cleaners’ cupboard in This House; and in one scene of Strange Interlude, to see the harbour, within seconds, become a boat. Costume Tours provided an in-depth look at a well-loved area of theatre design, and Family Tours gave young (and young at heart) a chance to dress up in costumes and see ‘prop food’ on the menu: “best fun in all the world”, one six-year-old decided.

197,777programmes sold

Publications

Programmes, and the NT’s other publications, add to the experience of seeing a play. Specially commissioned articles providing background to the National’s repertoire this year explored life in Berlin in the 1920s and in Salford in the 1950s; Othello from a military perspective; being young and homeless; the ‘anonymous’ protest movement; the feudal world of Marlowe’s Edward II; Pirandello’s women; the power of fairy tales; and Expressionism; plus a conversation on theatrical process between Simon Russell Beale and Sam Mendes. Other distinguished contributors included Jonathan Bate, Camilla Batmanghelidjh, Tanya Byron, Peter Holland, Nicholas Hytner, Caryl Phillips, Tanya Ronder, Dominic Sandbrook, Marina Warner and Jeanette Winterson, For the ninth successive year, the selling price for Olivier and Lyttelton programmes was held at £3, while those

for The Shed sold at £1. NT programme contents are also supplied to touring and transfer venues in the UK and abroad, and illuminating background packs on most productions are compiled and edited by Publications with NT Learning.

For the NT’s 50th anniversary celebration, 50 years on stage, a sumptuous programme was produced, giving audience and performers’ memories of the NT and a brief history; it was given to the audience at both performances on 1 and 2 November. Publications gave vital support to Daniel Rosenthal’s The National Theatre Story, published by Oberon Books, which was launched at the NT in December 2013 and went on to win the 2014 Theatre Book Prize.


During 2013-14 over £8.5m was raised for NT Future, bringing the fundraising total to £76.3m towards our target of £80m.

We received additional major gifts from The Dorfman Foundation, The Monument Trust, The Sackler Foundation and The Garfield Weston Foundation, all of whom were founding donors when we first launched the campaign. This year saw the first corporate support of the project, with Bank of America Merrill Lynch becoming the Founding Corporate Partner for NT Future.

We also received major gifts from 11 new members of the Chairman’s Circle, all of whom have pledged £100,000 or more; this took overall membership of the Chairman’s Circle to 65 by the end of 2013-14.

The support shown by members of our audience for NT Future has continued to grow. The Audience Appeal was launched in January 2013 to encourage donations at all levels. Their total contribution had reached over £2m by the end of 2013-14, with donations being sent by almost 4,000 people, as well as the 90,000 people who have chosen to make an additional 5% donation when booking tickets online or by telephone. When the NT Future Supporters Mural is unveiled in 2014, it will include the

names of over 3,000 people, all of whom have donated £100 or more to NT Future.

Building work for NT Future hit its full stride this year, with the National maintaining a full programme of performances throughout (see under Audience Experience, page 30). The new prop-making workshop and set assembly areas were the first elements of the project to be completed, and were visited by HM The Queen on our 50th anniversary in October 2013; visitors will be able to see these for themselves when the Sherling High-Level Walkway opens. New offices for the catering, house management, tours and housekeeping departments have been created, and the sound, lighting and armoury departments are now occupying refurbished offices, workshops and resource areas which will directly connect to each other and the Max Rayne Centre.

House (formerly Mezzanine) restaurant has been stripped back and restored to re-open in summer 2014 as an all-day brasserie. At ground floor level on the north-east corner, a glazed atrium will offer a café and bakery called Kitchen alongside a new craft beer pub with riverside seating (The Understudy). The Sackler Pavilion will welcome visitors approaching from both west and east; these areas will open successively throughout autumn 2014. New landscaping is being laid

National Theatre Future

Reaching audiences not just on our stages but also through the work of the Learning department, and through the National’s digital outreach including NT Live, has shaped the way in which the NT Future redevelopment scheme is designed. From 2015, when the scheme will be complete, these plans will begin to bear fruit, as the Dorfman Theatre, Clore Learning Centre and Max Rayne Centre allow us to engage with audiences, young people and theatre-makers in new ways, creating broader and deeper relationships with larger numbers of people from around the country and across the world.

Another major theme of the NT Future scheme is to provide new project spaces within the Max Rayne Centre. This will enable us to offer a temporary base with support facilities to both established and emerging freelance designers and theatre-makers, allowing a space for sharing of ideas and practices, as well as immediate access for designers working on current NT productions.

Lisa Burger, Chief Operating Officer

on the Weston Terrace which will include a permanent staircase to the Terrace restaurant and the installation of donor paving stones; the Bank of America Merrill Lynch Terrace is also being re-landscaped and greened, as is Stage Door Avenue and the entrance to the Dorfman Theatre.

Construction delays – particularly the complex integration of mechanical and engineering services, many at subterranean level – led to the opening of the Dorfman Theatre and Clore Learning Centre being rescheduled to autumn 2014. The transformation of the Dorfman auditorium is well under way, with new elevators to raise and lower the pit seating area installed, along with the new seats themselves; final fitting-out of the Dorfman and Clore Learning Centre takes place in summer 2014.

The last phase of construction and renewal, primarily focused on upgrading and enhancing the front of house public facilities in the Lyttelton foyer, will roll out from autumn 2014 to spring 2015. Regular updates and photos of construction work are posted on the website at nationaltheatre.org.uk/ntfuture.


NT Studio

In 2013, the Studio has continued to play a vital role in initiating, developing and generating much of the new work that has been presented on the National’s stages over the last 12 months. Breadth of form is matched by the wide network of artists with whom we have created work, from the musical The Light Princess and sound-based piece The Hush, to family shows Emil and the Detectives and The Elephantom, devised projects Home and Blurred Lines, and revisited classics Edward II and From Morning to Midnight.

The Studio has a commitment to working in partnership with other theatre companies. In 2013, our successful Studio Affiliate programme has been extended to include the New Vic Theatre in Newcastle-under-Lyme. The partnership intends to boost the New Vic’s ambition and skills-base; raise its industry and audience profiles; and develop a network of artists, and has already helped lead to the creation of an ambitious multi-authored project, due to be produced in 2015. This year the Studio has worked with Manchester’s Royal Exchange, to act as the London hub for the theatre’s writing award, the Bruntwood Prize; presented works from SPILL Festival of Performance; and run events at leading regional theatres including Birmingham Rep and Northampton’s Royal and Derngate for their artistic directors to meet with promising emerging directors.

Professional training remains at the heart of the Studio’s work, and our training activity cuts across all levels of professional practice. In addition to our staff director programme and the annual Directors’ Course, we also run a number of bursaries. The JP Morgan Award for Emerging Theatre Directors sees a director receive a residency at the Studio, as well as support through the development and production of a show at The Gate in Notting

Hill. The Quercus Award is our programme for mid-level directors to take on a year’s Associate-ship at a major regional producing house, and be supported through the realisation of a main-stage production. Charlotte Gwinner has spent a year as Associate Director at Liverpool Everyman and Playhouse: her production of A View from the Bridge was developed at the Studio, and opened in April 2014. This year we have also introduced a new training strand, with our monthly Inspire events bringing together emerging directors and designers in shared learning. Leading practitioners in technical creative fields lead practical skills workshops, encouraging peer sharing and creative collaboration.

Alongside NT repertoire work is a commitment to support both emerging and established UK artists. 44 workshops took place from independent theatre-makers of all kinds, who came together to develop new ideas and relationships. Artists whom the Studio supported this year include Gbolahan Obisesan, workshopping a show that has subsequently been picked up by The Bush for presentation; devising company Dead Centre, whose production of Lippy won the Irish Theatre Award for Best Production; and dance company Ballet Black, whose children’s ballet Dogs Don’t Do Ballet will be produced in 2014.

As well as organising workshops and readings, the Studio was host to 57 different artists on attachment, including writers, directors, video artists and performance poets. This year, we were joined by video artist Mark Grimmer, aerial company Tangled Feet, and writer Rebecca Prichard amongst others. Sam Holcroft was our Writer-in-Residence for the year, working on a number of projects including an NT commission of a play which will be produced in the opening season of the new Dorfman Theatre.

£1.9mspent on research and development at the NT

19play readings

57attachments offered (25 writers, 7 directors, 3 companies, and 22 other theatre-makers)

44development workshops for projects outside the NT repertoire

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


Leadership

As a national company, the NT takes responsibility for fostering the health and renewal of the wider British theatre community by sharing our expertise and resources with emerging talent, freelance artists and other theatre companies and providing appropriate levels of support across artistic and administrative areas of theatre-making. We also take responsibility for resourcing training and professional development across the sector (this is a major theme of the NT Future scheme which will house freelance designers and theatre-makers).

March 2014, three days of general auditions were held at the NT Studio, with successful applicants performing prepared speeches to casting directors from not only the NT and RSC but those working for other theatre organisations or as freelances. A Q&A was held at the end of the event to gather feedback. Generally, those who had taken part declared the event a positive step in the right direction and all the casting directors who took part met many actors whose work they did not know. It also opened up other networks of contacts for future reference, both in terms of seeing work and sourcing actors. One actor who attended the event has already been employed in a show at the NT.

A relationship with Theatre Royal, Stratford East began with the collaboration on performances of The Curious Incident of the Dog in the Night-Time for local students (see page 18). The NT Commercial Operations and Catering team are currently working with them on the development of their public spaces and commercial projects; and also with theatre company Fuel to advise on commercial and ticketing services for their new project for summer 2014 in the neighbouring Doon Street car park, The Roof, for which we will run their bar. They have assisted with the recruitment of new managers for Battersea Arts Centre; and for Cambridge Arts Theatre, helping to realise the potential of their new front of house space for which the NT wrote a business case for a successful fundraising application last year. Informal advice has also been offered to Hampstead Theatre on their commercial options.

The NT provided administrative and marketing support to the National Youth Theatre by selling tickets via the NT Box Office, and also for Nesta’s ‘Future Fest’ at Shoreditch Town Hall. We continue to provide IT and Box Office support to Greenwich Theatre. Fairfield Halls, Arts Depot and Sadler’s Wells have joined the Arts Basket, a collective arrangement launched by the NT in 2012 with the Royal Albert Hall and Royal Opera House, which allows arts venues to combine forces in order to procure the most cost-effective and clean energy and now has 12 members.

We continue to provide HR advice to a number of publicly funded theatres and some local charitable groups. Members of the Development

department provide informal fundraising support and advice to a range of organisations, and in 2014 will continue their work with Northern Stage. Members of the NT Executive and Senior Management continue to serve on a wide range of theatre boards and as formal and informal mentors. National Theatre Scotland, Citizens’ Theatre Glasgow, Sydney Theatre and the Abbey Theatre, Dublin have benefited from advice on literary commissioning and contractual terms. A member of the NT’s casting department spent three months on secondment to Regent’s Park Theatre where she cast Twelfth Night Re-Imagined and was casting associate on Porgy and Bess.

Building external relationshipsA strategic partnership between the National Theatre of China and the National Theatre was announced as part of the Prime Minister’s trade delegation to China in December 2013. In addition to a Chinese-language production of War Horse in autumn 2015 at the National Theatre of China’s theatre in Beijing and then a tour across China, beginning in Shanghai, the partnership will see an exchange of skills and expertise between the two theatres in areas including technical production, marketing and education, as well as the possibility of creative collaboration on future productions. Joey caused his now customary sensation, appearing at a lunch with David Cameron for 600 Chinese and British delegates in Shanghai. We were invited to visit China again in April 2014, in the first instance by the British Council, to participate in the 2014 UK-China High Level People to People Dialogue as an eye-catching example of creative collaboration between China and the UK. The signing of the agreement between the National Theatres of China and Great Britain was witnessed by the co-chairs of the Dialogue, Chinese Vice Premier Liu Yangdong and Jeremy Hunt MP, Secretary of State for Health and the PM’s special envoy to the Dialogue. On this trip, Joey was photographed at the Great Wall. As our partnership with the National Theatre of China develops we hope to be able to continue to engage with both the UK and Chinese governments as an example of a successful UK creative export.

The Director of External Relationships and Partnerships, John Langley, chaired the Visitor Management Group of local companies,

which will be responsible for representing the interests of visitors and residents alike in the context of the major construction work about to happen on sites around Waterloo. He also participated in board meetings of the South Bank Employers’ Group, South Bank Partnership, South Bank Forum, South Bank and Bankside Cultural Quarter, South Bank Business Watch, and the Waterloo Quarter Business Improvement District. In February he was elected Chair of the Neighbourhood Forum, the group charged with developing a Planning Statement that, under the Localism Act, must be adopted as guidance for the Waterloo area.

Developing People2013-14 saw a renewed focus on training and development with the introduction of further apprenticeships.

The Step Change programme, for early to mid-career professionals seeking to progress or develop their careers in the performing arts, relaunched in May 2014 with a new structure designed to build regional relationships and attract talented participants from across the UK. Providing coaching, mentoring, masterclasses and experience-based learning, and focusing predominantly on producing and management roles, Step Change expands the range of opportunities for those hoping to make a transition within or into the arts, especially those who are overlooked and under-represented. Now in its sixth year, the programme’s key aim is to develop confident, experienced, daring and aware professionals who will strengthen the heart of the sector.

Step Change 2014-15 and 2016-17 will be run in partnership with Bristol Old Vic; Live Theatre, Newcastle upon Tyne; and The Lowry, Salford, with additional support from the Ambassador Theatre Group, Paines Plough and Theatre Royal, Stratford East. As well as helping to recruit participants, these organisations have committed to supporting all elements of the programme: providing speakers for masterclasses, hosting secondments and staff members volunteering as mentors. In addition, residential masterclasses will be hosted at each of the three partner organisations, with the final evaluation session taking place at the National Theatre.

The National’s apprenticeship and trainee programme goes from strength to strength, providing valuable opportunities for people who might not otherwise have considered careers at the NT, and helping to address issues of diversity in theatre more generally. By September 2013, nine apprentices and trainees were in post across seven departments: Technical Theatre (Lighting), Health and Safety, Sound, Props, IT Service Desk Support, Concrete Conservation (based in Engineering, supported by the National Lottery through the Heritage Lottery Fund as part of the NT Future programme) and Development Events. All are supported by mentors from both within their departments and from the wider NT community, and regularly work together on a specifically designed TheatreWorks programme aimed at developing their soft skills and thus their employability and confidence. Training is also run around coaching and feedback, and mentorship skills for existing staff members who are involved with apprentices and trainees; we hope to offer more of this in the future.

In February 2014 Nell Allan, our original Technical Theatre apprentice, became the first person to reach the end of her apprenticeship. Having been supported in her transition to the outside world through working on her CV, interview techniques and networking, she secured a fixed term contract at the St James’s Theatre, Victoria. Health and Safety trainee, Georga Costi, has been given a permanent position at the NT as a Safety Risk Assistant and on completion of her traineeship will continue her training and development under the guidance of her colleagues. We have initiated a policy whereby ex-apprentices and trainees can continue to make use of the NT’s facilities for at least a year after their training is completed.

In 2014-15 we will take on a specific Lighting apprentice (with Tower Hamlets College), and a Sound trainee. We also intend to expand into Digital Drawing and Design, offering an IT apprenticeship specialising in CAD Drawing, whilst working with the Royal Opera House and West Thames College on a new apprenticeship in Wigs, Hair and Make-up.

In other areas, Commercial Operations holds two recruitment drives a year (typically hiring 30-40 people) which aim to be as inclusive and accessible as possible to a wide variety

Sharing our ResourcesBuilding on our previous relationship with Punchdrunk, the National co-produced their new London show The Drowned Man: A Hollywood Fable, which opened in June 2013. As well as supporting the development of a business model for the production, the National Theatre contributed a variety of resources, including box office and marketing support, technical and production staff and resources, and guidance and advice on areas including planning, and front of house operations. 157,000 tickets have been sold for the production, which runs for a year until July 2014.

At the end of 2013, the NT and Royal Shakespeare Company casting departments joined forces to organise an event specifically aimed at broadening their knowledge of deaf and disabled actors, to try and ensure better representation of this community on our stages. Applications were invited from actors with some training or professional experience via established deaf and disabled theatre companies such as Graeae and Deafinitely Theatre, and through social media and an informal network of existing contacts. In early January and late

of candidates and to remove barriers that might inhibit people from applying. Two focus groups have looked at how to encourage diversity through the recruitment process, through advertising, application, interview and workshop. The team from The Deck put together NT Talent, an in-house agency promoting the Theatre’s talented Front of House staff as musicians and entertainers for clients using the NT’s entertainment spaces.

National Theatre FoundationRichard Eyre, formerly Director of the National Theatre (1988 – 97), became Chairman of the National Theatre Foundation in November 2013. The Foundation is an independent charity, whose primary purpose is to support the National Theatre and make benevolent welfare grants to individuals closely associated with it. In order to help support the health of the UK theatre at large, the National Theatre has entered into a joint arrangement to create a new Education Endowment Fund within the Foundation; all unrestricted legacies directed to the NT will in future go to the Foundation. A regular income will finance both the NT’s education work and programmes for the development of the profession, for example bursaries, apprenticeships and training.


The NT keeps a constant eye on sustainability and efficiency, streamlining operations, processes and practices to achieve the best and fairest use of our resources, both money and people.

Sustainability

During the year the NT developed a new business model looking at the likelihood of continued reduction in government funding and increased emphasis on fundraising and other income streams. The model looks at likely outcomes at three different operational levels (aspirational, expected and a more conservative outlook) over a three-year period. The model will enable the Executive and Board to make informed business decisions while understanding the risks and opportunities for the organisation and how this might affect the NT in the future.

The NT Future redevelopment will bring a larger building footprint and an increased volume of activity. However, we will more than offset the costs by investing in energy-saving measures, increasing self-generated revenue, improving operations and finding efficiencies and savings.

Financial SustainabilityThe National achieved a break-even result for the year reflecting strong ticket sales at its theatres on the South Bank, in the West End and on tour as well as for NT Live, offset by the abrupt closure of The Curious Incident of the Dog in the Night-Time after the collapse of the ceiling at the Apollo Theatre.

The Development department raised £16.4m for NT Future (including £7.7m from Arts Council England as the second tranche of their £17.5m grant), as well as £6.5m for revenue activity from individual giving, corporate sponsorships and commercial promotion.

Our current levels of activity are dependent on the funding received from the Arts Council which in 2013-14 was £17.5m, in line with the previous year’s funding, and represented 17% of income. Since 2010-11 the grant has been cut by £2.1m – a real term cumulative

Income2014

£m2013

£m

Box office at NT 18.3 18% 18.3 21%

Box Office on tour, in the West End and Internationally 39.7 40% 30.8 35%

NT Live 6.7 7% 2.4 3%

Trading and other income 11.2 11% 11.1 13%

Fundraising 6.5 7% 7.0 8%

ACE grants 17.5 17% 17.5 20%

Total 99.9 100% 87.1 100%

Expenditure

Production costs – NT South Bank 36.5 37% 36.0 43%

Production costs – Touring, West End & International 36.7 38% 27.7 33%

NT Learning, NT Live & Public Engagement 9.1 9% 6.8 8%

Research 1.9 2% 1.6 2%

Trading 10.7 11% 9.4 11%

Fundraising 1.6 2% 1.5 2%

Irrecoverable VAT 0.8 1% 1.0 1%

Governance 0.2 - 0.2 -

Total 97.5 100% 84.2 100%

Net result after transfers - -

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

7%

11%

7%

17%18%

40%

Box Of�ce at the NT

Box Of�ce on tour, West End and International

NT Live

Trading

Fundraising

ACE grants

7%

11%

7%

17%18%

40%

Box Of�ce at the NT

Box Of�ce on tour, West End and International

NT Live

Trading

Fundraising

ACE grants

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

reduction of 25%. Income from commercial transfers has significantly increased to offset the impact of this real term cut and were used in full to support activity at the NT.

After designations to the fund for capital, the balance on unrestricted reserves is £2.7m.

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

‘The words of these bruised yet resilient young people tell us one story; the songs they sing tell another, and help them channel their blasted hearts.’ Lyn Gardner, The Guardian


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

Olivier 364 342 353 355 364

Lyttelton 269 314 286 285 322

The Shed / Cottesloe 75 103 108 104 98

West End 807 705 630 408 398

UK Touring 392 97 63 79 56

International Touring 869 770 - 2 38

Other 3 16 8 - -

Total 2,779 2,347 1,448 1,233 1,276

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

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

Olivier 339 339 357 343 384

Lyttelton 360 394 391 373 393


West End 1,005 409 421 414 414

UK Touring 251 96 70 98 70


Other 98 61 50 - -

Total 3,149 2,100 1,657 1,603 1,631

A full Financial Review and Financial Statements for 2013-14 is available and can be downloaded from www.nationaltheatre.org.uk/annualreport

Production expenditure at the National Theatre and on tour represented 37% of total expenditure for the year which can be analysed as follows:

A further 38% of expenditure was for commercial productions in the West End and on tour both internationally and in the UK.

The table below shows the five-year trend of attendances.

21%

14%

6%

8%30%

21%

Performance running

Actors and Musicians

Production build

Planning and direction

Writers, Directors and Designers

Touring

Sustainability continued


The NT has a zero-to-landfill policy which means everything is reused. General waste is taken by barge along the Thames to an energy-from-waste facility where it is incinerated and the energy generated put back into the National Grid.

Over the past year, the collected recycling helped to save 270,630kg of CO2 emissions and the equivalent of 767 trees. 574 meals were provided to vulnerable people through the FareShare scheme. Food waste is taken to an anaerobic digester and turned into agricultural fertiliser and biogas, a renewable energy supply that has helped power 5,000 houses in the UK per month. In total the recycling collected from the NT has reached 563,333kg.

The Combined Heat and Power Plant (CHP), installed as a significant element of the NT’s Environmental Master Plan, is now fully operational. This year the CHP has been combined with the Absorption Chiller to cool areas of the building, using the innovative

technology of the Thermal Storage Vessels. Running the CHP for the last two seasons has enabled us to fine-tune the control strategy, achieving optimum efficiency.

Original light fittings in the Lyttelton and Olivier Theatres have been retro-fitted to accept new LED technology; this will realise long term reductions in energy consumption, with more immediate savings in maintenance costs. This year has also seen investment in the water distribution throughout the building, replacing our main pumps with a more efficient design and upgrading the two ageing, galvanised 9,000-gallon storage tanks with a modern Glass Reinforced Plastic (GRP) construction. Further improvements in energy efficiency will be achieved as a result of the NT Future works.

Sustainability continued

Environmental Sustainability

66,815kgfood waste composted

71%Average recycling rate

The NT recognises that, as one of the world’s major production theatre companies, its activities have significant environmental impact, which it has a responsibility to minimise. The NT has exceeded its primary objective of increasing recycling up to 65%, achieving a recycling rate of 71% in the past year.


IndividualsIndividual giving has increased every year for the last five years, with funds received in 2013-14 reaching £3.3m. This is due to the growth in the number of supporters who have joined at all levels of the Individual membership ladder. At entry level, we now have over 12,000 Priority members who collectively have contributed over £0.9m this year; while at our top membership levels, we have 112 Olivier and Chairman’s Circle members. Our Young Patron scheme is flourishing with the support of a very active and engaged committee, and contributed £70,000. Recently we introduced a Young Patron Ambassador level and now have 19 young members each giving £1,000 annually. The Board of the American Associates of the National Theatre has yet again been able to make a very significant grant to the NT. Companies

Our revenue from Companies was lower than last year at £2.8m, since this was the last year of our multi-year agreement with both Accenture, our partner for Innovation, and with Aviva, our partner for National Theatre Live. Finding new partners to work with us in these areas is vital.

Travelex continues to support the National Theatre with the low-cost ticket seasons (£12 in 2013-14, £15 in 2014-15) and has been doing so now for 11 years. In an extension of our Preferred Card Partnership, American Express sponsored the return of Propstore and increased their sponsorship to embrace the NT’s shows in the West End – Curious Incident, War Horse and One Man, Two Guvnors – as part of a season of summer activity. Our new partnership with Bank of America Merrill Lynch extends beyond NT Future to include support for our apprenticeship programme and our ongoing commitment to environmental sustainability.

We deepened our relationship with Neptune Investment Management who, as well as being partner for The Shed, supported NT Learning

activity with schools in Hammersmith and Fulham. This was our third year as one of the J.P. Morgan Signature Series Partners (along with the Southbank Centre and National Portrait Gallery); and the costs of our productions were eased thanks to flight partner, American Airlines and contemporary clothing partner, Hugo Boss.

During the year we welcomed Julius Baer as the headline sponsor of King Lear, their first sponsorship at the National Theatre; and we secured the support of Radisson Blu Edwardian London, who became the National Theatre’s Official Hotel Partner.

Trusts and FoundationsOver £470,000 came from Trusts and Foundations, who contributed towards a wide range of projects. Significant grants were received from The Ingram Trust, The Archie Sherman Charitable Trust and the Mohamed S. Farsi Foundation for our work in primary schools, and from the John Lyon’s Charity for a new secondary schools project. We are most grateful for the continued support of The Paul Hamlyn Foundation towards Young Studio and The Dorset Foundation towards our touring Learning work around War Horse in the UK. We were delighted to see growth in our apprenticeships scheme with support from The Eranda Foundation and The Harold Hyam Wingate Trust towards our Events and Props Apprentices, respectively. The Leverhulme Trust has continued its generous support of the NT Studio by committing to support emerging artists across a range of art-forms.

From America we received the generous support of the Laura Pels International Foundation for Theater for our production of The Amen Corner and from the Edgerton Foundation

for The Light Princess. The Sidney E Frank Foundation continued their generous support of our archive and digital work by supporting a special digital broadcast project around the National Theatre’s 50th anniversary.

We would like to express our gratitude to the very many people and organisations that have helped us, by recognising them in the following pages. Their support is invaluable and we are immensely grateful for their continuing commitment and for the many ways in which they enable and enrich our work.

Fundraising

In our 50th Anniversary year, the support given for NT core activities by individual donors, companies, trusts and foundations amounted to £6.5m. This sum is in addition to the funds raised for NT Future, which are detailed separately.

‘The Shed has landed. It’s one of the theatrical events of the year… This is a building that opens your heart before you get into the auditorium. It’s a building that enables invention.’ Susannah Clapp, Observer


NT Future Major Gifts throughout campaign to May 2014Arts Council England The Dorfman Foundation

American Associates of the National Theatre Bruce & Suzie Kovner The Monument Trust The Garfield Weston Foundation

The Clore Duffield Foundation Heritage Lottery Fund The Rayne Foundation The Royal National Theatre Foundation The Dr Mortimer and Theresa Sackler Foundation

Clive & Sally Sherling The Wolfson Foundation

Bank of America Merrill Lynch The Badenoch Trust Christine Collins The Foyle Foundation The Ingram Trust The Thompson Family Charitable Trust

Celia & Edward Atkin CBE Graham & Joanna Barker Ginny & Humphrey Battcock Simon & Sally Borrows The Deborah Loeb Brice Foundation Sir Trevor & Lady Chinn Roscoe Crabbe The Dorset Foundation Glenn & Phyllida Earle Lydia & Manfred Gorvy The Hintze Family Charitable Foundation John Makinson Susie & Stelio Stefanou Leila & Mickey Straus Sir Siegmund Warburg’s Voluntary Settlement Jacqueline & Richard Worswick and 1 anonymous donor

Penny & Bill Bardel Alex Beard & Emma Vernetti Tony & Gisela Bloom Neil & Sarah Brener

Russ & Linda Carr Terri & Timothy Childs Michael & Susan Clasper Lin & Ken Craig & the Aloisia Hofmann Charitable Trust Mick & Barbara Davis Liz & Simon Dingemans Shawn M Donnelley & Christopher M Kelly Lawton W Fitt & James I McLaren Barbara G Fleischman J Paul Getty Jr Charitable Trust Anna & Ralph Goldenberg Kate & Arne Groes Linda & Tony Hill Madeleine Hodgkin Sue Howes & Greg Dyke Maxine Isaacs Luce & Jean-Charles Julien Mr & Mrs Robert Ian MacDonald Ian & Beth Mill Mirisch and Lebenheim Charitable Foundation Nicola & Harold Pasha Philips Francesca Robinson Miss Dasha Shenkman Jay & Deanie Stein The Harold & Mimi Steinberg Charitable Trust Hugh & Catherine Stevenson Monica G-S & Ali E Wambold Steven & Bonnie Ward Marcia B Whitaker George & Patricia White

Dominic & Nancy Casserley Russell & Monkey Chambers CHK Charities Limited The City Bridge Trust Tim & Caroline Clark The Mark Krueger Charitable Trust Stephanie & Carter McClelland Jeff & Liz Peek Michael & Melanie Sherwood and 1 anonymous donor

The National Theatre is also grateful for the generous support of members of the Royal National Theatre Board and the Board of the American Associates of the National Theatre

Supporters

Individual Giving Annual Support April 2013 – March 2014

Major GiftsAlta Advisors Arête Foundation / Betsy & Ed Cohen Keith & Helen Bolderson Sir Trevor & Lady Chinn Ian & Caroline Cormack Liz & Simon Dingemans Sir Harry & Lady Djanogly Beth & Gary Glynn Clive & Sally Sherling Edgar & Judith Wallner Guy & Charlotte Weston Jacqueline & Richard Worswick

Olivier CircleEric Abraham & Sigrid Rausing Celia & Edward Atkin CBE Penny & Bill Bardel Graham & Joanna Barker Ginny & Humphrey Battcock Alex Beard & Emma Vernetti Tony & Gisela Bloom Simon & Sally Borrows Neil & Sarah Brener James & Debby Brice Barbara Broccoli OBE Mrs J A Brodie Mr & Mrs L L Browning, Jr Mr John Burbank & Ms Jordan Cook Russ & Linda Carr Dominic & Nancy Casserley Terri & Timothy Childs The Cielinski Family Michael & Susan Clasper Veronica Cohen Christine Collins Lin & Ken Craig & the Aloisia Hofmann Charitable Trust The Cranshaw Corporation Scott Delman Polly Devlin OBE Shawn M Donnelley & Christopher M Kelly Sarah & Lloyd Dorfman Glenn & Phyllida Earle Peter & Leanda Englander

Lawton W Fitt & James I McLaren Foundation Barry & Penny Francis Jason Gatenby Robin Geffen Richard & Kara Gnodde Anna & Ralph Goldenberg Lydia & Manfred Gorvy Chris & Angela Graham Kate Groes Clare Groom Susan Harbour Susan & Richard Hayden Ms Frances Hellman & Mr Warren Breslau Linda & Tony Hill Madeleine Hodgkin Cathy MacNeil Hollinger & Mark Hollinger Clare & Bernard Horn Sue Howes & Greg Dyke Mrs Luce Julien Mr & Mrs Jack Keenan Bruce & Suzie Kovner Rocco & Debby Landesman John Makinson Selina & David Marks Ian & Beth Mill Mirisch and Lebenheim Charitable Foundation Malcolm & Elizabeth Offord The O’Grady Foundation Dalip & Chandrika Pathak Laura Pels Sara & Paul Phillips The David & Elaine Potter Foundation Francesca Robinson Michael Rose & Roz Rosenblatt The Ruddock Foundation for the Arts Sir Robin & Lady Saxby Jon & NoraLee Sedmak Mrs Carol Sellars David & Sophie Shalit Richard Sharp Miss Dasha Shenkman Michael & Melanie Sherwood David & Alison Slade Peter & Esther Smedvig Mr George Soros


Susie & Stelio Stefanou Jay & Deanie Stein Leila & Mickey Straus Max & Joy Ulfane Steven & Bonnie Ward Charlotte & Simon Warshaw Ian & Victoria Watson Marcia B Whitaker George & Patricia White Maxine White Sir Robert & Lady Wilson Anna Wintour Dr & Mrs Gerald Woolfson George & Moira Yip and 4 anonymous donors

Life BenefactorsEric Abraham & Sigrid Rausing Access Industries Irwin & Mary Ackerman Jonathan & Marie-Claire Agnew Jeffrey Archer Celia & Edward Atkin CBE Royce & Rotha Bell Ron Beller & Jennifer Moses Jody Locker Berger Tony & Gisela Bloom Keith & Helen Bolderson Benjamin Bonas Ms Katie Bradford Ivor Braka Ltd Neil & Sarah Brener The Deborah Loeb Brice Foundation Jonathan Brooks & Clare Laffin Russ & Linda Carr Camilla Cazalet Terri & Timothy Childs Sir Trevor & Lady Chinn Janet M Christensen Myoung-Cheul Chung Dr David Cohen CBE Sir Ronald & Lady Cohen Veronica Cohen Ian & Caroline Cormack Sidney & Elizabeth Corob Lin & Ken Craig & the Aloisia Hofmann Charitable Trust Lord Dalmeny David Day Jose & David Dent Sir Harry & Lady Djanogly

Edward Dolan-Abrahams Justin & Emma Dowley James & Elizabeth Downing Dame Vivien Duffield DBE Robyn Durie David Dutton Glenn & Phyllida Earle Ambassador & Mrs Edward E Elson Jane M & Howard D Epstein Mr Joey Esfandi John & Jill Fairchild John & Tawna Farmer Mr & Mrs Stuart Fiertz Maureen & Allan Fisher Lawton W Fitt & James I McLaren Foundation Emily & Alex Fletcher Clara & Michael Freeman Daniel & Joanna Friel Jacqueline & Michael Gee Charitable Trust Jill & Jack Gerber Mrs Juliet Gibbs Beth & Gary Glynn Michael Godbee Lydia & Manfred Gorvy Nick & Julie Gould Michael Grade CBE Mrs Catherine Graham David R Graham Evelyn & David Green Gabrielle, Lady Greenbury Jill Hackel & Andrzej Zarzycki Katherine Hallgarten Dr Martin Halusa The Philip & Pauline Harris Charitable Trust Susan & Richard Hayden Morven & Michael Heller The Hintze Family Charitable Foundation David Hobbs Dr & Mrs Alan J Horan Clare & Bernard Horn Nita Jackson Lord & Lady Jacobs Joseph & Jill Karaviotis Mr & Mrs Jack Keenan Mathilda & Terence Kennedy Charitable Trust Gillian & Vimal Khosla

Supporters continued

Mark J & Elizabeth L Kogan Charitable Fund Bruce & Suzie Kovner The Mark Krueger Charitable Fund Jon & Mary Leadbetter Kenneth & Melissa Leet Mr A Lenson Lady Lever Sir Stuart & Lady Lipton Thomas Lynch Edward McKinley & Kathleen Lavidge Justin & Jill Manson Selina & David Marks Judy Marshall Patrick Mears The Mirisch & Lebenheim Charitable Foundation Carol Mitchell Mr Miles Morland Debbie Morris Mr & Mrs George Newell Mr & Mrs Jim Nicol Robert & Jane Norbury The O’Grady Foundation Georgia Oetker Gregory & Susan Palm Simon & Carolyn Parker Bowles Barrie & Catherine Pearson Elizabeth & Daniel Peltz Mark Pigott KBE The David & Elaine Potter Foundation Oliver & Helen Prenn Quercus Trust Sue & David Ramsbotham Mr H K Rausing Stephen & Monica Richardson Sir Simon & Lady Robertson Ruth Robinson The Roddick Foundation Bianca & Stuart Roden Michael Rose & Roz Rosenblatt Jeffrey A & Marjorie G Rosen The Michael Harry Sacher Charitable Trust Theresa Sackler Anya & John Sainsbury Yusuf & Fawzia Samad Jon & NoraLee Sedmak Mrs Carol Sellars

Sir Patrick Sergeant Miss Dasha Shenkman Mr & Mrs William Shenkman Clive & Sally Sherling Lois Sieff OBE Rita & Paul Skinner Jay & Deanie Stein Joan Steinberg Hugh & Catherine Stevenson Leila & Mickey Straus Mr John J Studzinski CBE Mr Ian Taylor Mr Eric Tomsett Jan & Michael Topham Jonathan Tyler Mr & Mrs Max Ulfane The Ury Trust Edgar & Judith Wallner Monica G-S & Ali E Wambold Ian & Victoria Watson Jeffrey Weingarten Guy & Charlotte Weston Mrs Mary Weston Susan Wilen Rachel & Anthony Williams The Stuart & Hilary Williams Foundation Sir Robert & Lady Wilson Dr & Mrs Gerald Woolfson and 16 anonymous donors

BenefactorsHelen & Bob Appel Jack & Ian Archer-Watters Susan Baker & Michael Lynch R Derek & Bonnie Bandeen Linda Beecham Peter & Ali Bennett-Jones Norman S Benzaquen & Judy Francis Zankel Tania & Keith Black Mr Philip Bowman Mr Peter Brown Lord Browne of Madingley Sandra Carlisle & Angus Carlill Marty & Michele Cohen Guy & Lucy Davison Alyce Faye Eichelberger-Cleese Barbara G Fleischman Emily & Alex Fletcher Uri & Angela Greenwood Mrs Themy Hamilton

Sir Maurice & Lady Hatter Mrs Caroline Hoare Maxine Isaacs Philip Kingsley Roger & Jane Kirby Paul & Nicolette Kirkby Stephanie & Carter McClelland Ian & Carolyn MacKenzie Margie Markwick Tim & Juliet Medforth David & Sue Morley John & Caroline Nelson Sabine Notz Catsiapis Andrew & Jane Onslow Enid Oppenheim Ms Suzanne Peck Jeff & Liz Peek Oliver & Helen Prenn Elihu & Susan Rose Jon & Susan Rotenstreich Salomon Oppenheimer Philanthropic Foundation Louisa Service OBE Mr & Mrs Paul Sonabend Joan Steinberg Gwen Thornley N’Gunu Tiny Mrs Diana Venison Gerry Wakelin Susan Wilen James D Zirin and 4 anonymous donors

Premier PatronsMrs Margot Adams Mr Stephen Allcock Mr Jeremy Asher Attias Family Foundation Sir John & Lady Baker Henry C Beck, Jr Charitable Lead Trust Sir David & Lady Bell William Benjamin & Jill Kowal Mr & Mrs Michael Bienes Cathie Black & Tom Harvey Susan Bloomberg Edward & Victoria Bonham Carter Mark & Susan Bradley Simon Burgess Sir Peter & Lady Cazalet Louis & Bonnie Cohen

Alan & Betsy Cohn Gill & Garf Collins Mr & Mrs Leigh Collins Mr & Mrs Paul Collins Douglas S Cramer Dr Neil Cross Mr & Mrs Cullman Sir Howard Davies Mrs Josephine Dean John & Catherine Debs Martin & Marian Denny Mr & Mrs R DeScherer Edmund & Fiona Dilger Dr Elza Eapen & Dr Govindasamy Balachandran Abby Edwards Sir Vernon & Lady Ellis Mrs Maureen Elton Roger & Jane Formby The Edwin Fox Foundation Ian & Margaret Frost Andrew Galloway Peter & Barbara Georgescu Jacqueline & Jonathan Gestetner Piers & Melanie Gibson Bruce Golden & Michelle Mercer Lady Shauna Gosling Mr & Mrs Edward Greene Jamie & Marritje Greene Mrs Kate Grimond Charles & Kaaren Hale Richard H Harding Pamela, Lady Harlech Mark Heappey & Anne Markland Helen Lee Henderson The Lady Heseltine Angela Howard & the late David Gestetner Chris & Carolyn Hughes Melvyn & Diane Hughes Liz & Peter Huhne Al & Denise Hurley William & Weslie Janeway Mr James Libson & Ms Anne Joseph Douglas Kennedy Ms Nicola J Kerr John Kinder Rupert & Alice King Christopher Kneale The Kowitz Family Foundation Herbert Kretzmer OBE

Mr & Mrs T Krumland Ms Jolana Leinson Jacqueline & Marc Leland Sarah Le May Mrs Sahra T Lese Fred M Levin & Nancy Livingston Mark & Sophie Lewisohn Jane E Livesey Graham & Eileen Lockwood Rachel Lomax John & Celine Lowrey John & Bridget Macaskill Dr Sarah McGinty Gill Macleod Donald Main Dr John H Makin & Ms Gwendolyn van Paasschen Ms Claudine B Malone Ian & Serrie Meakins Brenda Meldrum Gabriela Mendoza Joyce Menschel John & Susan Michaelson Simon Millson Mr & Mrs A Mosawi Philip Noel Luke & Kate Nunneley Vincent O’Brien Maria O’Donoghue Mark & Amanda Otway Midge & Simon Palley Michael & Mary Parkinson Ms Judy Peck Anne & Barry Pinson Peggy & John Pirovano The Porter Foundation Switzerland Gail, Robert & Ian Reichert Greg & Karen Reid Mrs Clare Rich Mr Robert Rooney Jonathan Ross William & Julie Ryan Betsy & Jack Ryan Dr Joseph Sassoon Phil Scaturro Sir David & Lady Scholey Mr Robert A Silver Mrs Kate Sloane Patricia & David Smalley Helen & Anthony Spiro Judy & Michael Steinhardt Oliver & Sally Stocken

Anne Sweetbaum Lady Juliet Tadgell Hilary Till Laura & Barry Townsley Melissa Ulfane Lady Patricia Varney Ed & Carol Victor Mary Wallach Mr Gene Zuriff & Ms Sherry Jacobson and 4 anonymous donors

PatronsBrian Abbs Dame Jennifer Abramsky Acacia Charitable Trust ACT IV Meg Addison & Irwin Charles Ferry James & Esthy Adler Mr Harry Allan Mr & Mrs Richard Allan Tim Allan & Carey Scott Roger & Angela Allen Joan & Robin Alvarez Mrs Catherine Armitage Aspect Charitable Trust Edward & Amanda Astle James Astor Annette Atkins & Thomas Joyce Denise Augar Professor John & Carolyn Axford John Ayton Mr & Mrs Lawrence Banks John Barker Mr & Mrs John Barkshire Mr Keith Barnett Ray Barrell & Ursula van Almsick Anne J Barsh Stephen Bartlett Mrs Gwendoline Baxter Peter Bazalgette & Hilary Newiss Mrs Arlene Beare Mr Ernest G Beaumont James & Caroline Beery Sarah Bell J & A Bénard Mr Michael Bennett Phil & Lisa Bennett The Bertie Black Foundation Sam & Rosie Berwick Dr Kate Best



Robin & Veronica Bidwell Mrs Wendy Birkby Martin Blackburn Peter Blake-Turner Mr & Mrs Charlie Bott John & Jean Botts Mr Thomas Brezina Mr & Mrs R L Bristow Mrs Sarah Britton Lord & Lady Brown of Eaton-under-Heywood Damon & Deborah Buffini John & Ruth Bullock John & Susan Burns Joan Burstein CBE Mr Philip Buscombe Helena Butler Keith & Pamela Butler-Wheelhouse Martin Byman & Margaret Samson Georgia Byng Andrew Cameron Miss Sarah Caplin Michael Carpenter Ms Susan Carpenter Sir Roger & Lady Carr Douglas & Joan Carter Jason & Belinda Chaffer Richard Clark Tim & Caroline Clark Michael & Susan Clasper Adam Cleal Thea Cleminshaw Daniel & Cornelia Clifford James & Maggie Cochrane The Denise Cohen Charitable Trust Michael & Arlene Cohrs Mr John Coldman Geoffrey Collens Ms V I Comba Andrew & Polly Congreve Carole & Neville Conrad Kay Ellen Consolver Ricki & Robert Conway Mrs Jennifer Coombs Mark & Rebecca Coombs Dorothy Cory-Wright Ms Sophie Coumantaros Ms Elizabeth Crosoer Mr T A R Curran Deborah David & Norman A Kurland Mr & Mrs Jonathan Davie Mr & Mrs Ian Hay Davison

Sir Roger & Lady De Haan The de Laszlo Foundation Mrs Anne De Pinna Conrad Dehn QC Peter & Marian Dell Mrs Yvonne Destribats Dr & Mrs C J Dilloway Leslie Dubow Ann & Henry Ebner Arnold & Greta Edward Jeremy Edwards Frederick & Diana Elghanayan Symon Elliott Stacey & Tessa Ellis Peter & Barbara Elliston Don Ellwood & Sandra Johnigan Sarah & Louis Elson Mrs Alexandra Emmerson Mr Stuart Errington Davide Erro Mrs Eliane Fattal David Fein Lord Feldman Dorothy Field Mrs Hilary Finer Claire Fisher Tony Fisher Mr & Mrs William Fisher Mr & Mrs Mortimer Fleishhacker Susan Fletcher The Gerald Fogel Charitable Trust Helen Freeman Adam & Victoria Freudenheim Arnold Fulton Mr Jonathan Gaisman Paul Gambaccini Johanna Garfield Ms Lucy Garrett Brian Garrison North Street Trust Hon William & Lori Gibson Jon Gilmartin John & Indrani Gleave Daniel Godfrey Mrs M C Godwin Mrs Carolyn Goldbart Emma Gomme Val Gooding & Crawford Macdonald Paul & Kay Goswell Sarah Gough Dr Zoe Graham Margaret & Arthur Grandy

Carolyn Gray Lesley Gregory John & Ann Grieves Richard & Odile Grogan Karen Groos Byron Grote & Susan Miller Clifford & Sooozee Gundle Robert & Diana Guy Jan & Michelle Hagemeier Ros & Alan Haigh William Haining Mark & Moira Hamlin Caroline Hansberry David & Claudia Harding Sir Michael & Lady Harrison Maureen & Derek Harte Mrs Dorothy G Harza Mr Samuel A Haubold Dr Gordon Hay Marc Hayton Helen Lee Henderson Alan Herdman Malcolm Herring Mrs Coreen R Hester Tim & Pippa Hincks Soo & Jonathan Hitchin Andrew Hochhauser Rodney & Zmira Hornstein Jane Hurt Graham Hutton John D Hyatt Robin & Inge Hyman Richard & Rosie Hytner Roda Infield Simon & Sally Jackson Barbara Johnson Mary Ellen Johnson & Richard Goeltz Alan Jones Nicholas & Cherry Jones Paul Kafka Ralph & Patricia Kanter David Kaskel & Christopher Teano Donovan Kelly & Ann Wood John & Jenny Kelly Mrs Helene Kessler David Killick Neil King Steve Kingshott Baroness Denise Kingsmill CBE Mrs Frances Kirsh James Klosty



Costas Michaelides & John Soderquist Nick & Suzie Miles Barbara Minto Ashley & Elizabeth Mitchell The Lowy Mitchell Foundation Mrs Barbara Modiano Dr Donald Moir Sir Mark Moody-Stuart Peter Moran Barbara Morgan David & Sue Morley Mr & Mrs M D Moross Gary Morris & Robert Venables QC Mr & Mrs Morrison Pat Morton Gerald Moss Jacqueline Mountain Randi Glass Murray Mr & Mrs Peter Murray-Smith Dr Ann Naylor Stanley Newman & Dr Brian Rosenthal Andrew & Sue Nichols Sarah Nichols Sir Charles & Lady Nunneley David C Olstein Sandy & Caroline Orr Sir Peter Osborne Mrs Kathrine Palmer Lord & Lady Pannick Tim Parker Carolyn & David Pascall CBE Mr R H C Pattison Kristin M Paulus Countess Cosima Pavoncelli Oliver & Emma Pawle Gareth & Ginny Pearce Gordon & Marian Pell Christina & Ben Perry Roger & Virginia Phillimore William Pidduck Mr David Pike Andrew Pitt William Plapinger & Cassie Murray Pat & John Porter Jack & Noreen Poulson William Powar Andrew Powrie Mr & Mrs Michael Pragnell Mrs Marie Prutton David & Hilmary Quarmby

Anthony & Ann Regan Christopher Marek Rencki Joyce Reuben His Honour Michael Rich QC Philip & Sarah Richards Dennis Robins Mrs Lesley Robins Caroline Roboh Mr David Rocklin Kristina Rogge Mr & Mrs Kenneth Rokison Sir John & Lady Rose Tim Rosenberg Mr & Mrs Harvey Rosenblatt Sue & Tony Rosner Mr P M Roth Mr David Royds Anthony Rudd William & Hillary Russell Bonnie Sacerdote John & Jeremy Sacher Charitable Trust Pushpinder Saini Anthony & Sally Salz Ruth & Brian Sandelson Michael Sayers QC Michael & Beth Schneider Mr & Mrs Richard J Schwartz Rod & Sarah Selkirk Eileen Serbutt Mr & Mrs Mark Shanker Ellen & Dan Shapiro Philip & Rebecca Shelley Linda & Stephen Simpson The Mike & Janet Slosberg Foundation Mr Francis D Small Christopher & Ingeborg Smallwood Mr & Mrs R A H Smart Brian D Smith John & Ann Smith Tessa Smith Sir Harry & Lady Solomon Stephen & Connie Spahn Janna Spark & Iko Meshoulam Ms Francesca Stanfill Nye Mr & Mrs Don Starr Mike Staunton Alan & Ruth Stein Gayfryd Steinberg Kathryn Steinberg George & Elizabeth Stevens

Judy & David Stewart Olive & Michael Stone Siân Stonehill Sue & Stuart Stradling Andrew & Laura Sukawaty Sir John & Lady Sunderland Mrs Ann Susman Robert & Patricia Swannell Richard Szpiro Bernard & Nadine Taylor Eileen J Taylor Mr & Mrs Russell W Taylor Ms Chantal Thompson Tony & Valerie Thompson Henry Timnick Miklos Toth Mr & Mrs John C Tucker Christopher & Julia Tugendhat Mrs Margaret K B Turner Jonathan Tyler Marina Vaizey Debra Valentine Peter Ventress Mr & Mrs Eric Vezie Frank & Emily Vogl Gary von Lehmden Tim & Nadine Waddell Christopher Wade Mr & Mrs Jeffrey Walker Sally Warner Denie & Frank Weil Mr Nicholas Wells Geoff Westmore Mrs Ailsa White Graham & Sue White Mrs Reba White Williams Mr & Mrs Brian M Wides Mary Willett Ann Williams Peter Williams Marilyn & Geoffrey Wilson Mr & Mrs Michael Wilson Henry & Louise Windeler Cohen Richard & Susan Wolff David & Vivienne Woolf David Wormsley Ms Cynthia Wu David & Barbara Zalaznick Stephen & Laura Zimmerman Mr & Mrs Keith Zerdin and 38 anonymous donors

Bill & Stephanie Knight David Knox David & Linda Lakhdhir Mr David Lanch Martha Lane Fox Steven Larcombe & Sonya Leydecker Mrs Rosanna Laurence Nicola Leach Sir Terry Leahy Mark Lee Joanna Le Grice J Leon Charity Fund Mr & Mrs B Lesslie Sara Levene Dr Mark Levesley Colette & Peter Levy Marc Lewell Mrs Lynn Lewis Sir Gavin & Dr Naomi Lightman Sam & Pam Lipfriend Sir Sydney Lipworth QC & Lady Lipworth CBE Mrs Georgina Liverpool Lady Lloyd of Berwick John Lockyer & Jane Creasey Victor & Marilyn Lownes Angela & Michael Lynch Mrs Lesley Jane Lynn Mrs Felicity Lyons John Stuart Macara Ginny Macbeth Gordon & Dena McCallum Hugh MacDougald David McGibney Alistair Mackinnon-Musson Ian McVeigh Charles & Nicola Manby Dr Anna Mann The Maplescombe Trust Paul & Paula Marber David M Marks QC Mr & Mrs Jonathan Marks Lady Medina Marks Julian & Camilla Mash Victoria Mather Richard & Lara Max Cornelius Medvei David & Wendy Meller Sandy & Ed Meyer Sue Meynell Mrs Kathryn Michael

Young Patron Ambassadors

Poppy & Ross Allonby Nicola Blake Francesco Ciardi Joshua Davis Saul Doctor Charles Dorfman Virginia Garcia Esteban William Gilpin Matthew Hayday Lucy Loveday Sheryl Needham James Nicola Sinead Ni Mhuircheartaigh Veronica Rivera & Will Sherling Aliceson Robinson April Robinson Bryan Taylor Ian Tollett Lisa Valk Sam & Sally Munday-Webb and 2 anonymous donors

The National is also grateful for the support of our Supporting Cast, Young Patrons, Priority and Priority Plus Members

Legacies April 2013-March 2014

Margaret Flatman Norah Elizabeth Gilchrist Phyllis Margaret Hammond Moira Hearn Jean Holmes Storm Garrett Kelly Margaret Lowy June Pike Deryck Thornley

Corporate Support April 2013 – March 2014

PartnersTravelex Accenture American Airlines American Express Aviva Bank of America Merrill Lynch Corbis Images Hugo Boss

Julius Baer J.P. Morgan Neptune Investment Management Philips Radisson Blu Edwardian National Theatre Education is supported by Goldman Sachs

Premium Members Linklaters LLP UBS G3

Platinum MembersAmerican Airlines Bloomberg LP BNP Paribas Cisco Corbis Images Daily Mail and General Trust plc Delta Airlines GlaxoSmithKline Goldman Sachs Pearson plc Prudential plc Shell Smiths Group plc Standard Chartered Bank

Gold MembersBartle Bogle Hegarty Bruntwood Cantate Carey Group plc Clifford Chance CQS DAC Beachcroft Equity Invest Finsbury Ltd Forsters LLP Arthur J Gallagher KPMG LLP Lazard Lubbock Fine Macfarlanes LLP Markson Pianos Moore Stephens LLP Nyman Libson Paul Penningtons Manches Solicitors LLP Pentland Group plc

Precedent Reed Elsevier Regatta Ltd Rio Tinto The Rose Foundation Santander UK plc Slaughter and May Smith & Williamson Societe Generale The Stanley Foundation Tesco plc Unilever plc Zurich Insurance plc

Trusts & Foundation – Annual Revenue Support April 2013- March 2014

Major Trusts & FoundationsThe Band Trust The Behrens Foundation Columbia Foundation The Dorset Foundation Edgerton Foundation Sidney E Frank Foundation Paul Hamlyn Foundation The Ingram Trust The Leverhulme Trust John Lyon’s Charity Mulberry Trust The Laura Pels International Foundation for Theater Quercus Trust The Rose Foundation Archie Sherman Charitable Trust

Trusts & FoundationsThe E Dennis Armstrong Trust Bill Belk The Chapman Charitable Trust The D’Oyly Carte Charitable Trust The Gilbert and Eileen Edgar Foundation The Eranda Foundation Mohamed S Farsi Foundation The Golden Bottle Trust The Goldsmiths’ Company Charity Milton Grundy Foundation Heritage of London Trust Jill & David Leuw Newcomen Collett Foundation

St Olave’s Foundation Fund Old Possum’s Practical Trust The Schneer Foundation The Sobell Foundation The Topinambour Trust The Transformation Trust The Constance Travis Charitable Trust The Vandervell Foundation The Harold Hyam Wingate Foundation and 1 anonymous donor

American Associates of the NT

AANT Board Members Leila Maw Straus, Chair William G Bardel Peter Brown Timothy Childs Shawn M Donnelley Alyce Faye Eichelberger-Cleese Lawton W Fitt Barbara Fleischman Maxine Isaacs Suzie Kovner Debby Landesman Jeanne Linnes Lady Lyall Grant Stephanie McClelland Carolyn MacDonald Jeffrey Peek Laura Pels David Smalley Jay Stein Joan Steinberg Monica Wambold Lady Westmacott Susan Wilen

Honorary CouncilTerri Childs Suzanne Elson Richard Harding Elliott F Kulick John Makinson Stafford Matthews Sir Deryck Maughan Lady Sheinwald

The National Theatre wishes to acknowledge its partner National Angels Limited.


Performers 2013–14

The Acting CompanyEric Kofi AbrefaBen AddisTobi AdetunjiKate AdlerNaana Agyei-AmpaduAidarus AididMel AigbogunHolly AirdGareth AledGeraldine AlexanderSam AlexanderEsh AlladiRoger AllamNigel AllenSamuel AndersonAnthony AntunesJennifer ArmourDerek ArnoldOwain ArthurTimothy X AtackDelroy AtkinsonAlex AveryRakie AyolaAyishat BabatundeMarion BaileyJonathan BaileyMatthew BarkerCarys BarnesJason BarnettMartin BarrassEdward BaruwaIain BatchelorSandy BatchelorGreg BaxterOliver BeamishAlex BeckettKatrina BeckfordMensah BediakoGina BellmanAlan BennettDavid BensonPaul BentallClare BeresfordAdam BerryNathan BessellAnne BirdLucy BlackDonovan F BlackwoodSteven BlakeJacqueline BoatswainRichard BoothAmy Booth-SteelSophie BouldCaroline BowmanStephen BoxerCassie BradleyCharlotte BradleyAlistair BrammerMichael BrandonPeter BrayOwen Brazendale

Tom BrennanMichael BrettKevin BrewisAudrey BrissonStephanie BronTom BrookeLorna BrownMiquel BrownGillian BuddIan BurfieldKirsty BushellStephen Campbell MooreDan CanhamDavid CarrEvie CarrickerNathalie CarringtonMark CarterVivien CarterDaniel CaseyPeter CaulfieldDaniel CerqueiraMartin ChamberlainJames CharltonAshleigh CheadleAshley ChinVera ChokHeather ChristianWilliam ChubbEke ChukwuMatthew ChurcherSharon D ClarkeOliver ClementRichard ClothierDarren CockrillMichaela CoelJudith CokeKate ColebrookDominic ConwayDominic CooperJonathan CooteJames CordenPhilip CorreiaSophie CossonOliver CottonRosalie Craig Sophie CrawfordRhona CrokerMatt CrossFelix CrutchleyLaura CubittAmy CuddenJonathan CullenBenedict CumberbatchEwen CumminsNiamh CusackDanny DaltonJessica DaugirdaJosie DaxterElliot DayFrances de la TourAnthony DelaneyRobert DemegerJudi Dench

Natalie DewSacha DhawanChristopher DickinsDrew DillonHasan DixonJo DockeryJames DohertyReece DonnJames DonovanAmanda DrewPatrick DriverRob DrummondPatrick DruryJonathan Dryden TaylorJacqui DuboisAnne-Marie DuffSophie DuvalLisa Dwyer HoggChristopher EcclestonCharles EdwardsMarc ElliottElmi Rashid ElmiDerek ElroyDavid EmmingsPaapa EssieduGershwyn Eustache JrDamon FalckGeorgie FarmerSamuel FavaJenny FennessyJake FerrettiTamsin FesseyTheo FewellRalph FiennesDeborah FindlayZac FitzgeraldGabriel FlearyKate FleetwoodTommy Fletcher McMeekinJudy FlynnMatthew FlynnGus FontaineOlwen FouéréJayden Fowora-KnightTrevor FoxNaomi FrederickChristian FromMichael GambonTrevor Michael GeorgesRokhsaneh Ghawam-ShahidiJohnny GibbonRobert GilbertSean GleesonJonathan GlewAdam GodleyGawn GraingerSerena GrantTiffany GravesAmber GrayEmily GreensladeAlex JenningsEmma JerroldAlison Jiear

CJ JohnsonLuke JohnsonBettrys JonesJesse JonesIbrahim KanuScott KarimRichard KatzCharles KayRory KeenanChris KelhamDean Lennox KellyLouise KemptonElla KenionJamie KennaBilly KennedyHarry KershawLibby KingRory KinnearBarbara KirbyVanessa KirbyDavid KirkbrideKadiff KirwanDaniel KitsonAndrew KnottGerald KydSarah LamJane LambertDavid LanghamCarla LangleyJason LangleyIan LassiterPieter LawmanGemma LawrencePenny LaydenStephen LeaskIzzy LeeNicholas le PrevostAdrian LesterKatie LeungAvye LeventisChris Lew Kum HoiTim LewisDylan LlewellynRosaleen LinehanLoré LixenbergGabrielle LloydAndrew LondonBrian LonsdaleTom LorcanKerry LovellRichard LoweEmma LowndesJack LoxtonNicholas LumleyTommy LutherLashana LynchMaggie McCarthyJoshua McCordTony McGeeverNiamh McGowanAshley McGuireTim McMullanStuart McQuarrie

Éva MagyarKatherine MannersSimon ManyondaDavid MaraLyndsey MarshalNadine MarshallNathaniel Martello-WhiteAbigail MatthewsSinéad MatthewsAnna Maxwell MartinJesse MeadowsDogan MehmetTobias MenziesTom MeredithClive MerrisonHelena MiddletonTahj MilesDaniel MillarDan MilneHelen MirrenIain MitchellJustine MitchellMiles MitchellThomas MittelheuserBunmi MojekwuZackary MomohGerard MonacoGertrude MontgomeryClaire MooreIan MorganVictoria MoseleyLucian MsamatiBen MurrayToby MurrayJamie MuscatoEmily MyttonNadim NaamanMichael NardoneAaron Neil Frederick NeilsonDavid NellistJames NewtonRoxanna Nic LiamSarah NilesLorenzo NiyongaboCecilia NobleMike NobleEmma NorinSteve NorthAnthony O’DonnellKate O’FlynnAnna O’GradyToby OliéRhiannon OliverLandi OshinowoAisling O’SullivanLloyd OwenAlexis Owen HobbsWill PalmerJohnny PanchaudDemi PapaminasNeil ParisAlastair Parker


‘How can I create this panaroma of character? It is not just about charting the years. These people have extraordinary colours that you are trying to find every day in rehearsal.’Anne-Marie Duff quoted in The Observer

Jamie ParkerAimee ParkesMalinda ParrisKane Oliver ParryJon ParsonageUmar PashaEugenie PastorDaniel PattenKatie Elizabeth PayneAdam PearceJohnny PeatLewis PeploeJane PerryTom PetersDarren PettieLisa Davina PhillipCaspar PhillipsonMatthew PidgeonTim Pigott-SmithLaura Pitt-PulfordEmily PlumtreeGary PowellKelly PriceSergio PriftisRyan QuartleySarah QuistTom RadfordArchana RamaswamyJeff RawleMark RawlingsRichard RidingsJessica ReganGuy RemmersTom RobertsonOliver RosarioMark RoseGolda RosheuvelClive RoweSimon Russell BealeWilliam RycroftHugh SachsGemma SalterNick SampsonTim SamuelsJack SandleTom SargentJamie SatterthwaiteGrace SavageHenri ScanlonAdrian ScarboroughLuke ScholefieldWilf ScoldingAlex ScottAndrew ScottMaggie ServiceMichael ShaefferShakkaLesley SharpIan ShawRuth SheenKellie ShirleyDavid SibleyJoe Sibley

Chook SibtainNuno SilvaNick SidiAlisdair SimpsonMalcolm Sinclair Cherrelle SkeeteClaire SkinnerNicola SloaneMaggie SmithNathaniel SmithKyle SollerGay SoperSophie StantonJoseph Stembridge-KingMax StephensLisa StevensonPaul StockerJulian StolzenbergHannah StokelyGeoffrey StreatfeildPhoebe StreetDavid SummerMichael TaibiMatt TaitRebecca TanwenJack TarltonJames Alexander TaylorMichelle TerrySarah ThomAntonia ThomasBen ThompsonZoe ThorneEmma ThornettPaul ThornleyJason ThorpeDominic ThorburnChris Towner-JonesStanley TownsendLuke TreadawayTilly TremayneJohn TrindleSam TroughtonShamira TurnerTim Van EykenBen VardyOlivia VinallEmily WachterRoss WaitonCathy WalkerJosie WalkerBrendan WallSue WallaceDaniel WalshEileen WalshEveral A WalshDaniel WardHoward WardPatrick WarnerJason WatkinsTilly WebberAnthony WelshToby WhartonSharlene Whyte

Russell WilcoxJoseph WilkinsHeather WilliamsKelly WilliamsShen WilliamsAimee WilmotSam WilmottStephen WilsonPenelope WiltonThomas WiltonKarren WinchesterClaire WinsperDan WinterDuncan WisbeySusannah WiseSimon WolfeEdith WoolleySophie WuAngela WynterThomas YarrowBob Yates TilyMiles YekinniDaniel YorkEben YoungSion Young

SupernumerariesSaif Al-Warith, Jon Alagoa, Waj Ali, Natham Ampofo, Paul Anthoney, James S Barnes, Mat Betteridge, Navinder Bhatti, Jonathan Blakeley, Karl Brown, Sebastian Canciglia, Matthew Darcy, Amit Dhut, Noor Dillan-Knight, Dexter Jermaine Flanders, Matt Gardner, Cameron Harris, John Hastings, James Inkson, Kojo Kamara, Owen Lindsay, Rebecca Meyer, Shane Noone, Joseph Ogeleka, Gary Phoenix, Javier Rasero, Anthony Steele, Andrew Thompson, Maxwell Tyler, Grace Willis

Foley Artists Barnaby Smyth, Ruth Sullivan

The Show Musicians Leonie AdamsSimon AllenRobert AmesKevin AmosNeyire AshworthLois AuJohn BarclayAngenita BlackwoodMark BousieAnnette BowenTom BradyMartin BriggsBen Brooker

Clive BrownLisa BucknellSam CableAndrew CallardGordon CampbellToby ColesRichard CoughlanAllan CoxJay CraigSarah CrispGeneta CrookeAndrew CrowleyJonathan EddieRachel ElliottPaul EnglishbyAndy FindonChris FishJohn FrancisMonica GeorgeTom GreenMatthew GunnerGeorge HadjineophytouNicola HandsCliff HardieKimberly Jill Harrenstein Douglas HarrisonRichie HartJames HastingsDavid HoltJoe HoodElena HullJeremy IsaacMark KavumaJenny la ToucheEnnis LangdonMartin LoweLydia Lowndes-NorthcottPeter McCarthyMarcia McEachronHoward McGillGavin Mallet Melanie MarshallJoan MartinezNeresa MayeGaelle-Anne MichelJohn MillsLaura MoodyJeff MooreLouise MorganNick MossGrant OldingStephanie OyerindeLena PalmerJohn ParricelliAdam PleethNick PowellStuart Matthew PriceVerity QuadeColin RaeNerys RichardsDon RichardsonJoseph RobertsMartin Robertson

Katherine RockhillKelyon RossLawrence RoweMatt SeniorOliver Seymour MarshRoss SharkeyCaroline SheenDavid ShrubsoleBryan SmithSteve SmithBarnaby SmythJosh SneesbyAnna StokesBilly StookesChris StorrRuth SullivanTim SuttonSeila TammisolaFraser TannockBecky ThomasSarah ThurlowMarcus TiltHelen TunstallRutledge TurnlundGareth ValentineAndy VinterBozidar VukoticByronWallenPhilip Murray WarsonSarah WillsonBen WoodgateMichael XavierMari YamamotoBarbara Zdziarska

Performers 2013–14 continued


NT Associates, Committee Membership

NT AssociatesAlison ChittyBob CrowleyDeclan DonnellanJonathan DoveEdward HallMark HendersonAlex JenningsKwame Kwei-ArmahAdrian LesterPhyllida LloydPatrick MarberHelen MirrenTom MorrisMark RavenhillSimon Russell Beale Zoë Wanamaker

Associate Producer Pádraig Cusack

Committee Membership at 30 March 2014

Development CouncilSusan Chinn, ChairClive Sherling, Vice ChairGraham BarkerRoyce BellDr Neil Brener Sarah BrenerRuss CarrTim ClarkSimon DingemansCharles DorfmanDavid HallCaroline HoareMadeline HodgkinRosie HytnerElizabeth OffordOliver PawleCharlotte WarshawCharlotte Weston

Finance & Audit CommitteeHoward Davies, ChairDame Ursula Brennan DCBTim ClarkLloyd Dorfman CBERos HaighJohn Makinson

NT Future Fundraising CommitteeClive Sherling, ChairGraham BarkerLisa BurgerSusan ChinnTim ClarkGlenn EarleDavid HallJohn MakinsonJohn RodgersNick Starr

NT Future Project CommitteeGlenn Earle, ChairLisa BurgerDominic Casserley Tim ClarkLloyd Dorfman CBERos HaighAlan Leibowitz John MakinsonClive SherlingNick Starr

Nominations CommitteeTim Clark, ChairPeter Bennett-JonesJames Purnell

Remuneration CommitteeHoward Davies, ChairDame Ursula Brennan DCBTim Clark Lloyd Dorfman CBERos HaighJohn Makinson

National Theatre Productions LimitedDirectorsPeter Bennett-Jones, ChairLisa BurgerTim ClarkChris HarperAndré PtaszynskiTessa RossDavid SabelNick Starr

National Theatre Productions Overseas LimitedDirectorsPeter Bennett-JonesLisa BurgerNick StarrPeter Taylor

National Theatre North America LLCDirectorsPeter Bennett-JonesLisa BurgerTim ClarkNick StarrPeter Taylor

Royal National Theatre Enterprises LimitedDirectorsRos Haigh, ChairAlex BayleyLisa BurgerFarah Ramzan Golant CBEPatrick HarrisonMark HixKaren JonesJohn LangleyGeoffrey MatthewsKate MosseNick Starr

Honorary CouncilSir David BellTony BloomDr David Cohen CBEJustin DowleyDavid DuttonMichael GeeMichael Grade CBERobert NorburyOliver PrennLois Sieff OBEMax UlfaneEdgar Wallner

Board and Committee SecretaryDonna Parker

NT Heads of Department Artistic AdministrationRobin HawkesBroadcast & DigitalDavid SabelCastingWendy SponCommercial OperationsPatrick HarrisonDevelopmentJohn RodgersEngineeringKieron LillisExternal Relationships & PartnershipsJohn LangleyFinanceKate BarraballLindsay MorganGeneral CounselPeter TaylorHuman ResourcesTony PeersInformation TechnologyJoe McFaddenLearningAlice King-FarlowMarketingAlex BayleyMusicMatthew ScottNT StudioLaura CollierSarah Jane MurrayPlanningJo HornsbyPlatforms & WTSAngus MacKechniePressLucinda MorrisonPrint & PublicationsLyn HaillTechnical & ProductionMark Dakin Mark DaviesSacha MilroyTechnical ProducerKatrina GilroyVoiceJeannette Nelson

NT ProductionsChris HarperSteve Rebbeck

NT AmericaTim Levy


‘…the National Theatre must… bulk large in the social and intellectual life of London… It must not even have the air of appealing to a specially literary and cultured class. It must be visibly and unmistakably a popular institution, making a large appeal to the whole community.

‘It will be seen that the Theatre we propose would be a National Theatre in this sense, that it would be from the first conditionally – and, in the event of success, would become absolutely – the property of the nation.’Preface (1904) to A National Theatre: Scheme and Estimates by William Archer and Harley Granville Barker, London 1907

‘The particular genius of the place stems from the fact that on the one hand, it was founded in conscious imitation of the great European state theatres, with classical repertoires of high seriousness, dedicated to the guardianship of the sacred flame of each individual state’s theatrical tradition. On the other hand, it was made by people who were not part of that tradition at all. Those seasons which Olivier and his contemporaries presented at the Old Vic and in the West End were part of a theatre scene which for 400 years had never recognised a rigid divide between high art and entertainment.

‘And that’s what I think has made the National special. We have never felt it to be impossible to be challenging and entertaining at the same time.’Nicholas Hytner, Daily Telegraph, October 2013

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

Company registration number 749504.Registered charity number 224223.Registered in England.

Photo captions

3 John Heffernan and Kyle Soller in Edward II Photo Johan Persson

4 National Theatre staff on its 50th Anniversary Photo Ellie Kurttz

7 Sharon D. Clarke and Marianne Jean-Baptiste in The Amen Corner Photo Richard Hubert Smith

9 Olivia Williams in Happy Now?, 2008 Photo Stephen CummiskeyRory Kinnear as Hamlet, 2010 Photo Johan Persson

Lesley Sharp and Susan Brown in Harper Regan, 2008 Photo Kevin Cummins

Dominic Cooper and Helen Mirren in Phèdre, 2009 Photo Catherine Ashmore

Alex Jennings and Simon Russell Beale in Collaborators, 2011 Photo Johan Persson

Vincent Franklin, Philip Glenister and Lauren O’Neil in This House, 2012 Photo Johan Persson

Anne-Marie Duff in Saint Joan, 2007 Photo Kevin Cummins

10 Nancy Carroll and Benedict Cumberbatch in After The Dance, 2010 Photo Johan Persson

Deanna Dunagan in August, Osage County, 2008 Photo Michael Brosilow

Anna Maxwell Martin and Dominic Cooper in His Dark Materials, 2003 Photo Ivan Kyncl

Lesley Manville and Jemima Rooper in Her Naked Skin, 2008 Photo Catherine Ashmore

Adrian Lester in Henry V, 2003 Photo Ivan Kyncl

London Assurance, 2010 Photo Catherine Ashmore

Michael Brandon in Jerry Springer The Opera, 2003 Photo Catherine Ashmore

Matthew Morris in Just For Show, 2005 Photo Jiri Volek

London Road, 2011 Photo Vikki Peter

11 Liz Kettle in Waves, 2006 Photo Stephen Cummiskey

Jeremy Irons in Never So Good, 2008 Photo Catherine Ashmore

NT Live broadcast: Julie Walters and Rory Kinnear in The Last of the Haussmans, 2012 Photo Ludovic Des Cognets

Martina Laird and Jade Anouka in Moon on a Rainbow Shawl, 2012 Photo Jonathan Keenan

Simon Russell Beale and Zoë Wanamaker in Much Ado About Nothing, 2007 Photo Catherine Ashmore

James Corden in One Man, Two Guvnors, 2011 Photo Johan Persson

Double Feature in the Paintframe, 2011 Photo Johan Persson

Jonny Lee Miller and Benedict Cumberbatch in Frankenstein, 2011 Photo Catherine Ashmore

Rafta, Rafta, 2007 Photo Catherine Ashmore

Lesley Manville and Marion Bailey in Grief, 2011 Photo John Haynes

13 Jamie Ballard in War Horse, 2007 Photo Simon Annand

Billie Piper and Jonjo O’Neill in The Effect, 2012 Photo Ellie Kurttz

Conleth Hill and Roger Allam in Democracy, 2003 Photo Conrad Blakemore

The Curious Incident of the Dog in the Night-Time, 2012 Photo Brinkhoff Mögenburg

The History Boys, 2004 Photo Ivan Kyncl

Conleth Hill and Justine Mitchell in The White Guard, 2010 Photo Catherine Ashmore

The Pitmen Painters, 2008 Photo Keith Pattison

Alex Jennings in Stuff Happens, 2004 Photo Ivan Kyncl

14 Daniel Patten in Emil and the Detectives Photo Marc Brenner

17 Simon Russell Beale in King Lear Photo Mark Douet

18 Mike Noble in The Curious Incident of the Dog in the Night-Time at Stratford Town Hall Photo Ellie Kurttz

19 War Horse at the Technology Investors Forum in Qingdao, China 2014 Photo courtesy of UK Trade and Investment

20 Lesley Sharp and Kate O’Flynn in A Taste of Honey Photo Marc Brenner

24 Nick Hendrix and Rosalie Craig in The Light Princess Photo Brinkhoff Mögenburg

26 The National Theatre at 50 with The Shed Photo Philip Vile

27 HM The Queen greeted by Nicholas Hytner and Nick Starr Photo Ellie KurttzDerek Jacobi and Michael Gambon in No Man’s Land for National Theatre: 50 Years on Stage Photo Catherine Ashmore

28 Above: HM The Queen tours the Props workshop Photo Ellie Kurttz Below: Judi Dench, Derek Jacobi, Penelope Wilton, Maggie Smith, Charles Kay and Roger Allam at the curtain call for National Theatre: 50 Years on Stage Photo Catherine Ashmore

29 Clockwise from left: Judi Dench as Cleopatra for National Theatre: 50 Years on Stage Photo Catherine Ashmore

Backstage staff at the curtain call for National Theatre: 50 Years on Stage Photo Catherine Ashmore

Nicholas Le Prevost and Penelope Wilton in Bedroom Farce for National Theatre: 50 Years on Stage Photo Catherine Ashmore

Dominic Cooper, Sacha Dhawan, James Corden and Philip Correia in The History Boys for National Theatre: 50 Years on Stage Photo Catherine Ashmore

31 Above: Rory Keenan and Carla Langley in Liolà Photo Catherine Ashmore Below: National Theatre honey Photo Tom Dykes

32 Rory Kinnear and Adrian Lester in Othello Photo Johan Persson

39 Tendayi Jembere and Natalie Dew in Romeo and Juliet Photo Ludovic des Cognets

40 Ana Inés Jabares Pita, winner of the 2013 Linbury Prize Photo Sheila Burnett

43 Above: Max Rayne Centre under construction Middle: New Props workshop Below: Dorfman Theatre under refurbishment Photos Ludovic Des Cognets

45 Avye Leventis, David Emmings and Audrey Brisson in The Elephantom Photo Lena Zimmer

47 Michaela Coel in Chewing Gum Dreams Photo Oliver Prout

48 Antonia Thomas in Home Photo Ellie Kurttz

51 Adam Godley and members of the company in From Morning To Midnight Photo Johan Persson

52 Left: Ian Lassiter and Amber Gray in Mission Drift Photo Robert Day Right: Nadine Marshall in nut Photo Stephen Cummiskey

53 Above: Riot Photo Chris Collier Left: Daniel York in The World of Extreme Happiness Photo Richard Hubert Smith Right: Tobias Menzies in The Hush Photo Simon Kane

54 Rosalie Craig and Michael Shaeffer in Table Photo Richard Hubert Smith

57 Above: Emma Lowndes, Geoffrey Streatfeild and Lucy Black in Children of the Sun Photo Richard Hubert Smith

Below: Susannah Wise, Michaela Coel, Sinead Matthews and Lorna Brown in Blurred Lines Photo Simon Kane

61Above left: Rhys Ifans in Protest Song Photo Kwame Lestrade Below left: Olwen Fouéré in riverrun Photo Colm Hogan Right: Rob Drummond in Bullet Catch Photo Niall Walker

65Above: Andrew Scott in Sea Wall Photo Simon Annand Below: Bristol Old Vic Young Company in The Grandfathers Photo Simon Annand

67Anne-Marie Duff in Strange Interlude Photo Johan Persson

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Financial Statements 2013-2014

National Theatre

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National Theatre

Financial Statements

The Royal National Theatre is a company limited by guarantee, and a registered charity. The liability of members is limited to £1. It was established in 1963 for the advancement of education and, in particular, to procure and increase the appreciation and understanding of the dramatic art in all its forms as a memorial to William Shakespeare. These objects are set out in the governing document, which is its Memorandum and Articles of Association, and have been developed into a set of aims and objectives as described in the Annual Report document on pages 4-5 and 15-68.

Public Benefit Statement In developing the objectives for the year, and in planning activities, the Trustees have considered the Charity Commission’s general guidance on public benefit including the guidance on public benefit and fee charging. The repertoire is planned so that across a full year it will cover a wide range of theatre, appealing to a broad audience. Particular regard is given to ticket-pricing, affordability, access and audience development, both through the Travelex season and more generally in the provision of lower price tickets for all performances. Geographical reach is achieved through touring and NT Live broadcasts to cinemas in the UK and overseas. The NT also seeks to develop new audiences and deepen engagement through its NT Learning programme and other activities, both on-site and via the website.

The Annual Report and Financial Statements are available to download at www.nationaltheatre.org.uk/annualreport If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Board Secretary at the National Theatre. The Royal National Theatre, Upper Ground, London. SE1 9PX +44 (0)20 7452 3333 Company registration number 749504. Registered charity number 224223. Registered in England.

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FINANCIAL STATEMENTS FOR THE 52 WEEKS ENDED 30 MARCH 2014

2 Public Benefit Statement 4 Reference and Administrative Details of the Charity, Trustees and

Advisors 5 Structure, Governance and Management 8 Strategic Report

21 Independent Auditors’ Report 23 Financial Statements 27 Notes to the Financial Statements

In this document The Royal National Theatre is referred to as “the NT”, “the National”, and “the National Theatre”. The Trustees’ Report comprises those items on pages 2-20 of the Financial Statements and pages 1-5 and 15-68 of the Annual Report.

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REFERENCE AND ADMINISTRATIVE DETAILS OF THE CHARITY, TRUSTEES AND ADVISORS

Board Members

John Makinson (Chairman)

Kate Mosse OBE (Deputy Chair)

Peter Bennett-Jones

Dame Ursula Brennan DCB

Dominic Casserley

Susan Chinn CBE

Tim Clark

Howard Davies

Lloyd Dorfman CBE

Glenn Earle

Aminatta Forna

Farah Ramzan Golant CBE

Ros Haigh

Neil MacGregor

James Purnell

Tessa Ross (resigned 24 February 2014)

Clive Sherling

Executive

Director* Nicholas Hytner

Executive Director Nick Starr CBE

Chief Operating Officer Lisa Burger

Deputy Executive Director Kate Horton (resigned September 2013)

Chief Executive Designate Tessa Ross (Chief Executive from April 2015)

Director Designate Rufus Norris (Director from April 2015)

Associate Directors

Sebastian Born

Howard Davies

Marianne Elliott

Rufus Norris

Ben Power

Bijan Sheibani

Bankers

Coutts & Co

440 Strand, London WC2R 0QS

Auditors

PricewaterhouseCoopers LLP

7 More London Riverside

London SE1 2RT

*The term “Director” is a traditional title used at the National.

Neither the Director, the Associate Directors, nor other members of the Executive are directors under the Companies

Act, 2006

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STRUCTURE, GOVERNANCE AND MANAGEMENT Management of the National Theatre The Board The Board is the non-executive and unpaid governing body of the National. Board members are both directors of the company and charity trustees and under company and charity law are responsible for policy, administration and general control. The Board works with the Executive to ensure that the National’s remit is fulfilled, its work remains of the highest quality, and it is managed efficiently and cost effectively. The Board delegates to the Director the selection and staging of all productions and does not interfere in repertoire decisions. Following its normal practice an annual review of the year’s artistic output was held in June 2013 with the Director, to reflect on the effectiveness of the artistic programme as against the National’s remit. During 2013-14 the Board met seven times, with the Executive present, to ensure it was maintaining effective control over strategic, financial, organisational and compliance issues. The Board received and considered regular reports from its Committees and subsidiary companies. The Executive The Director*, Nicholas Hytner, is formally responsible for furthering the artistic reputation of the National and ensuring its efficient and effective management. He works closely with the Executive Director Nick Starr and Chief Operating Officer Lisa Burger. Deputy Executive Director, Kate Horton, left the NT in November 2013. The Board appoints the Director and is directly involved in the appointment of the Executive. During the prior year Nicholas Hytner announced he would leave the National Theatre in March 2015, and Nick Starr announced he would be leaving in October 2014. The Board formed a Succession Committee to manage the appointment of the new Director and Rufus Norris was appointed Director Designate in November 2013 and Tessa Ross appointed as Chief Executive Designate in April 2014 to work alongside Rufus Norris from November 2014. Associate Directors* and NT Associates Nicholas Hytner is supported in making repertoire decisions by the National’s Associate Directors (listed on page 4), and NT Associates comprising actors, directors, designers, writers and producers (listed on page 68 of the Annual Report). *The term “Director” is a traditional title used at the National. Neither the Director, the Associate Directors nor other members of the Executive, are directors under the Companies Act 2006. Board Membership The Board is chaired by John Makinson and a list of Board members at the date of this Report is listed on page 4. Board members are appointed for an initial term of four years. Members may be appointed for a second term of up to four years which is extended only in exceptional circumstances. Board Committees and Subsidiary Companies The membership of the Committees is listed on page 68 of the Annual Report and details of the subsidiaries are set out in Note 23 to the financial statements Finance and Audit Committee Members of the Finance and Audit Committee are appointed by and from the Board. Key responsibilities are for Finance and Control, Audit and Risk. The Committee met five times during the year and also met as the Remuneration Committee to set the remuneration of the Executive.

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NT Future Fundraising and NT Future Project Committees The Committees have responsibility for fundraising for the NT Future project and delivery of the building works. The Committees comprise members of the Board, co-opted external members with particular expertise, the Executive and members of Senior Management. The Nominations Committee The Nominations Committee is appointed by and from the Board and reviews the structure, size and composition of the Board and, in the light of that review, makes recommendations to the Board with regard to the appointment of new members. Development Council The Development Council assists in fundraising for the National. Its members, who are mainly co-opted onto the Council, are appointed by the Board for a specified term. It meets at least three times a year and reports regularly to the Board through its Chair who is a member of the main Board. Royal National Theatre Enterprises Limited (“RNTE”) RNTE is a wholly owned trading subsidiary responsible for the National’s trading activities. The National’s Board appoints the directors of RNTE which comprise Board members, external experts and senior members of staff responsible for the trading areas. National Theatre Productions Limited (“NTP”) NTPL is a wholly owned trading subsidiary of the National Theatre whose primary remit is responsibility for the commercial exploitation of NT productions and the exploitation of rights in any production via digital, broadcast or other media. The National’s Board appoints the directors of NTP which comprise Board members, external experts, and senior members of staff. The commercial activities have necessitated the creation of two additional subsidiaries National Theatre North America LLC (formerly named War Horse US LLC) which was active during the year, and National Theatre Productions Overseas Limited which was active in 2012/13 but is now dormant. Connected Charities Details of Connected Charities are set out in Note 21 to the Financial Statements. Executive Management at the National The review of activities shows that the National has many facets. Each area has a Head of Department who reports to a member of the Executive who in turn report to the Board. In addition to a weekly meeting of the Executive and all the Heads of Department, efficient cross-departmental working is managed through a series of groups meeting on a regular basis. The key decision-making groups include repertoire planning, capital projects, digital and IT projects, NT Future, Enterprises and Health and Safety. Communication is key and the National aims to engage all its employees and others working at the National in its activities and achievements. All staff are invited to a weekly company meeting led by Nicholas Hytner and information from these meetings and other new developments and policies are available on the National’s intranet. The National has a diversity action plan. All staff are required to cooperate with the National’s policies and procedures to promote inclusivity and diversity but particular focus has been given to understanding why the National’s workforce is not better representative of the UK population, what barriers if any there might be and what measures might be taken to improve diversity. The Health and Safety team is closely involved in the key risk areas of the organisation and advises and assists with health and safety aspects of productions, special events, accident investigations and training.

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

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STRATEGIC REPORT

A. ACHIEVEMENTS AND PERFORMANCE i. Introduction 2013-14 saw the National Theatre mark its 50th anniversary with a celebration of the work of artists across the last fifty years whilst looking forward to the next chapter in its history. This event, which was also broadcast on BBC2, was seen by over one million people, and across the year, the National hit a new landmark reaching total paying audiences of 4.3m worldwide. In the financial year, incoming resources were £124.1m with £103.4m of expenditure. Net assets at 30 March 2014 were £68.2m ii. Review The National achieved a break even result for the year reflecting strong ticket sales at the NT, in the West End and on tour and for NT Live but offset by the abrupt closure of the production of The Curious Incident of the Dog in the Night-time following the collapse of the ceiling at the Apollo Theatre. The production had been running at 100% capacity and were it not for the closure, the National would have delivered a surplus of £1.3m. The NT Future building works which started in July 2012 have continued throughout the year. Pledged funding towards the £80m fundraising target reached £76m by 30 March 2014 and £23m was received during the year, with £23.1m being spent on project expenditure. Performances have continued as normal throughout the year with the temporary performance space, The Shed replacing the Cottesloe during its refurbishment. The building works have however inevitably impacted on operating costs and trading income. The funding received from the Arts Council is vitally important to maintain the innovation and accessibility of which the NT is proud. This income is also multiplied several times over in order to vastly expand the reach of the NT beyond the South Bank. Arts Council funding was held at the same level as the prior year, at £17.5m. This represents 17% of the income received by the NT with the remainder coming from Box Office, Commercial Transfers, Fundraising and Trading. Income from commercial transfers has significantly increased to offset the impact of the real term cut (25% since 2010-11) in Arts Council funding and delivered £5.5m net earnings in 2013/14 which were used in full to support activity at the NT. Over the last few years £7.5m of income from commercial transfers has been used to seed fund NT Future, with £1.7m being used to finance the Shed and £1m funding the Inside Out Festival. The Trustees have reviewed the financial outlook and, whilst acknowledging the risk surrounding box office income and earnings from commercial transfers, consider the recent financial performance and level of reserves to indicate that the National will be able to sustain current activity levels.

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iii Performance The table below shows the five year trend of attendances.

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

Olivier 364 342 353 355 364

Lyttelton 269 314 286 285 322


West End 778 705 630 408 398

UK Touring 392 97 63 79 56


Other 32 16 8 - -

Total 2,779 2,347 1,448 1,233 1,276

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

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

Olivier 339 339 357 343 384

Lyttelton 360 394 391 373 393


West End 1,005 409 421 414 414

UK Touring 251 96 70 98 70


Other 98 61 50 - -

Total 3,149 2,100 1,657 1,603 1,631

33% of all attendees to the NT at the South Bank were first time bookers, and a total of 156,000 under-18s and college groups attended performances at the NT and in the West End. Half-price tickets for under-18s continued to be available for all productions outside the Travelex season and the tickets sold represented a discount of £2.2m against average ticket price. Membership of the Entry Pass scheme providing discounted tickets for under-25s grew by 11% to 47,062 people. The major access initiative continued to be the Travelex scheme. £12 tickets were made available for all productions at the NT during the year Number of productions (new in brackets): 2013/14 2012/13 2011/12 2010/11 2009/10

Olivier 8 (6) 9 (6) 8 (7) 7 (6) 7 (5)

Lyttelton 8 (6) 10 (7) 11 (9) 9 (6) 10 (8)

Shed / Cottesloe 17 (12) 7 (5) 8 (7) 9 (9) 9 (7)

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

There were 33 productions in repertoire at the National during the year. In addition to the 24 new productions built and staged at the National there were productions of War Horse at the New London and on tour in North America, a production of One Man, Two Guvnors at the Haymarket and Curious Incident at the Apollo.

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

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

200

400

600

800

1000

1200

1400

1600

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

National Theatre Live Audiences

UK Audience ('000)

International Audience ('000)

Total Audience ('000)

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-

200

400

600

800

1,000

1,200

1,400

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

Touring Trends

Tickets sold ('000)

No of performances

No of touring weeks

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

2014

2013

£m

£m

Income Box Office at NT 18.3 18%

18.3 21%

Box Office on tour, in the West End and Internationally 39.7 40%

30.8 35%

NT Live 6.7 7%

2.4 3%

Trading and other income 11.2 11%

11.1 13%

Fundraising 6.5 7%

7.0 8%

ACE grants 17.5 17% 17.5 20%

99.9 100% 87.1 100%

Expenditure Production costs – NT South Bank 36.5 37%

36.1 43%

Production costs – Touring, West End, and International 36.7 38%

25.5 30%

NT Learning, NT Live and Public Engagement 9.1 9%

6.7 8%

Research 1.9 2%

1.7 2%

Trading 10.7 11%

11.6 14%

Fundraising 1.6 2%

1.5 2%

Irrecoverable VAT 0.8 1%

1.0 1%

Governance 0.2 - 0.2 -

97.5 100% 84.2 100%

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

Net result after transfers -

-

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

Box Office Income Box office income at the National, on tour and from the run of War Horse at the New London Theatre, One Man, Two Guvnors at the Theatre Royal Haymarket and The Curious Incident of the Dog in the Night Time at the Apollo, as well as other UK transfers represented 57% of the National’s total income. An additional 1% was generated by War Horse internationally. Arts Council England Funding The core revenue grant for 2013-14 was £15.1m and in addition £1.9m of core grant was received in the form of a capital grant for regular major building maintenance. This element was therefore restricted as long term income and has been fully utilised for capital expenditure in the year. An additional £0.5m was received in Lottery funding for Touring. The total grant of £17.5m is in line with the amount received in the previous year. However since 2010-11 the grant has been cut by £2.1m a real terms reduction of 25%. During the year, the NT was awarded a further £2.5m from the Arts Council’s Capital Lottery Fund towards NT Future building works taking the total received during the year to £7.7m bringing the total grant to £20m.

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

Box Office at NT, 18%

Box Office on tour, West End

and International,

40% NT Live,

7%

Trading , 11%

Fundraising, 7%

ACE, 17%

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Trading and Other Income Trading operations, including catering, bookshop, programmes, car park, costume hire and commercial promotion, are conducted through the National’s wholly owned subsidiary Royal National Theatre Enterprises Limited. The car park is operated under a franchise but the other businesses are operated directly by the National. Trading was affected this year by continuing NT Future works and as a result the total profit before the management charge payable to the National was £1.2m, in line with last year. Other income included bank interest receivable and income from education activities. The National Theatre continues to benefit from its culturally exempt VAT status, which means that there is no VAT on ticket income at the National Theatre but that a proportion of VAT on expenditure is irrecoverable. REVENUE EXPENDITURE Production Costs Production expenditure at the National Theatre and on tour represented 39% of total expenditure for the year which can be analysed as follows:

A further 36% of expenditure was for UK and international commercial productions. NT Learning and Public Engagement Total spend for the year for the NT Learning (Education) programme was £1.8m. £0.3m was covered by fundraising, £0.3m generated through ticket and fee income and the remainder covered by core funding. Spend for other public engagement activities was £7.3m. This included £6.2m for NT Live and £0.5m for Digital Projects.

Performance Running, 29%

Actors and Musicians,

22%

Production Build, 21%

Planning and Direction, 13%

Writers, Directors and

Designers, 9% Touring, 6%

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Research and Development Expenditure on research and development totalled £1.9m, including £1.1m expenditure in the NT Studio. Support Costs Support costs cover expenditure on front of house staff responsible for contact with the audience; marketing, box office and press; management and maintenance of the building including insurance and energy costs; and finance, HR and IT. These costs are allocated against the activities listed above. Costs increased by £0.5m to £15.5m in the year primarily due to increased IT costs and increased utility costs as a result of the building works. Capital Expenditure Total capital expenditure for the year (excluding NT Future) was £3.4m. This spend includes several major projects, including refurbishment of the Drum revolve (£0.8m) as well as improvements to the IT infrastructure, the new Dorfman dimmer system and upgrades to the Lyttelton sound infrastructure.

Capital expenditure in relation to NT Future totalled £21.6m in 2013-14 (2012-13 £12.3m) with both Phase A and Phase B fully underway. In addition works in relation to the Technical and Environmental Master Plans continued (£0.5m expenditure in the year). Pledged donations and grant awards of £8.6m were made in 2013-14 and brought total pledges to £76.3m. Of these £44.1m has been received to date including £23m in 2013-14 and reflected as restricted or designated income. The annual transfer from the operations fund to the designated funds for capital and NT Future was £2.5m compared with £2.7m in 2012-13. Irrecoverable VAT capitalised in the year was £0.9m (2012-13 £0.8m).

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RESERVES AND OTHER FINANCIAL POLICIES Unrestricted Operations Fund The policy for budgeting annual income and expenditure is, taking account of the level of grant receivable from the Arts Council, to seek each year to match income and expenditure, and to avoid accumulating a deficit, so that the National is able to continue successfully its present level and quality of activity. The unrestricted reserves target is held at £2.8m to reflect the impact from cuts in public funding on the National’s sources of income. £1.8m is held to recognise the volatility in box office revenue between budget and actual out-turn. A further £0.5m reflects the knock-on impact of a reduction in box office attendance on catering profits and £0.5m for the effect on fundraising. Buildings and Equipment Designated Fund The policy is to ensure that sufficient money is set aside in the reserve so that over a three-year period the National is able to maintain and renew the building in accordance with its rolling capital plan. Expenditure planned beyond 2013-14 is in excess of the sum which could be reasonably anticipated to be covered from recurring surpluses and fundraising sources; however this is being addressed within NT Future. NT Future Designated Fund In addition to the new building and refurbishment works, the NT Future project includes two strands to address the essential technical and infrastructure works to be completed in the next five years - the Technical Master Plan and Environmental and Engineering Master Plan. NT Future capital project work will generate irrecoverable VAT which will be covered by the VAT repayments received in 2010-11 and designated to offset this cost. The Shed Designated Fund £1.7m was designated in 2012-13 to provide funds for The Shed. £1.6m was spent during 2012-13, leaving a balance of £0.1m in the fund which will be held for closure costs. Restricted Funds These are funds which have been earmarked by the donor for specific purposes within the overall aims of the organisation. The funds are analysed between long-term and short-term – long-term being mostly for capital purposes, including NT Future, and short-term for project activity, as set out in note 18 of the accounts. Short term funds will be spent in full in the next 18 months. The balance on the long-term capital funds represents funds received from donors to purchase fixed assets less the depreciation charged on an annual basis. Over time these reserves will reduce to zero as the assets are fully depreciated. Investment Policy The policy is to hold investments in liquid funds so they are available to meet predicted cash-flow needs. In selecting suitable cash deposits the policy is to maximise the return and maintain low transaction costs whilst ensuring high levels of capital security by minimising credit risk, and minimising interest rate risk. The policy was reviewed by the Finance and Audit Committee on 31 May 2013 and deposits and interest rates are reviewed each time the Finance and Audit Committee meets. At 30 March 2014 the cash deposits were spread between five major clearing banks and CCLA. The bank interest earned for the year was £0.2m (2012-13 £0.5m). Creditor Payment Policy It is the National’s policy to pay creditors in accordance with terms of payment agreed at the start of business with each supplier.

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C. PRINCIPAL RISKS AND UNCERTAINTIES Financial Risk Management The following statements summarise the Board’s policy in managing identified forms of financial risk. Price risk: Payments to employees or individuals represent 48% of total expenditure at the National and higher levels of inflation represent a risk as 20% of the National’s income, which comes from the Arts Council, has fallen for the past three years and is not expected to reach 2010-11 levels in the next two years. The National has freedom over its ticket pricing, and ticket income represents 63% of revenue. However the aim is to limit ticket price increases to no more than inflation and hold the lowest ticket price at an accessible level as this has been found to be the best way of maximising revenue and increasing access. Credit risk: Risk on amounts owed to the charity by its customers is low as payment for ticket sales and operations through the trading subsidiary are mostly settled at point of purchase. Liquidity risk: The National has no long-term borrowings. Interest rate cash flow risks: The National places surplus funds on short-term deposit split between five major clearing banks and CCLA. Interest rates available on longer term deposits are kept under review but longer term deposits will only be made for specific major project funds where the term of the deposit matches the anticipated cash flow requirement. Property Interests The National has a lease of its building on the South Bank site from Arts Council England for a term expiring in March 2138. The Building is Grade 2* listed. The freehold of the Old Vic Annexe (the Studio), The Cut, London SE1 is owned by the National and this building was listed in March 2006. The Studio building has been provided as security in the form of a 30 year legal mortgage in relation to a grant for refurbishment of the Studio. In 2012 a fixed and floating charge lasting 30 years was provided as security for the potential repayment obligations under a grant of £17.5m from Arts Council England for the NT Future project. In addition in 2013 a fixed and floating charge lasting 25 years will be provided as security for the potential repayment obligations under a grant of £2.5m from Heritage Lottery Fund for the NT Future project.

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D. FUTURE PLANS The National Theatre strives to be a national centre of theatre arts, with education and public engagement being the founding principles that are central to the vision for the future. To this end, the NT sets specific objectives for the following financial year, to be worked on alongside the core objectives for the organisation. These core objectives can be found on page 4 of the Annual Report, and progress against the 2013-14 objectives is reviewed throughout the Annual Report. 2014-15 Objectives The following objectives have been set for the 2014-15 financial year

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

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

Further expansion of UK touring and National Theatre Live

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

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

select suitable accounting policies and then apply them consistently;

observe the methods and principles in the Charities SORP;

make judgments and estimates that are reasonable and prudent;

state whether applicable UK Accounting Standards have been followed, subject to any material departures disclosed and explained in the financial statements; and

prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitable company will continue in business.

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

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

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

The trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions. Trustees Indemnities As permitted by the Articles of Association, the Trustees have the benefit of an indemnity which is a qualifying third party indemnity provision as defined by Section 234 of the Companies Act 2006. The indemnity was in force throughout the last financial year and is currently in force. The Company also purchased and maintained throughout the financial year Trustees’ and Officers’ liability insurance in respect of itself and its Trustees.

Statement on disclosure of information to the auditors

In so far as the trustees are aware:

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

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

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

Auditors PricewaterhouseCoopers LLP will continue in office as auditors of the Charity for the next financial year. The Trustees’ report (comprising pages 2 to 20 of these Financial Statements and pages 1-4 and 15-68 of the Annual Report) including the Strategic Report (pages 8 to 20) was approved by the Board of Directors and authorised for issue on 29 September 2014 and signed on its behalf by

John Makinson Chairman 29 September 2014

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INDEPENDENT AUDITORS’ REPORT TO THE MEMBERS AND TRUSTEES OF THE ROYAL NATIONAL THEATRE Report on the financial statements Our opinion In our opinion the financial statements, defined below:

give a true and fair view of the state of the group’s and of the parent charitable company’s affairs

as at 30 March 2014 and of the group’s incoming resources and application of resources,

including its income and expenditure and the group’s cash flows for the year then ended;

have been properly prepared in accordance with United Kingdom Generally Accepted Accounting

Practice; and

have been prepared in accordance with the requirements of the Companies Act 2006.

This opinion is to be read in the context of what we say in the remainder of this report. What we have audited The group financial statements and parent company financial statements (the “financial statements”), which are prepared by The Royal National Theatre Group, comprise:

the Group and Company Balance Sheets as at 30 March 2014;

the Group Statement of Financial Activities (Including an Income and Expenditure account) for

the year then ended;

the Group Cash flow statement for the year then ended; and

the notes to the financial statements, which include a summary of significant accounting policies

and other explanatory information.

The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). In applying the financial reporting framework, the trustees have made a number of subjective judgements, for example in respect of significant accounting estimates. In making such estimates, they have made assumptions and considered future events. What an audit of financial statements involves We conducted our audit in accordance with International Standards on Auditing (UK and Ireland) (“ISAs (UK & Ireland)”). An audit involves obtaining evidence about the amounts and disclosures in the financial statements sufficient to give reasonable assurance that the financial statements are free from material misstatement, whether caused by fraud or error. This includes an assessment of:

whether the accounting policies are appropriate to the group’s and the parent charitable

company’s circumstances and have been consistently applied and adequately disclosed;

the reasonableness of significant accounting estimates made by the trustees; and

the overall presentation of the financial statements.

In addition, we read all the financial and non-financial information in the Annual Report and Financial Review (incorporating the Strategic Report) to identify material inconsistencies with the audited financial statements and to identify any information that is apparently materially incorrect based on, or materially inconsistent with, the knowledge acquired by us in the course of performing the audit. If we become aware of any apparent material misstatements or inconsistencies we consider the implications for our report. Opinion on other matter prescribed by the Companies Act 2006 In our opinion the information given in the Strategic Report, the Annual Report and the Financial Review for the financial year for which the financial statements are prepared is consistent with the financial statements.

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Other matters on which we are required to report by exception Adequacy of accounting records and information and explanations received Under the Companies Act 2006 we are required to report to you if, in our opinion:

we have not received all the information and explanations we require for our audit; or

adequate accounting records have not been kept by the parent company, or returns adequate for

our audit have not been received from branches not visited by us; or

the parent company financial statements are not in agreement with the accounting records and

returns.

We have no exceptions to report arising from this responsibility. Trustees’ remuneration Under the Companies Act 2006 we are required to report to you if, in our opinion, certain disclosures of trustees’ remuneration specified by law are not made. We have no exceptions to report arising from this responsibility. Responsibilities for the financial statements and the audit Our responsibilities and those of the trustees As explained more fully in the Statement of Trustees’ Responsibilities, the trustees are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view. Our responsibility is to audit and express an opinion on the financial statements in accordance with applicable law and ISAs (UK & Ireland). Those standards require us to comply with the Auditing Practices Board’s Ethical Standards for Auditors. This report, including the opinions, has been prepared for and only for the charity’s members and trustees as a body in accordance with Chapter 3 of Part 16 of the Companies Act 2006 and for no other purpose. We do not, in giving these opinions, accept or assume responsibility for any other purpose or to any other person to whom this report is shown or into whose hands it may come save where expressly agreed by our prior consent in writing. Jill Halford (Senior Statutory Auditor) for and on behalf of PricewaterhouseCoopers LLP Chartered Accountants and Statutory Auditors London 29

th September 2014

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

52

Weeks to 52

Weeks to

30 March 31 March

2014 2013

Unrestricted Funds Restricted Funds

Operations Designated Projects Long Term Total Total

£m £m £m £m £m £m

Incoming resources Note Incoming resources from generated funds:

Voluntary income 2(a)/(b) 20.1 - 1.4 26.1 47.6 34.3

Activities for generating funds 23 11.3 - - - 11.3 12.7

Investment income 0.2 - - - 0.2 0.5 Incoming resources from charitable activities 2(c) 65.0 - - - 65.0 50.1

TOTAL incoming resources 18 96.6 - 1.4 26.1 124.1 97.6

Resources expended

Costs of generating funds: Costs of generating voluntary income (1.6) - - - (1.6) (1.5)

Costs of commercial activities 23 (10.7) - - - (10.7) (11.6)

Charitable activities 3(a) (83.5) (5.0) (1.4) (1.0) (90.9) (78.3)

Governance costs 3(b) (0.2) - - - (0.2) (0.2)

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

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

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

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

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

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

All incoming resources and resources expended are derived from continuing activities.

A Statement of Total Recognised Gains and Losses is not required as all gains and losses are included in the Statement of Financial Activities.

There is no difference between the net income for the period and its historical cost equivalent. Accordingly no separate income and expenditure statement has been presented.

BALANCE SHEETS Company Registration Number: 749504

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The Notes on pages 27 to 49 constitute part of the financial statements. The financial statements were approved by the Board of Trustees on 29 September 2014 and signed on its behalf by:

John Makinson Howard Davies Chair Trustee

Group Company Group Company

as at 30 March

as at 30 March

as at 31 March

as at 31 March

2014 2014 2013 2013

Note £m £m £m £m

Fixed assets

Tangible fixed assets 11 53.4 53.4 32.9 32.9

Investments 12 0.2 0.2 0.2 0.2

Total fixed assets 53.6 53.6 33.1 33.1

Current assets

Stocks 13 0.5 0.1 0.8 0.2

Cost of productions not yet opened 14 1.3 0.6 1.1 1.1

Debtors 15 7.9 9.2 6.9 9.1

Cash at bank and in hand 16 20.0 18.9 21.8 19.7

Total current assets 29.7 28.8 30.6 30.1

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

Net current assets 14.6 14.6 14.4 14.4

Total assets less current liabilities 68.2 68.2 47.5 47.5

NET ASSETS 18/19 68.2 68.2 47.5 47.5

Represented by:

Operations fund 18/19 2.6 2.6 2.6 2.6

Designated funds 18/19 17.0 17.0 19.5 19.5

Total unrestricted funds 19.6 19.6 22.1 22.1

Restricted funds 18/19 48.6 48.6 25.4 25.4

TOTAL FUNDS 18/19 68.2 68.2 47.5 47.5

GROUP CASH FLOW STATEMENT

Page 25 of 49

Group Group

52 Weeks to 52 Weeks to

30 March 31 March

2014 2013

Note £m £m

Net cash inflow from operating activities i 23.8 7.4

Returns on investments

Interest received 0.3 0.6

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

Management of liquid resources

Decrease /(increase) in short term deposits 16 11.0 4.0

Increase in cash in the period ii 9.2 (0.6)

i NET CASH INFLOW FROM OPERATING ACTIVITIES

2014 2013

£m £m

Net incoming resources before transfers 20.7 6.0

Depreciation and amortisation charge 4.2 4.0

Investment income (0.2) (0.5)

Net operating income 24.7 9.5

Decrease in stock 0.3 (0.3)

Increase in work in progress (0.2) (0.6)

Increase in debtors (0.9) (0.3)

Decrease in creditors (less capital accruals) (0.1) (0.9)

Net cash inflow from operating activities 23.8 7.4

GROUP CASH FLOW STATEMENT

Page 26 of 49

ii ANALYSIS OF NET CASH RESOURCES

As at 31 As at 30

March 2013 Cashflow March 2014

£m £m £m

Cash 16 8.8 9.2 18.0

Short term deposits 16 13.0 (11) 2.0

TOTAL 21.8 (1.8) 20.0

iii RECONCILIATION OF NET CASHFLOW TO MOVEMENT IN NET FUNDS

2014 2013

£m £m

Decrease in cash in the period 16 9.2 (0.6)

Cash (outflow)/ inflow from increase in liquid resources 16 (11) (4.0)

Movement in net funds in the period (1.8) (4.6)

Net funds at 31 March 2013 21.8 26.4

Net funds at 30 March 2014 20.0 21.8

Notes to the Financial Statements

Page 27 of 49

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

A BASIS OF PREPARATION

The financial statements have been prepared on the going concern basis, under the historical cost convention and in accordance with applicable United Kingdom accounting standards, the Companies Act 2006, the Charities Act 2011, and the recommendations of the Statement of Recommended Practice "Accounting and Reporting by Charities" (“the SORP”) issued in March 2005. The Charity has adapted the Companies Act formats to reflect the Charities SORP and the special nature of its activities. A separate statement of financial activities and income and expenditure account are not presented for the Charity itself as permitted by Section 408 of the Companies Act 2006 and paragraph 397 of SORP 2005. The net income of the company for the period was £19.3m (2013: £4.1m). The principal accounting policies adopted in the preparation of the financial statements are set out below. B BASIS OF CONSOLIDATION

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

The National Theatre has taken advantage of the exemption given by Financial Reporting Standard 8, Related Party Disclosures, from disclosing transactions with its wholly owned subsidiaries. C FUND ACCOUNTING Unrestricted funds are those funds which can be used for any charitable purpose at the discretion of the trustees; designated funds are those funds which have been set aside by the trustees for particular purposes; restricted funds may only be used in accordance with the specific wishes of donors.

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

D INCOMING RESOURCES

All incoming resources are included in the Statement of Financial Activities when the Charity has legal entitlement, there is reasonable certainty over receipt and the amount of income can be quantified with reasonable accuracy. Voluntary Income Voluntary income comprises all incoming resources from sponsorships, donations, legacies, grants, membership subscriptions. Voluntary income is recognised in the appropriate fund on a receivable basis and when any conditions for receipt are met. Income in respect to the NT Future project is recognised on a cash basis. Any income from connected charities is recognised at the point at which the amount payable is confirmed.

Where the donor imposed conditions require that the resource is expended in a future accounting period, income is recorded as deferred income at the balance sheet date. Income from individual membership schemes eligible for Gift Aid is recognised in full on receipt. Corporate and Advance Membership income is apportioned over the period of the subscription and the element relating to a future period is recorded as deferred income at the balance sheet date.


Page 28 of 49

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

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

income generated by Royal National Theatre Enterprises Limited from trading activities

royalty and profit share income generated by other National Theatre subsidiaries from the commercial exploitation of the NT’s productions overseas

Income is recognised on a receivable basis. Incoming Resources from Charitable Activities Incoming resources from charitable activities comprises: Box office income:

income from performances at the South Bank

income from touring activities (excluding grants)

ticket sales for productions which have transferred to the West End under direct NT management All other income:

income from NT Learning performances, NT Live ticket income, events and workshops

exploitations and rights, advance members subscription and other sundry income Box office income and income generated by NT Learning projects and NT Live is recognised in the Statement of Financial Activities on maturity of the performance or event. Advance bookings comprise ticket sales for future performances. Income from exploitations and rights, and other income, is recognised on a receivable basis. Income from advance members is recognised on a straight line basis over the period of subscription.

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

E RESOURCES EXPENDED All expenditure is accounted for on an accruals basis and is classified under the relevant activity within the Statement of Financial Activities. Resources expended which relate directly to the National’s charitable objectives are analysed between:

performances at the South Bank or elsewhere under direct management

performances on tour

NT Learning (education and participation work) and Public Engagement (including Archive, NT Live, Inside Out, Platforms, Foyer Music and Digital)

research and development (including the NT Studio and commissioning costs)

Resources expended which form part of the Group’s trading activities and commercial exploitat ions are separately disclosed as costs of commercial activities. The costs of generating voluntary income represent the costs of securing sponsorship and donations including the costs of providing membership benefits. Governance costs include the costs of the Legal Counsel and their support, board expenses, internal audit and external audit fees. Support costs relating to a single activity are allocated directly to that activity. Where support costs relate to several activities, they have been apportioned as set out in note 3(c). Staff canteen costs are shown net of contributions.


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

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

Fixed assets are held at cost less accumulated depreciation within the relevant fund. Only assets over £2,000 are capitalised. Depreciation is provided on a straight line basis to write off the assets over their anticipated useful economic lives and is charged to the relevant fund as follows:

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

The carrying values of tangible fixed assets are reviewed for impairment when events or changes in circumstances indicate the carrying value may not be recoverable. Assets within work in progress are not depreciated until they are brought into use. H STOCKS

Stocks held by the National’s trading subsidiary comprises catering, bookshop and programme supplies for resale. Other stock (“production stock”) comprises consumables for use in the making of sets and costumes. All stock is valued at the lower of cost and net realisable value. Cost is based on the latest purchase price for catering, bookshop and programme stock, and on actual cost for production stock.

I COSTS OF NEW PRODUCTIONS NOT YET OPENED

The cost of materials for new productions and associated creative team fees are carried forward on the balance sheet until they are expensed on the date of the press night performance. Internal labour and rehearsal costs are expensed as incurred. J OPERATING LEASES Rentals payable under operating leases are charged to the Statement of Financial Activities on a straight line basis over the term of the lease. K PENSIONS The National offers a stakeholder scheme to its employees and contributes to defined contribution schemes for certain of its other employees (see note 9). These costs are expensed in the Statement of Financial Activities as they become payable. L TAXATION The National is a culturally exempt organisation under Schedule 9 of the VAT Act 1994 and during the period VAT returns have been submitted on a culturally exempt basis. Irrecoverable VAT is charged against the cost of charitable activities, where it is incurred. Irrecoverable VAT on capital expenditure has been capitalised and will be written off over the life of the assets. The National is a registered charity and therefore


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is not liable to income tax and corporation tax on income and gains derived from its charitable activities as it falls within the various exemptions available to registered charities. The National’s UK subsidiaries pay any taxable profits to the charity under Gift Aid. National Theatre North America LLC pays a profit distribution to the Charity. The National is awaiting confirmation for the relevant dispensations in the US that the profit distributions received by National Theatre North America LLC can be paid to the NT without being liable to income tax and corporation tax. Management believe that such dispensations will be granted and no provision for tax has been made.

M FOREIGN CURRENCIES Transactions in foreign currencies undertaken during the period have been translated at the prevailing rate of exchange at the date of the transaction. Non-monetary assets are recorded at the prevailing rate of exchange at the date of the original transaction. Monetary assets and liabilities in foreign currencies are translated at rates of exchange prevailing at the balance sheet date. Foreign exchange differences incurred in respect of overseas operations are recorded in the Statement of Financial Activities within the charitable activity income or expenditure for the period in which they are incurred. The results of foreign operations consolidated within the Group financial statements are translated using the temporal method described above. Any exchange gains or losses are accounted for in the Statement of Financial Activities.


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2 INCOMING RESOURCES

(a) Voluntary income – analysis by fund type

52 Weeks to

52 Weeks to

30 March

31 March

Unrestricted Funds Restricted Funds 2014 2013

Operations Designated Projects Long Term Total Total

£m £m £m £m £m £m

Arts Council England:

Revenue grant 15.0 - - - 15.0

15.6

Capital and other grants (including Lottery)

- - 0.5 9.7 10.2

3.8

Total Arts Council 15.0 - 0.5 9.7 25.2

19.4

Performances 0.6 - 0.2 - 0.8

0.8

NT Learning - - 0.3 - 0.3

0.4

Public Engagement - - 0.3 - 0.3

0.4

Research & development - - 0.1 - 0.1

0.1

NT Future - - - 16.4 16.4

8.6

General activity 4.5 - - - 4.5

4.6

Total other 5.1 - 0.9 16.4 22.4

14.9

TOTAL voluntary income 20.1 - 1.4 26.1 47.6

34.3

(b) Voluntary income – analysis by income type

2014 2013

Sponsorship Donations, Grants Total Total

subscriptions

& legacies

£m £m £m £m £m

Arts Council England - - 25.2 25.2 19.4

Performances 0.7 - 0.1 0.8 0.8

NT Learning - - 0.3 0.3 0.4

Public Engagement 0.2 - 0.1 0.3 0.4

Research & development - - 0.1 0.1 0.1

NT Future - 16.4 - 16.4 8.6

General activity 1.3 3.2 - 4.5 4.6

TOTAL other 2.2 19.6 0.6 22.4 14.9

TOTAL voluntary income 2.2 19.6 25.8 47.6 34.3


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

(c) Total incoming resources from charitable activities

2014 2013

Total Total

£m £m

National Theatre box office

Olivier 10.2 7.8

Lyttelton 6.5 8.4

The Shed / Cottesloe 1.1 2.1

War Horse - New London 13.1 15.1

War Horse – UK Tour 9.3 0.0

One Man Two Guvnors - Theatre Royal Haymarket 6.4 9.2

Curious Incident of the Dog in the Night Time – Apollo Theatre 6.8 0.6

Other Commercial Transfers 0.7 0.3

54.1 43.5

NT Live 7.1 2.3

Touring – England & Wales 0.9 1.1

Touring – other countries 1.0 0.7

Other box office 0.1 0.1

9.1 4.2

War Horse International 0.6 1.0

One Man Two Guvnors International - 0.2

NT Learning 0.4 0.3

Exploitation and rights 0.1 0.1

Other income 0.7 0.8

1.8 2.4

TOTAL incoming resources from charitable activities 65.0 50.1

All income from charitable activities is unrestricted. Touring income includes co-production and touring fees where appropriate.


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3 RESOURCES EXPENDED (a) Costs of charitable activities

2014 2013

Unrestricted Unrestricted Unrestricted Restricted Total Total

Operations Operations Designated

Direct Support Total Project Long term

£m £m £m £m £m £m £m

Performances:

National Theatre 26.7 9.5 36.2 - 0.2 - 36.4 35.4

War Horse - New London 11.2 1.2 12.4 - - - 12.4 13.9

War Horse - International 1.1 (0.1) 1.0 - - - 1.0 1.6

War Horse – UK Tour 6.8 0.6 7.4 - - - 7.4 - One Man Two Guvnors – Theatre Royal Haymarket and International 6.6 0.6 7.2 - - - 7.2 8.3 The Curious Incident of the Dog in the Night Time - Apollo 5.8 0.3 6.1 - - - 6.1 1.5

Other Commercial Transfers 0.7 0.1 0.8 - - - 0.8 0.2

Touring 1.2 0.1 1.3 - 0.5 - 1.8 2.2

60.1 12.3 72.4 - 0.7 - 73.1 63.1

NT Learning & Public Engagement 7.4 1.2 8.6 - 0.5 - 9.1 6.8

NT Future - - - 1.6 - - 1.6 0.9

Research & development 1.3 0.4 1.7 - 0.2 - 1.9 1.6

68.8 13.9 82.7 1.6 1.4 - 85.7 72.4

Depreciation - - - 3.2 - 1.0 4.2 4.0 Asset disposals and other charges to the buildings and equipment fund - - - 0.2 - - 0.2 0.9

Non recoverable VAT * 0.8 - 0.8 - - - 0.8 1.0

0.8 - 0.8 3.4 - 1.0 5.2 5.9

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

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

Unrestricted Unrestricted Unrestricted

Operations Operations Designated Restricted 2014 2013

Direct Support Total Project Long term Total Total

£m £m £m £m £m £m £m £m

Governance Costs 0.2 - 0.2 - - - 0.2 0.2


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


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(c) Analysis of support costs

2014 2013

Promotion Theatre Support Total Total

operations services

£m £m £m £m £m

Trading operations - 0.6 1.0 1.6 1.9

Charitable activities:

Performances:

National Theatre 2.1 5.0 2.5 9.6 9.1

War Horse New London 0.5 - 0.7 1.2 1.4

War Horse International (0.1) - - (0.1) 0.1

War Horse UK Tour 0.2 - 0.4 0.6 One Man Two Guvnors – Theatre Royal Haymarket and International 0.3 - 0.3 0.6 0.8 The Curious Incident of the Dog in the Night Time – Apollo - - 0.3 0.3 0.2

Touring - - 0.1 0.1 0.1

NT Learning & Public Engagement 0.3 0.5 0.4 1.2 1.1

Research & development 0.1 0.2 0.1 0.4 0.3

3.4 5.7 4.8 13.9 13.1

Total support costs 3.4 6.3 5.8 15.5 15.0

Promotion comprises Marketing and Press. Theatre Operations comprises Front of House, Building Services, Insurance, Cleaning and Security. Support Services comprises Finance, IT, HR, Pensions, and Staff Canteen net of cost recoveries of £0.6m (2013: £0.6m). Support costs relating to trading activities are included in costs of trading operations (Note 23). Support costs are allocated using the following bases: For Marketing, Front of House, Finance, and IT – Management review of estimated usage Human Resources – Headcount Building Services – Management review of estimated space usage


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4 ANALYSIS OF EXPENDITURE ON PERFORMANCES BY FUND TYPE

2014 2013

Unrestricted Designated Restricted Total Total

Operations Direct Costs Projects

£m £m £m £m £m

National Theatre:

Capitalisation & running costs 16.9 - 0.2 17.1 14.8

Workshops & stages 12.5 - - 12.5 12.6

Producing & direction 6.8 - - 6.8 6.4

The Shed - - - - 1.6

36.2 - 0.2 36.4 35.4

War Horse New London 12.4 - - 12.4 13.9

War Horse International 1.0 - - 1.0 1.6

War Horse UK Tour 7.4 - - 7.4 One Man Two Guvnors – Theatre Royal Haymarket and International 7.2 - - 7.2 8.3 The Curious Incident of the Dog in the Night Time – Apollo 6.1 - - 6.1 1.5

Other Commercial Transfers 0.8 - - 0.8 0.2

Touring - England & Wales 0.3 - 0.5 0.8 1.4

Touring - other countries 1.0 - - 1.0 0.8

36.2 - 0.5 36.7 27.7

TOTAL expenditure 72.4 - 0.7 73.1 63.1

5 ANALYSIS OF EXPENDITURE ON NT LEARNING AND PUBLIC ENGAGEMENT BY FUND TYPE

2014 2013

Unrestricted Designated Restricted Total Total

Operations Direct Costs Projects

£m £m £m £m £m

Connections 0.4 - - 0.4 0.5

Primary education & early years 0.2 - 0.1 0.3 0.2

Secondary & further education 0.2 - - 0.2 0.2

Training & development 0.1 - - 0.1 0.1

Digital & other (including department costs) 0.6 - 0.2 0.8 0.7

TOTAL NT Learning expenditure 1.5 - 0.3 1.8 1.7

NT Live 6.2 - - 6.2 2.3

Inside Out (including Watch This Space) - - 0.1 0.1 1.8

Platforms & Foyer Music 0.2 - - 0.2 0.3

Archive 0.2 - - 0.2 0.1

Access 0.1 - - 0.1 0.1

Digital & other initiatives 0.4 - 0.1 0.5 0.5

TOTAL Public Engagement 7.1 - 0.2 7.3 5.1

TOTAL NT Learning & Public Engagement expenditure 8.6 - 0.5 9.1 6.8


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6 ANALYSIS OF EXPENDITURE ON RESEARCH AND DEVELOPMENT BY FUND TYPE

2014 2013

Unrestricted Restricted Total Total

Operations Projects Long Term

£m £m £m £m £m

NT Studio 0.9 0.2 - 1.1 1.0

Commissioning new scripts 0.5 - - 0.5 0.4 Associates and other 0.3 - - 0.3 0.2

TOTAL expenditure 1.7 0.2 - 1.9 1.6

7 STAFF COSTS AND NUMBERS

Group 2014 2013

£m £m

Wages and salaries 41.5 37.3

Social security costs 4.2 3.8

Other pension costs 1.2 0.9

46.9 42.0

Average monthly full time equivalents employed in the period: *

2014 2013

Number Number

Artistic 236 221

Technical and production 441 377

Trading and front of house 225 250

Education, touring, NT Studio and other projects 42 40

Marketing and box office 63 58

Support services 71 58

Engineering 25 24

Fundraising 31 28

1,134 1,056

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


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7 STAFF COSTS AND NUMBERS (cont’d) The number of employees with emoluments greater than £60,000 was as follows:

2014 2013

Number Number

£60,000-£70,000 23 24

£70,001-£80,000 7 3

£80,001-£90,000 3 5

£90,001-£100,000 1 -

£100,001-£110,000 1 -

£110,001-£120,000 - 1

£120,001-£130,000 1 1

£130,001-£140,000 - 1

£140,001-£150,000 1 1

£150,001-£160,000 - -

£160,001-£170,000 1 -

£170,001-£180,000 1 1

39 37

Pension contributions of £0.2m (2013: £0.1m) were made to defined contribution schemes for the above members of staff during the period. 8 TRUSTEES’ EMOLUMENTS

No trustees of the company received any remuneration during the period or in the previous period. Expenses for travel and entertainment totalling £401 (2013: £152) were incurred by two trustees wholly and necessarily on the National's business and were reimbursed during the period. Trustees are offered two tickets for each production to enable them to carry out their duties. 9 PENSION CONTRIBUTIONS The National makes payments to defined contribution schemes which are available to all permanent employees on completion of their probationary period. The charge for the period was £1.2m (2013: £0.9m) with £0.1m (2013: £0.1m) payable at the balance sheet date.

10 TAXATION

The National's charitable activities fall within the exemptions afforded by Part 11 Corporation Taxes Act 2010. The trading and commercial subsidiaries, RNTE, NTPL and NTPL Overseas, passes profits on which tax would be payable to the National under a Gift Aid arrangement. Accordingly, there is no corporation tax charge in these financial statements. Similarly, because of the Gift Aid, there is no difference in the net movement in funds for the National and the Group as a whole. National Theatre North America LLC pays a profit distribution to the National. The National is awaiting the relevant dispensations in the US to be treated as a charity. Management believe such dispensations will be granted and as such, there is no corporation tax charge on the distribution.


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11 TANGIBLE FIXED ASSETS Group and Company

Freehold Land &

Buildings Leasehold

Improvements

Equipment (10 years)

Equipment (3 years)

Work in Progress

(NT Future)

Work in Progress

(Other) Total

£m £m £m £m £m £m £m

Cost

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

Additions - - - 0.1 21.5 3.3 24.9

Disposals - (1.0) - (0.2) - - (1.2)

Transfers from work in progress

- 0.5 0.2 2.4 (0.3) (2.8) -

As at 30 March 2014 6.6 34.8 0.2 34.8 40.5 1.2 118.1

Accumulated Depreciation

As at 31 March 2013 0.7 33.3 - 27.5 - - 61.5

Charge for period 0.1 0.4 -

3.7 - - 4.2

Disposals - (0.8) -

(0.2) - - (1.0)

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

Net book value

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

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

Freehold land and buildings include NT Studio land at a cost of £0.7m (2013: £0.7m) and the NT Studio building refurbishment at a cost of £5.7m (2013: £5.7m). The Studio building has been provided as security in the form of a 30 year legal mortgage in relation to a grant for refurbishment of the Studio, of £0.9m from Arts Council England in 2010. The mortgage is 14% of the cost of the NT Studio land and building (excluding the NT Studio car park land). In 2012 a fixed and floating charge lasting 30 years was provided as security for the potential repayment obligations under a grant of £17.5m from Arts Council England for the NT Future project.


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12 INVESTMENTS


2014 2014 2013 2013

£m £m £m £m

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

In 2008, the Charity invested £200,000 into a 20-year gilt in accordance with the terms of a donation received from a long-term benefactor. At the end of the 20-year term, the capital sum (£166,000) will become available for use by the National Theatre. Interest on the gilt accrues to the Theatre on a received basis. The initial premium on the gilt is amortised over the life of the gilt. The trustees believe that the carrying value of the investments is supported by their underlying net assets. See Note 23 for details of investments in subsidiary undertakings. 13 STOCKS


2014 2014 2013 2013

£m £m £m £m

Goods for resale 0.4 - 0.6 -

Consumable items 0.1 0.1 0.2 0.2

0.5 0.1 0.8 0.2

14 COST OF PRODUCTIONS NOT YET OPENED


2014 2014 2013 2013

£m £m £m £m

War Horse – UK Tour - - 0.3 0.3

War Horse – International - - 0.3 0.3

Other Commercial Transfers 0.2 0.2 0.2 0.2

National Theatre 0.4 0.4 0.3 0.3

London Road (film) 0.7 - - -

1.3 0.6 1.1 1.1


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15 DEBTORS


2014 2014 2013 2013

£m £m £m £m

Trade debtors 2.4 2.4 1.9 1.8

Amounts owed by group undertakings - 1.8 - 2.9

Other debtors 0.7 0.6 0.8 0.8

Prepayments and accrued income 4.8 4.4 4.2 3.6

7.9 9.2 6.9 9.1

16 CASH AT BANK AND IN HAND


2014 2014 2013 2013

£m £m £m £m

Cash and bank balances 18.0 16.9 8.8 6.7

Short-term deposit 2.0 2.0 13.0 13.0

20.0 18.9 21.8 19.7

17 CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR


2014 2014 2013 2013

£m £m £m £m

Trade creditors 0.6 0.5 2.0 1.7

Taxation and social security 1.1 1.1 1.4 1.4

Advance bookings 2.8 2.8 2.4 2.4

Other creditors and accruals 9.1 8.8 8.5 8.4

Deferred income – all utilised in the year 1.4 0.9 1.9 1.8

Provisions 0.1 0.1 - -

15.1 14.2 16.2 15.7


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18 FUNDS

Balance as Balance as

at 31 March

2013 Income Expenditure Transfers

at 30 March 2014

£m £m £m £m £m

UNRESTRICTED:

Operations fund * 2.6 96.6 96.0 (0.6) 2.6

Designated:

NT Future 11.5 - 1.6 - 9.9

Building and equipment fund 7.8 - 3.3 2.5 7.0

Front of house capital fund 0.1 - 0.1 - -

The Shed 0.1 - - - 0.1

TOTAL Designated funds 19.5 - 5.0 2.5 17

TOTAL Unrestricted funds 22.1 96.6 101 1.9 19.6

RESTRICTED: Project funds

NT LEARNING

Connections - - - - -

Primary & Early Years - 0.1 0.1 - -

Secondary & Further Education - - - - -

Other - 0.2 0.2 - -

PUBLIC ENGAGEMENT

Inside Out - 0.2 0.1 - 0.1

Other 0.1 0.1 0.1 - 0.1

PERFORMANCE

Productions - 0.2 0.2 - -

Touring - 0.5 0.5 - -

RESEARCH & DEVELOPMENT

Studio projects 0.1 0.1 0.2 - -

TOTAL Project funds 0.2 1.4 1.4 - 0.2

RESTRICTED: Long term funds

NT Future fund 16.5 16.4 0.6 - 32.3

ACE NT Future fund 1.9 7.8 - - 9.7

ACE Lottery fund 1.6 - 0.3 - 1.3

ACE Capital fund - 1.9 - (1.9) -

Studio refurbishment fund 5.0 - 0.1 - 4.9

Expendable endowment 0.2 - - - 0.2

TOTAL Long term funds 25.2 26.1 1.0 (1.9) 48.4

TOTAL Restricted funds 25.4 27.5 2.4 (1.9) 48.6

TOTAL FUNDS 47.5 124.1 103.4 - 68.2


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£m

* Analysis of unrestricted funds held between parent and subsidiaries:

Unrestricted retained surplus held by the Charity 2.6

Unrestricted retained surplus/deficit held by trading subsidiaries -

Group unrestricted operations fund 2.6

DESIGNATED FUNDS

NT Future Fund Expenditure against this fund in the year was costs associated with the NT Future project which were not capitalised, primarily decant costs and staff salaries. £nil (2013: £nil) was transferred from the operations fund for the development of the NT Future project. Buildings and Equipment Fund The buildings and equipment fund is a designated fund set aside by the Board in order to enable monies to be made available over a three year period for the renewal and maintenance of the National's buildings and mechanical and electrical equipment in accordance with its lease and obligations under Lottery funding. £0.6m (2013: £1.3m) was transferred from the operations fund and £1.9m (2013: £1.4m) was transferred from the ACE Capital Fund into the buildings and equipment fund during the period. The expenditure for the current period represents depreciation on assets acquired through this fund and spend on refurbishment of the Drum Revolve, the Pillinger pump and Dorfman Theatre dimmers. Front of House Capital Fund The expenditure in the period represents depreciation on assets acquired through this fund. The Shed The Shed opened in March 2012 and was originally planned to operate whilst the Cottesloe Theatre was closed. Planning permission has now been extended with The Temporary Theatre remaining open until 2017. £nil (2013: £1.7m) was transferred from the operations fund during the year and no expenditure was incurred during the year. The balance on the fund remains to fund costs associated with the closure of the Theatre. RESTRICTED FUNDS: PROJECT FUNDS

These represent funds made available for projects generally completed within two years or activities funded on an annual basis. NT Learning and Public Engagement Projects The NT Learning and Public Engagement Project Fund represents restricted funding and related expenditure, for participation projects and training initiatives, along with funds received in support of activities in the external public spaces at the NT and various access, archive and digital initiatives.

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


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RESTRICTED FUNDS: LONG-TERM FUNDS:

Long-term funds represent funds used for capital or where there is an expectation that the fund will be used over the longer term. NT Future Fund £16.4m was received in the year as grants and donations for the NT Future project. Expenditure was £0.6m and represents depreciation on NT Future assets. ACE NT Future Fund £7.8m was received in the year from Arts Council England for the NT Future project. ACE Lottery Fund The expenditure in the period represents depreciation on assets acquired through this fund. ACE Capital Fund A £1.9m (2013: £1.4m) grant was received in the period for capital expenditure from Arts Council England. This was fully spent during the period on fixed assets which have an unrestricted use and as such is transferred to the Buildings and Equipment Fund. Studio Refurbishment Fund This fund was created to support a major refurbishment of the NT Studio, completed in 2008. The balance reflects future depreciation on the assets acquired through this fund.


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19 ANALYSIS OF NET ASSETS BETWEEN FUNDS

Tangible fixed

assets Cash

Other net assets /

(liabilities)

Total net assets at 30 March

2014

Total net assets at 31 March

2013

£m £m £m £m £m

UNRESTRICTED:

Operations fund - 8.0 (5.4) 2.6 2.6

Designated:

NT Future - 9.9 - 9.9 11.5

Building and equipment fund 3.4 3.6 - 7.0 7.8

Front of house capital fund - - - - 0.1

The Shed - 0.1 - 0.1 0.1

TOTAL Designated funds 3.4 13.6 - 17.0 19.5

TOTAL Unrestricted funds 3.4 21.6 (5.4) 19.6 22.1

RESTRICTED: Project funds NT LEARNING & PUBLIC ENGAGEMENT

Connections - - - - -

Other NT Learning & Public Engagement - 0.2 - 0.2 0.1

RESEARCH & DEVELOPMENT

Studio projects - - - - 0.1

TOTAL Project funds - 0.2 - 0.2 0.2

RESTRICTED: Long term funds

NT Future fund 34.2

(1.9) - 32.3

16.5

ACE NT Future fund 9.7 - - 9.7 1.9

ACE Lottery fund 1.2 0.1 - 1.3 1.6

Studio refurbishment fund 4.9 - - 4.9 5.0

Expendable endowment - - 0.2 0.2 0.2

TOTAL Long term funds 50.0 (1.8) 0.2 48.4 25.2

TOTAL Restricted funds 50.0 (1.6) 0.2 48.6 25.4

TOTAL FUNDS 53.4 20.0 (5.2) 68.2 47.5


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20 CAPITAL COMMITMENTS: GROUP AND COMPANY

2014 2013

£m £m

NT Future related commitments:

Fitting out 1.4 3.8

Mechanical and Electrical services 4.6 3.7

Building work 2.1 1.5

Cladding 0.7 1.4

Steelwork 0.2 0.7

Roofing work 0.2 0.6

Logistics 0.6 0.5

Metalwork 0.1 0.5

External Works 2.9 -

Other NT Future 0.4 0.9

Olivier Fly System 0.2 -

Other commitments:

Cooling Tower safe access - 0.1

LAN improvement - 0.1

Drum works 0.8 -

Other commitments (<100k) 0.6 -

Approved and contracted 14.8 13.8

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


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21 CONNECTED CHARITIES AND OTHER RELATED PARTY TRANSACTIONS Connected Charities Royal National Theatre Foundation The Royal National Theatre Foundation has objects related to those of the National and makes grants to the NT from time to time. The foundation has 11 trustees, three of whom have a direct connection to the NT. The National Theatre entered into a joint arrangement in March 2012 to create a new Education endowment fund within the Royal National Theatre Foundation to further the NT’s national remit in terms of education. A legacy campaign has been launched by the NT and all unrestricted legacies directed to the NT will in future go to the Royal National Theatre Foundation. The Foundation is structured so that a regular income will come to the NT to finance both its Education work and programmes for the development of the profession for example bursaries, apprenticeships and training. During the period, the NT received legacy income of £25,000 (2013: £11,000) which will be paid to the Royal National Theatre Foundation. A pledge of £2m was made in 2011 for the NT Future project. £2.1m was received during this financial year which included an additional grant of £100,000. The Foundation also made benevolent grants to members and former members of the staff and company. American Associates of the Royal National Theatre The American Associates of the Royal National Theatre is an independent s.501c3 not-for-profit charity registered in New York. In the period, $2.6m (2013: $2.6m) was due to the NT. Other Related Party Transactions Lloyd Dorfman is a trustee of the Dorfman Foundation and a trustee of the National Theatre. In 2010/11, the Foundation pledged a leadership gift of £10m for the NT Future project. During the period £2.9m (2013: £2.7m) was paid to the National Theatre. Lloyd Dorfman is also the Founder, Chairman and a major shareholder of Travelex, sponsors of the National Theatre £12 Travelex season. The National has a limited power to enter into transactions with its Trustees. This power is in its governing document, the Memorandum of Association, and it is limited by conditions which protect the interests of the National as a charity. See Note 23 for details of transactions with subsidiaries.


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22 OPERATING LEASE COMMITMENTS: GROUP AND COMPANY At 30 March 2014 the National was committed under non-cancellable operating leases to make the following payments during the next period:

2014 2013

£m £m

Property leases which expire within one to two years 0.3 0.2

Property leases which expire within two to five years - 0.2

Property lease commitments relate to lease contracts for the rental of properties at Kennington Park, London SW9 and Malt Street, SE1. 23 SUBSIDIARIES & JOINT ARRANGEMENTS All subsidiaries have coterminous period ends with the parent company.

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

Country of Incorporation

Nature of Business

Class of share capital

held

Issued Share

Capital

Parent company interest

Consolidation Method

Royal National Theatre Enterprise Limited

UK Trading activities

Ordinary 2 x £1 Ord Shares

100% Yes (Line-by-line)

National Theatre Productions Limited

UK Commercial exploitation of productions

Ordinary 2 x £1 Ord Shares


NTPL Overseas Limited+

UK Commercial exploitation of productions

Ordinary 1 x £1 Ord Share

100% (Indirect holding)

Yes (Line-by-line)

National Theatre North America LLC*

US Commercial exploitation of productions

Ordinary 2 x $1 Ord Shares


NT War Horse LP*

US Commercial exploitation of productions

N/A N/A 55.35% (Indirect holding)

Yes (Proportionate)

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

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


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23 SUBSIDIARIES & JOINT ARRANGEMENTS (cont’d) The financial results for the period were:

Royal National Theatre

Enterprises Limited

National Theatre

Productions Limited

NTPL Overseas Limited

National Theatre North America

LLC Total** Total**

2014 2013 2014 2013 2014 2013 2014 2013 2014 2013

£m £m £m £m £m £m £m £m £m £m

Activities for generating funds: Trading operations 9.8 10.2 1.1 0.8 - 0.1 0.4 1.6 11.3 12.7

Cost of trading operations+ (10.0) (9.4) (0.5) (0.5) - - (0.2) (1.7) (10.7) (11.6)

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

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

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

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

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

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

** The financial results for NT War Horse LP are immaterial and have therefore not been detailed above. +Include in cost of trading operations are administration expenses charged by the National Theatre as follows:

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

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

National Theatre Productions Limited Usage 0.5 0.5

National Theatre North America LLC Usage 0.1 0.2

NTPL Overseas Ltd Usage - -

1.8 1.9

National Theatre Annual Report and Financial Statements 2013-14 v2

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Transcript of National Theatre Annual Report and Financial Statements 2013-14 v2