National Theatre Annual Report 2012–2013 · 2015-07-17 · 6 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 7 The National Theatre opened

Annual Report 2012–2013

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nnual Report 2012–2013

National Theatre Annual Report 2012–2013 3

2 Board and Advisers

5 Purpose, Vision and Objectives

6 John Makinson, Chairman

9 Nicholas Hytner, Director

10 The Year in Review

12 Plays and Artists

17 National Theatre Productions

21 Awards

22 Audiences

27 Digital

31 Learning

34 Public Engagement

38 National Theatre Future

40 NT Studio

42 Leadership

44 Sustainability

51 Fundraising

52 Supporters

62 Performers

64 NT Associates, Committee Membership and NT Heads of Department

65 Photograph captions

Annual ReportFor the 52 weeks ended 31 March 2013

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.nationalthea-tre.org.uk/annualreport The Trustees’ Report comprises those items on pages 2-5 and 10-65 of the Annual Report and pages 1-16 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 publica-tion with you, please contact the Board Secretary at the National Theatre.

‘…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

‘We have never produced something to be a commercial success. One Man, Two Guvnors was a purely pragmatic response to a summer of grim and serious plays. We had nothing that reached out to let the widest audience rejoice and celebrate… The backbone of our theatre is that it’s un-hung up about juxtaposing the vulgar with the serious. We will do the vulgar, we will also do Timon and Othello, Brenton and Shaw and O’Neill, plays about medicine, Seventies politics, mental difference.’Nicholas Hytner, The Times, March 2013

2 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 3

Board and Advisers

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 PurnellTessa Ross CBEClive Sherling

Executive

Director* Nicholas HytnerExecutive Director Nick Starr CBEChief Operating Officer Lisa BurgerDeputy Executive Director Kate Horton

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


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 VisionThe 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.

The National Theatre of Great Britain

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 2012–2013 76 National Theatre Annual Report 2012–2013

The National Theatre opened its doors on 22 October 1963 with a production of Hamlet. Laurence Olivier directed, Peter O’Toole played the Dane and Michael Gambon carried a spear. This year we shall be celebrating the 50th birthday of our beloved NT and reflecting, inevitably, on how the place has grown and developed over those years.

Statistics cannot tell the whole story of the present range and success of the National Theatre but they are not a bad place to start. In the 12 months on which we are reporting in this document, NT productions played to a global audience of 3.6million people, an achievement unmatched by any theatre company in the world, and accounted for more than a third of all play-going in London. Full houses on the South Bank and commercial transfers of some of our most popular productions helped the NT’s income to £87m, a record figure achieved despite a further 4.4 per cent reduction in our Arts Council grant.

What these impressive figures cannot describe of course is the energy, creativity and commercial nous that lie behind them. The NT has been led for a decade now by an extraordinary troika comprising Nicholas Hytner, our Director, Nick Starr, our Executive Director, and Lisa Burger, our Chief Operating Officer. The admiration and respect that the NT enjoys among its roster of creative artists, as well as with audiences and donors, are attributable in no small measure to the talents of those three individuals.

Both Nicholas Hytner and Nick Starr have announced that they will be moving on from the NT within the next two years. To say that they will be a hard act to follow is of course a bit of an understatement. Yet, as the Board undertakes a search for a new Director, we are in no doubt that Nick Hytner’s successor will be building on the strongest of foundations.

The NT’s creative output has never been richer or more varied. The Olivier and Lyttelton stages play host every evening to a breathtaking range of repertoire staged by the finest

theatre directors in the land and performed by our greatest stage actors. The Shed, our temporary replacement for the Cottesloe Theatre, is opening the NT to new talents and audiences through an innovative approach to programming and marketing. The Studio, tucked away in an anonymous building a few hundred yards from the NT, is the most active and successful theatre laboratory in the world.

The finances of the NT are in sound shape thanks to the success of War Horse, a production that began life in the Studio, and our other commercial transfers. The building itself, not the most inviting of structures, is being transformed by our £80m NT Future programme. Construction activity is now underway and audiences will soon be rewarded with a more welcoming, versatile and expansive National Theatre.

For all its success, the NT retains an encouraging restlessness. It is constantly re-examining its public purpose, redefining the boundaries of its activity through the NT Live cinema initiative, strengthening its links with regional and smaller theatres around the UK, using NT Future funds to enhance its role in education, carrying the argument for public support of the arts to the media and to government. And much else besides. If Laurence Olivier could have looked ahead 50 years from his seat in the stalls of the Old Vic, he would I hope have found today’s NT a hit, a very palpable hit.

John Makinson Chairman

‘Above a fluorescent square, stars – about which the hero knows – blaze; on the ground, the apparently random numbers that help him to make a path through his panic are scattered in a radiant maze.’Susannah Clapp, The Observer


Ten years ago, when I became Director of the National Theatre, I was plunged into a fascinating and lively debate about the purpose of tax payers’ investment in the arts. The Labour government had become increasingly instrumental in its vision for the arts and expected, in return for its funding, measurable outcomes in the diversity of our audiences, in our educational outreach and in the social benefit of our activities. I, like most of my colleagues, had some sympathy for the then government’s aspirations. Arts patronage has never come without strings, and the demand that we should be as inclusive and accessible as possible seemed preferable, for instance, to the glorification of the Medicis or the worship of Joseph Stalin. However, it felt necessary in 2003 to push back against what felt like an increasing tendency to assess the artistic experience purely on the basis of the make-up of its audience, and many arts leaders and practitioners rediscovered the case for the arts based on their inherent worth.

Our conversations with government were productive, and many of the wilder excesses of instrumentalism disappeared. Successive Secretaries of State seemed very comfortable to talk about the arts as valuable in themselves, and central to a civilised society. It did not seem in those days that it would become necessary once again to fight for the very idea of government funding.

Over recent months, we have been asked by government to make a case for the arts based on the benefits they bring to the economy. Since this seemed like the only game in town, my colleague Nick Starr and I made the case in an article in the Daily Telegraph. We pointed out that, according to a recently published report by Nesta, the creative economy employs 2½ million people in this country and is 10% of the overall economy; growth in employment in the creative sector runs about four times the average. Growth in the UK is going to rely on innovation; we have a highly interlinked creative economy of which, almost uniquely in international terms, the arts and culture see themselves as a part. War Horse started as an experiment in our Studio. We spent about £50,000 on its development, and about £500,000 putting it on. In the last four years it has made the NT £11m. The lesson is not to ask the question, how do we create the next War Horse? It is rather to continue funding the NT Studio where much of the most commercially successful stuff starts life. This is why the West End has largely outsourced its need for the new to the subsidised sector, as essential to their business model. They can’t see how you would otherwise develop a Matilda or a Curious Incident of the Dog In the Night-Time. The director and nearly all of the cast of the recent James Bond movie Skyfall (which took over a billion dollars at the box office internationally) are alumni of the subsidised theatre. Tate Modern attracted 5.3 million visitors last year, many of them tourists attracted to Britain by our arts and heritage. And although we balk at describing Shakespeare as Britain’s leading brand in the rest of the world, it wouldn’t be untrue. We declared ourselves ready to help the Secretary of State

develop a policy that genuinely recognises the return on systematic investment in the arts.

Whether or not our argument was thought to be persuasive, the threatened 10 or 15% cut to arts investment in the most recent spending round failed to materialise, and the Chancellor’s 5% cut was greeted with some relief. In the context of current government policy, it would perhaps be churlish to point out that by 2015-16 the Arts Council will have been cut by 35% in real terms since 2010. But it can’t be denied that we are entering very perilous times, particularly outside London where individual and corporate giving has yet to make anything like the kind of impact that it has in the capital.

The National Theatre must now become ever more dependent on the generosity of its supporters. It is our phenomenal good fortune that we have such committed and generous individual donors, corporate sponsors and supportive trusts and foundations. Without their help, our repertoire would have shrunk, our outreach would be a fraction of what it is, and the work we do outside of our three theatres – through our Learning department and at our Studio – would be under severe threat. I could not be more grateful to all of them, and we are all aware how much more asking we will have to do over the coming years.

Under these circumstances, it may be necessary to go back to basics in the argument we make for ourselves. No matter how economically productive we are, no matter how much value we provide educationally, no matter the strength of our work in bringing together the widest possible audience – in the end, we work here and you come here because we all believe that the theatre is transformational in itself. It challenges, it inspires, it elevates, it educates, and it enlarges the spirit of everyone who wants to make it part of their lives.

Nicholas Hytner Director


The Year in Review National Theatre 2012–13

We opened last year’s Annual Report with an observation that, ‘By any measure the National Theatre is surely the busiest theatre in the world’. Over the past year, the NT has been even busier. Here on the South Bank, the National Theatre Inside Out festival saw our activities spilling onto the riverbank to celebrate the Jubilee and Olympic summer. One Man, Two Guvnors arrived on Broadway to join War Horse, which also embarked on North American and Australian tours while celebrating its fifth anniversary in London. By the year’s end, transfers of The Curious Incident of the Dog in the Night-Time and Untold Stories meant that four National productions were playing in the West End simultaneously.

£87mincome

59%income from box office receipts

1,959performances in London

The growth and impact of National Theatre Live over the past four years has been remarkable. Its first broadcast, Phédre in 2009, played to 14,000 people at 70 venues in the UK, and a total worldwide audience of 50,000 people. Now, with 260 cinemas in the UK, British audiences alone regularly top 50,000. With a further 350 screens in 25 countries, audiences since the programme’s inception have passed one million.

As a result of all this activity, the NT achieved its highest ever income of £87m: well over double that of ten years ago, and a clear demonstration once again that the National’s entrepreneurial approach is enabled by our capacity to risk-take, in a year which saw a further cut of 4.4% in our Arts Council grant (following a 7% cut last year). Promised inflationary uplifts for the next two years were subsequently reduced, so that by 2014-15, the real-term difference in the NT’s grant will amount to a decrease of 23% over four years. The National’s earnings from War Horse enable us to offset the immediate effects of the reduction in our Arts Council grant and to allow continued innovation and investment in the productions, skills and audiences of the future. Nevertheless, our commercial income stream is not guaranteed.

We continually ask ourselves: what is the appropriate role for the National Theatre in the time we live in? In the context of growing concern at the long-term impact of reduced funding on regional and smaller companies, many of whom are also suffering from cuts in local government grants, how can we best support and nourish regional theatre? We must strive to do more: through innovation, training and the development of talent.

In 2012-13, planning for NT Future and further development of War Horse continued as specific objectives with the aim of advancing the NT’s constant organisational objectives (page 4) in the following ways; these will be reviewed throughout this Annual Report:

— The launch of the North American War Horse tour (June 2012) and licensed productions in Australia (December 2012) and Berlin (2013) to provide opportunities for increasing international audiences; continued planning for the UK tour of War Horse in autumn 2013 to increase the NT’s national reach. New resources from the NT’s learning and digital departments to support audience engagement nationally and internationally.

— The commencement of the first phase of NT Future building works in late summer 2012, leading to the closure of the Cottesloe Theatre in February 2013 and the opening of a temporary venue in April 2013. During 2012-13, build and develop repertoire, and test new ways of communicating with audiences.

— Continued fundraising for NT Future and taking forward design development for the second phase of building works, focusing on improving the public welcome. The extent of this scope is subject to reaching fundraising targets.

— During summer 2012, from the Queen’s Diamond Jubilee to the end of the Paralympics, to enhance our annual summer programme under the banner National Theatre Inside Out. This opportunity to be part of London’s celebratory activities will also allow the Learning department to trial

concepts for the Clore Learning Centre when it opens in spring 2014, and enable us to trial other ideas and projects for NT Future.

In 2013-14, fundraising for the increased scope of NT Future and completion of the building works continue as specific objectives, in addition to:

— 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

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

— 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

— 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.

Nicholas Hytner, Director

Nick Starr, Executive Director


The NT aims to stage a diverse repertoire that is both popular and demanding, produced to the highest standards, by collaborating with the best theatre-makers in an environment that enables and stimulates them to realise the fullest extent of their talents. In 2012-13 the repertoire ranged from Greek and Shakespeare tragedy re-imagined for the 21st century, to new plays examining medical ethics and 20th-century politics and society.

Two young writers new to the Cottesloe made strikingly successful autumn debuts. James Graham’s This House examined the hung Parliament of the 1970s; Jeremy Herrin’s production transformed the Cottesloe pit into the House of Commons chamber. A co-production with Headlong, directed by Rupert Goold, of Lucy Prebble’s new play The Effect saw a similarly immersive staging with the Cottesloe audience finding themselves in a medical testing facility. The final performance of The Effect bade farewell to the Cottesloe Theatre, which closed on 23 February 2013 for its NT Future transformation to the Dorfman.

New site-specific commissions from two NT Studio affiliate companies were featured in the NT’s Inside Out festival: non zero one’s you’ll see [me sailing in antarctica] and Made in China’s Get Stuff Break Free were performed on the National’s rooftop.

In the Lyttelton, Cillian Murphy’s performance in the London premiere of Enda Walsh’s Misterman, previously seen in Dublin and New York, showed that solo shows can thrillingly fill large as well as small spaces. Julie Walters returned to the National to lead the cast in Stephen Beresford’s playwriting debut, The Last of the Haussmans, directed by Howard Davies. Nadia Fall made her NT debut directing Bernard Shaw’s The Doctor’s Dilemma; and Tom Cairns’ revival of Howard Barker’s Scenes from an Execution, with Fiona Shaw as the painter Galactia, marked the playwright’s first production at the NT.

The fruitful playwright/director partnership of Alan Bennett and Nicholas Hytner was renewed on a new play, People, with a cast led by Frances de la Tour, Linda Bassett and Selina Cadell: another sell-out. Two short pieces by Bennett, Cocktail Sticks, directed by Hytner, and Hymn, with music by George Fenton, directed by Nadia Fall, saw Alex Jennings play Alan Bennett in both, later transferring to the West End (see page 14).

At Christmas, 1927 returned with The Animals and Children Took to the Streets, previously seen in the Cottesloe; and in January, Marianne Elliott directed a new production of Simon Stephens’ Port – a play whose premiere she had directed at the Royal Exchange, Manchester, ten years earlier.

The tenth anniversary Travelex £12 Tickets season offered its customary stimulating mix of innovative stagings of classics alongside new work, with five productions in the Olivier. Nicholas Hytner’s production of John Hodge’s Collaborators transferred from a sell-out Cottesloe run, with Alex Jennings and Simon Russell Beale recreating their roles as Bulgakov and Stalin. Polly Findlay directed a modern-dress production of Sophocles’ Antigone, in a version by Don Taylor, with Jodie Whittaker in the title role and Christopher Eccleston as Creon; and Simon Russell Beale gave another award-winning performance in the title role of Shakespeare and Middleton’s rarely seen Timon of Athens, given a contemporary setting by Nicholas Hytner. A greatly extended Cottesloe run in 2011 of Alecky Blythe and Adam Cork’s music theatre piece, London Road, had not satisfied audience demand, so Rufus Norris’ production transferred to the Olivier; and the Travelex season ended with Tirso de Molina’s Damned by Despair, in a new version by Frank McGuinness, directed by Bijan Sheibani.

John Lithgow and Nancy Carroll led the cast of Arthur Wing Pinero’s Victorian farce The Magistrate, directed by Timothy Sheader, for the Christmas season; and in February, Antony Sher was The Captain of Köpenick, with Adrian Noble directing Carl Zuckmayer’s play in a new version by Ron Hutchinson.

Inua Ellams returned to the Cottesloe with his new one-man show, Black T-Shirt Collection, presented by Fuel. Lisa D’Amour’s play Detroit received its UK premiere, with a British cast directed by Austin Pendleton who had staged the original production for Chicago’s Steppenwolf Theatre Company. In August came the opening of The Curious Incident of the Dog in the Night-Time, based on the novel by Mark Haddon, adapted by Simon Stephens; Marianne Elliott’s innovative production, making stunning use of technology, proved irresistible (see page 14). Katie Mitchell directed a version of Hansel and Gretel, devised with Lucy Kirkwood and based on the story by the Brothers Grimm, for younger audiences at Christmas.

Plays and Artists

The Repertoire

12new plays

26productions in repertoire at the NT

‘Absurdity and glory can co-exist and there is wisdom in the old, even old hippies.’Libby Purves, The Times


Plays and Artists continued

UK TouringNicholas Wright’s play Travelling Light completed its tour in Newcastle (its earlier visits to Salford, Leeds and Aylesbury having fallen in the previous financial year).

Richard Bean’s One Man, Two Guvnors embarked on a second UK tour, led by the comedian Rufus Hound as Francis Henshall (Owain Arthur took leave from the continuing West End production to play the role on the dates in his native Wales). The 13-week tour visited Leicester, Newcastle, Glasgow, Belfast, Blackpool, Norwich, Leeds, Llandudno, Salford, Cardiff and Nottingham, playing to 94,000 people, before setting off on an international tour.

West End and international transfersWar Horse celebrated its fifth anniversary in London in October 2012 and is now booking until February 2014. A ten-month, nine-venue tour of the UK and Ireland begins in autumn 2013. The Broadway production completed a 21-month run at Lincoln Center; the Toronto production also ended in January 2013. The North American touring production continued to play across the US, visiting 21 cities over 42 weeks. A concurrent production with an all-Australian cast opened at the Melbourne Arts Centre State Theatre in December 2012 for a 15-week season, before visiting Sydney. A German-language production will open in October 2013 in Berlin, followed by another production in Holland; the second leg of the US tour will commence in September 2013. War Horse continues to travel with a strong ethos and emphasis on learning and participation.

One Man, Two Guvnors entered its third year in London in April 2013 and is booking at the Theatre Royal, Haymarket until March 2014. Having led its second UK tour, Rufus Hound took over the role of Francis Henshall in London from Owain Arthur, who led the production on a 20-week international tour from February, visiting Hong Kong, Adelaide, Auckland and Sydney (ending in Melbourne in May). On Broadway, One Man, Two Guvnors completed a successful run with its original cast at the Music Box Theater, crowned by James Corden’s Tony Award for Best Actor.

While One Man’s London cast took a two-week contractual holiday in September 2012, the National presented Michael Morpurgo’s Private Peaceful for a run of 16 performances at the Haymarket.

The Curious Incident of the Dog in the Night-Time opened in the Cottesloe in August, one of three NT productions to feature in the London 2012 festival. In March 2013 the production transferred to the West

End’s Apollo Theatre, with Luke Treadaway recreating his performance as Christopher Boone alongside many other members of the original cast. In April, shortly after the end of this financial year, the production won seven Olivier Awards – a record number for a play. Booking has been extended to October 2014.

Alan Bennett’s Hymn and Cocktail Sticks moved across the river in March to the Duchess Theatre, under the title Untold Stories, for a

scheduled 12-week run; Alex Jennings repeated his much-praised performance as Bennett.

All four productions were presented by National Theatre Productions, led jointly by Chris Harper and Stephen Rebbeck, with the aim of maximising opportunities to extend the life of NT productions without subsidy in the West End and beyond.

14weeks of UK touring

66weeks of international touring

444actors and musicians employed by the NT in London


Fuel BLACK T-SHIRT COLLECTIONwritten & performed by Inua Ellams

Director Thierry LawsonDesign Michael Vale Lighting Design Michael Nabarro Sound Design Emma Laxton Cottesloe 13 April

A Landmark Productions / Galway Arts Festival productionMISTERMANby Enda Walsh

Director Enda WalshDesigner Jamie VartanLighting Designer Adam SilvermanMusic Donnacha DennehySound Designer Gregory ClarkeAssociate Sound Designer Helen AtkinsonMovement Director Mikel MurfiLyttelton 18 April

COLLABORATORSa new play by John Hodge

Director Nicholas HytnerDesigner Bob CrowleyLighting Designer Jon ClarkMusic George FentonSound Designer Paul ArdittiAssociate Director Nadia FallAssociate Lighting Designer Peter HarrisonMovement Jack MurphyFight Director Terry KingCompany Voice Work Jeannette NelsonOlivier 3 May (transfer from Cottesloe, 1 November 2011)Sponsored by Travelex

DETROITby Lisa D’Amour

Director Austin PendletonSet Designer Kevin DepinetCostume Designer Susan KulkarniLighting Designer Mark HendersonMusic Anthony Capel and Matthew ScottSound Designer John LeonardChoreographer Arthur PitaCompany Voice Work Jeannette Nelson

Dialect Coach Judith WindsorCottesloe 15 May

ANTIGONEby Sophocles in a version by Don Taylor

Director Polly FindlayDesigner Soutra GilmourLighting Designer Mark HendersonMusic & Sound Designer Dan JonesMovement Aline DavidFight Director Bret YountCompany Voice Work Kate GodfreyOlivier 30 MaySponsored by Travelex

THE LAST OF THE HAUSSMANSa new play by Stephen Beresford

Director Howard DaviesDesigner Vicki MortimerLighting Designer Mark HendersonProjection Designer Jon DriscollSound Designer Christopher ShuttCompany Voice Work Jeannette Nelson and Zabarjad SalamLyttelton 19 JuneSponsored by Accenture

Made in ChinaGET STUFF BREAK FREECreated by Made In China (Tim Cowbury and Jessica Latowicki) and the cast

Lighting Designer Sean GleasonCreative Associates Christopher Brett Bailey (Dramaturg) and Alice Lacey (Director)Producer Marianne DickerA roof-top location (Inside Out Festival) 4 JulySupported by American Express

non zero oneyou’ll see [me sailing in antarctica]Created and performed by Sarah Butcher, Cat Harrison, John Hunter, Fran Miller and Alex Turner

Additional performer Emily McDonaldSound Designer Helen AtkinsonLighting Designer Sean Gleason Composition James BulleyCo-composition Sami El-Enany

Producer Marianne DickerA roof-top location (Inside Out Festival) 9 JulySupported by American Express

TIMON OF ATHENSby William Shakespeare

Director Nicholas HytnerDesigner Tim HatleyLighting Designer Bruno PoetMusic Grant OldingChoreographer Edward WatsonSound Designer Christopher ShuttDramaturg Ben PowerCompany Voice Work Jeannette Nelson and Zabarjad SalamOlivier 17 JulySponsored by Travelex

THE DOCTOR’S DILEMMAby Bernard Shaw

Director Nadia FallDesigner Peter McKintoshLighting Designer Neil AustinMusic Matthew ScottSound Designer Gregory Clarke Movement Jack MurphyCompany Voice Work Kate GodfreyLyttelton 24 July

LONDON ROADbook and lyrics by Alecky Blythe music and lyrics by Adam Cork

Director Rufus NorrisDesigner Katrina LindsayLighting Designer James FarncombeOrchestrations Adam CorkMusic Director David ShrubsoleSound Designer Paul ArdittiMovement Director Javier De FrutosAssociate Music Director Ian TownsendOriginal Lighting Designer Bruno PoetAssociate Video Designer Paul KenahMotion Graphics Designer Tim BlazdellDialect Coach Jeannette NelsonOlivier 1 August (from Cottesloe, 14 April 2011)Sponsored by Travelex

National Theatre Productions 2012–13


THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIMEbased on the novel by Mark Haddon adapted by Simon Stephens

Director Marianne ElliottDesigner Bunny ChristieLighting Designer Paule Constable Movement Directors Scott Graham and Steven Hoggett for Frantic AssemblyVideo Designer Finn RossMusic Adrian SuttonSound Designer Ian DickinsonFight Director Kate WatersCompany Voice Work Jeannette NelsonCottesloe 2 August 2012Supported by the NT’s Cottesloe Partner Neptune Investment Management

THIS HOUSEa new play by James Graham

Director Jeremy HerrinDesigner Rae SmithLighting Designer Paule ConstableMusic Stephen WarbeckChoreographer Scott AmblerSound Designer Ian DickinsonCompany Voice Work Zabarjad SalamDialect Coach Penny DyerCottesloe 25 September 2012

Olivier 28 February 2013Supported by the NT’s Cottesloe Partner Neptune Investment Management

SCENES FROM AN EXECUTIONby Howard Barker

Director Tom CairnsDesigner Hildegard BechtlerLighting Designer Peter MumfordMusic & Sound Designers Ben & Max RinghamCompany Voice Work Kate GodfreyLyttelton 4 OctoberSupported by American Express

DAMNED BY DESPAIRby Tirso de Molina in a new version by Frank McGuinness

Director Bijan Sheibani Set Designer Giles CadleCostume Designer Moritz JungeLighting Designer Jon ClarkVideo Designer Finn RossMusic & Sound Designer Dan Jones

National Theatre Productions 2010–11 continued

Movement Director Aline David Fight Director Kate WatersMusic Director David ShrubsoleCompany Voice Work Jeannette NelsonDialect Coach Penny DyerOlivier 10 OctoberSponsored by Travelex

PEOPLEa new play by Alan Bennett

Director Nicholas HytnerDesigner Bob CrowleyLighting Designer James FarncombeSound Designer Rich WalshMovement Director Jonathan WatkinsShort film by Jon DriscollCompany Voice Work Kate GodfreyLyttelton 7 NovemberSponsored by Accenture

Co-production with HeadlongTHE EFFECTa new play by Lucy Prebble

Director Rupert GooldDesigner Miriam BuetherLighting Designer Jon ClarkMusic Sarah AnglissProjection Designer Jon DriscollSound Designer Christopher ShuttMovement Director Aletta CollinsFight Director Kate WatersCompany Voice Work Jeannette NelsonCottesloe 13 NovemberSupported by the NT’s Cottesloe Partner Neptune Investment Management

THE MAGISTRATEby Arthur Wing Pinero

Director Timothy Sheader Designer Katrina LindsayLighting Designer James FarncombeLyrics Richard StilgoeMusic Richard SissonMovement Director Liam SteelSound Designer Paul ArdittiVocal Arranger David ShrubsoleCompany Voice Work Jeannette NelsonDialect Coach Kate GodfreyOlivier 21 November

HYMNa memoir of music in childhood words by Alan Bennett music by George Fenton

Director Nadia FallDesigner Bob CrowleyLighting Designer Tom SnellSound Designer Mike WalkerProducer Pádraig CusackLyttelton 16 December

COCKTAIL STICKSby Alan Bennett

Director Nicholas HytnerDesigner Bob CrowleyLighting Designer Tom SnellMusic George FentonSound Designer John LeonardCompany Voice Work Richard RyderLyttelton 16 December

A 1927 productionTHE ANIMALS AND CHILDREN TOOK TO THE STREETSWriter and Director Suzanne Andrade

Film & Animation Paul BarrittCostume Esme Appleton & Sarah MunroMusic Lillian HenleyAnimation Assistant Derek AndradeProducer Jo CrowleyLyttelton 12 December (previously at the Cottesloe in December 2011)Supported by the NT’s Cottesloe Partner Neptune Investment Management

HANSEL AND GRETELwritten by Lucy Kirkwood devised by Katie Mitchell and Lucy Kirkwood based on a story recorded by the Brothers Grimm

Designer Vicki Mortimer Lighting Designer Jon ClarkMusic Paul ClarkMovement Director Joseph AlfordSound Designer Gareth FryPuppet Conception and Creation Toby OliéCompany Voice Work Kate GodfreyCottesloe 13 DecemberSupported by the NT’s Cottesloe Partner Neptune Investment Management

PORTby Simon Stephens

Director Marianne ElliottDesigner Lizzie ClachanLighting Designer Neil AustinMovement Director Scott GrahamFight Director Kate WatersSound Designer Ian DickinsonAssociate Lighting Designer Rob HallidayCompany Voice Work Kate GodfreyDialect Coach Richard RyderLyttelton 28 January

THE CAPTAIN OF KÖPENICKby Carl Zuckmayer in a new English version by Ron Hutchinson

Director Adrian NobleDesigner Anthony WardLighting Designer Neil AustinMusic Steven EdisMovement Director Sue LeftonFight Director Malcolm RansonSound Designer Mic PoolAssociate Lighting Designer Rob HallidayCompany Voice Work Jeannette Nelson and Richard Ryder Olivier 5 February Supported by American Express

National Theatre Touring ProductionsTRAVELLING LIGHT3 – 7 April 2012 Theatre Royal, Newcastle (previously The Lowry, Salford, Grand Theatre, Leeds & Waterside Theatre, Aylesbury, 13 March – 31 March 2012)

ONE MAN, TWO GUVNORS25 October 2012 – 2 April 2013 Curve, LeicesterTheatre Royal, NewcastleTheatre Royal, GlasgowGrand Opera House, BelfastGrand Theatre, BlackpoolTheatre Royal, NorwichGrand Theatre, LeedsVenue Cymru, LlandudnoThe Lowry, Salford

Wales Millennium Centre, CardiffTheatre Royal, NottinghamLyric Theatre, Hong Kong Arts FestivalHer Majesty’s Theatre, Adelaide FestivalAotea Centre, Auckland Arts Festival Sydney Theatre (running until 11 May 2013) (also Arts Centre, Melbourne 17 May – 29 June 2013)

WAR HORSEUSA, 14 June 2012 – 2 April 2013Boise, Los Angeles, San Francisco, Dallas, Atlanta, Durham, Boston, Washington DC, Pittsburgh, Philadelphia, East Lansing, Des Moines, Chicago, Denver, Costa Mesa, Tempe, Seattle, Portland, Spokane, St Louis, Cincinatti (tour continues in 2013-14.)Australia, 31 December 2012 – 2 April 2013Arts Centre, Melbourne; Lyric Theatre, Sydney (also Brisbane in July 2013).

National Theatre Productions in the West EndA Scamp Theatre production in association with Poonamallee Productions By arrangement with the Theatre Royal, HaymarketMichael Morpurgo’s PRIVATE PEACEFULDirected and adapted by Simon Reade

Designer Bill TalbotLighting Designer Wayne DowdeswellSound Designer Jason BarnesAssociate Director Mark LeipacherTheatre Royal, Haymarket 18 – 29 September 2012

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIMEbased on the novel by Mark Haddon adapted by Simon Stephens

Director Marianne ElliottDesigner Bunny ChristieLighting Designer Paule Constable Movement Directors Scott Graham and Steven Hoggett for Frantic AssemblyVideo Designer Finn RossMusic Adrian SuttonSound Designer Ian Dickinson for AutographAssociate Director Nadia FallResident Director Katy Rudd

Fight Director Kate WatersCompany Voice Work Jeannette NelsonCasting Alastair CoomerApollo Theatre 12 March 2013

UNTOLD STORIESHymn & Cocktail Sticks Two recollections by Alan Bennett Hymnwith music by George Fenton

Director Nadia FallDesigner Bob CrowleyLighting Designer Tom SnellSound Designer Mike WalkerVoice Richard RyderResident Director Drew MulliganCocktail SticksDirector Nicholas HytnerDesigner Bob CrowleyLighting Designer Tom SnellSound Designer John LeonardMusic George FentonVoice Richard RyderResident Director Drew MulliganDuchess Theatre 2 April 2013


2012 New York Outer Critics’ Circle AwardsOutstanding New Broadway Play

One Man, Two Guvnors Outstanding Director of a Play

Nicholas Hytner for One Man, Two GuvnorsOutstanding Actor in a Play

James Corden for One Man, Two Guvnors

2012 Toronto Theatre Critics AwardsBest Design

The creative team of War Horse

2012 New York Drama Desk AwardsOutstanding Actor in a Play

James Corden for One Man, Two GuvnorsOutstanding Featured Actor in a Play

Tom Edden for One Man, Two GuvnorsOutstanding Music in a Play

Grant Olding for One Man, Two Guvnors

2012 New York Tony AwardsBest Performance by a Leading Actor

in a Play

James Corden for One Man, Two Guvnors

2012 Toronto Dora AwardsOutstanding Costume Design

Rae Smith, Adrian Kohler with Basil Jones for Handspring Puppet Company for War HorseOutstanding Choreography

Toby Sedgwick for War HorseAudience Choice Award

War Horse

2012 Los Angeles Stage Alliance Ovation AwardsBest Presented Production

War Horse at Center Theatre Group: Ahmanson Theatre

2012 Evening Standard Theatre AwardsBest Director

Nicholas Hytner for Timon of AthensBest Actor

Simon Russell Beale for CollaboratorsBest Design

Soutra Gilmour for Antigone (and Inadmissible Evidence at the Donmar Warehouse)The Lebedev Special Award

Nicholas Hytner for his dynamic directorship of the National Theatre

2012 Critics’ Circle Theatre AwardsBest Shakespearean Performance

Simon Russell Beale for Timon of AthensBest New Play

The Effect by Lucy Prebble

2013 Association for Cultural Enterprises AwardsBest New Range

The NT’s War Horse merchandiseBest Overall Product

The War Horse goose puppet

2013 South Bank Sky Arts Award for TheatreThe Curious Incident of the Dog in the Night-Time

2012 Los Angeles Drama Critics Circle AwardsBest Production

War Horse (US tour at the Ahmanson Theatre, jointly with The Book of Mormon, Justin Love and Cyrano)Best Lighting Design

Paule Constable and Karen Spahn for War Horse

Awards 2012–13‘Of all the triumphs War Horse catalogues – of Allied forces in World War I; of a boy’s fierce devotion; of an animal’s fighting spirit – the most exhilarating is one of engineering.’Peter Marks, Washington Post


Audiences

28%of South Bank audiences were first-time bookers

36%of South Bank bookers were from outside London

3.6mpaying audience worldwide

90%capacity houses on the South Bank

97%capacity houses for War Horse at New London Theatre

Just as the meaning of the word ‘theatre’ has evolved radically over the past 50 years with the constant development of new forms and approaches to theatre-making, the term ‘audience’ is similarly challenged. The millions who engage with the National Theatre go far beyond those sitting in our auditoriums on the South Bank, or even on tour. Digital and Learning programmes are central to our existence: core, vital means of sharing our work with a broader and more diverse community, and deepening engagement. In 2012-13 the National’s paying audience reached 3.6million globally.

Audience DevelopmentIn 2012, Travelex marked their tenth year of sponsoring the transformative £12 Tickets scheme. Over 1.3million £12 (originally £10) Tickets have been sold since 2003 (88,000 in 2012), and 2.1million people in total have attended the Seasons. Travelex Tickets continue to attract first-time ticket-buyers: 21% in 2012.

Entry Pass, our popular free discount ticket scheme for 16-25-year-olds, continues to attract new members and now numbers over 42,000. Further engagement with the scheme was encouraged through 13 workshops and events, on subjects ranging from directing Shakespeare to the evolution of new writing from rehearsal to first night, and a four-day introductory course to theatre production. Half-price tickets for under-18s are available for all productions outside the Travelex season, in 2012-13 representing a discount of £1.8m against average ticket price. 102,000 under-18s and people in college groups attended NT performances in London.

Over 21,000 concessionary tickets were sold to disabled people and their companions for NT productions in London; in the capital and on tour we provided 54 captioned performances, 54 audio-described performances and two sign language interpreted performances. The year also saw the introduction of two pilot ‘relaxed performances’ for The Curious Incident of the Dog in the Night-Time and Hansel and Gretel. Specifically designed to welcome people with an Autistic Spectrum Condition, learning disability or sensory and communication disorders into the theatre, relaxed performances give those who otherwise might feel excluded the chance to experience live performance. Lighting and special effects are adapted and additional audience

movement and interaction are expected, with quiet spaces to relax for those who need to leave and re-enter the auditorium during the show.

With the aim of enabling more effective communication with the National’s audiences, our insight programme has been significantly expanded. Over 25,000 surveys were completed by our audiences, and seven in-depth qualitative research sessions were used to understand more about existing and potential visitors. This has particularly informed the marketing and press strategy for The Shed, the temporary venue open from April 2013: tickets are being released later than normal, and greater emphasis placed on digital and social media engagement.

Audience Experience at the NationalCommercial Operations is run by and for the National Theatre and comprises Catering, Hospitality Events, Retail, House Management, Tours and Information, Stage Door 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.

NT Future will bring a redesign of the NT’s foyer spaces and facilities. In June 2012 a forum was devised in which members of the public could experience a taste of the proposed changes, seeing objects from the archive and costumes up close and ‘test-driving’ a prototype digital installation. In addition, a substantial phase of on-site surveying was carried out and a foyer signage trial took place. Digitally, a relatively new method of research, remote usability testing, was used to gain feedback on website designs. Focus groups also informed the re-design of the repertoire leaflet, ensuring its new layout was equally helpful to members and to less regular audiences.

The NT Bookshop, whose range has significantly expanded in recent years to include exclusively designed gifts and products, was recognised in two categories of the 2013 Association for Cultural Enterprises Awards: Best New Range: The NT’s War Horse merchandise Best Overall Product: The War Horse goose puppet

National Theatre Annual Report 2011–2012 23

88,000Travelex £12 Tickets sold

866,099people saw an NT touring production

558,291people saw One Man, Two Guvnors on tour, in London, New York and via NT Live

‘You don’t put yourself into what you write, you find yourself there.’Alan Bennett


MEXICO

BAHAMAS

CYPRUS

BULGARIA

MALTA

GREECE

INDIA

POLAND

ESTONIA

HUNGARY

RUSSIA

CHINA

BELGUM

FINLAND

GERMANY

NETHERLANDS

1 2 3 5SOUTH AFRICA

6CZECH REPUBLIC

7SWEDEN

11IRELAND

13ITALY

18NEW ZEALAND

23AUSTRALIA

30FRANCE

59CANADA

69UK

267US

324ROMANIA

LUXEMBOURG

US

ONE MAN, TWO GUVNORS

WAR HORSE



WAR HORSEONE MAN, TWO GUVNORS

TRAVELLING LIGHT

VENUES

NT ON TOUR

WORLDWIDE 2012-2013


Digital

260venues in the UK

600NT Live venues worldwide

1,275,000+worldwide audience for National Theatre Live since its launch

National Theatre Live

The National Theatre Live programme of cinema broadcasts goes from strength to strength and is now regularly available in 600 venues (more are added for selected broadcasts) in 25 countries, with 260 screens in the UK. The worldwide audience for National Theatre Live since its launch has reached 1,275,000.

In 2012-13, an ‘encore’ broadcast of Frankenstein was followed by The Curious Incident of the Dog

25countries

0

100000

200000

300000

400000

500000

600000

2012-132011-122010-112009-10

UK Audience (’000)

Note: 2010-11 featured two more broadcasts than 2011-12 or 2012-13

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

National Theatre Live Audiences

in the Night-Time, setting a new UK record audience of 42,000 (72,000 worldwide) – a record swiftly overtaken by The Last of the Haussmans which figured at number 8 in the week’s cinema box office chart and was seen by 43,000 in the UK alone. Timon of Athens and The Magistrate were followed by Alan Bennett’s People, which smashed all previous records: 65,000 saw it in UK cinemas, with a total worldwide audience of over 94,000.


Digital

Digital Innovation and Broadcast

The NT’s digital audience grew by 70% over the year. 300 new items of free digital content – from videos and podcasts to articles and education packs – were published, with well over 30,000 downloads and streams every week: 1.5 million a year.

National Theatre podcasts were introduced a year ago and have a subscribed audience of over 10,000 listeners for audio from our archive as well as Platform events and other programmes. Among the most popular items were Alan Bennett reading his introduction to the playtext of People, and a 1984 recording of Arthur Miller reading his log of Death of a Salesman in Beijing. Our audio collection of King James Bible readings has been listened to 10,000 times since January 2012.

The NT website was re-designed in summer 2012; an average audience of 5,000 users a week watch video and listen to podcasts through the NT site. We have also developed and expanded to numerous other platforms

including iTunes, iTunes U (where a playwriting course received over 10,000 downloads in one week), SoundCloud, YouTube, TES, Promethean, London Grid for Learning and Channel 4 Clipbank. A new relationship with the Google Cultural Institute will launch with digital exhibitions in 2013.

Digital resources continue to extend the NT’s offer to schools. The National’s profile on the Times Educational Supplement website hosts over 300 pieces of video and audio content as well as pdf education packs. In the last twelve months, this content has been streamed 30,000 times on TES alone: an increase of 500% from the previous year, highlighting our growing popularity on the channel. In December 2012 we launched our digital collection on Polly Findlay’s 2012 production of Antigone on the National Theatre website, TES, iTunes U and YouTube. The collection was streamed and downloaded over 60,000 times in its first four months and has recently been launched on Channel 4 Clipbank, a digital learning experience

The National Theatre’s free broadcast and digital media content is constantly developing to reflect and explore the creative work taking place in the building. Taking advantage of the unparalleled opportunity for access, reach and impact afforded by digital, we have forged new collaborations and partnerships with a variety of organisations, thereby significantly increasing the audiences for our online platforms and strengthening international awareness of British theatre.

30,000Downloads and streams every week

60,000Views and downloads of NT learning resources on Antigone

for secondary schools, along with a recording of the full production. Horse Power, an interactive map supporting War Horse, and exploring the world-wide history of First World War cavalry regiments, was launched in August 2012.

Frankenstein: A Modern Myth, a film using the National Theatre production to look at the origins of Mary Shelley’s novel and the enduring myth that it has created over time, premiered in October 2012 on Channel 4. Filming also began for a two-part BBC TV ‘Arena’ documentary marking the NT’s 50th anniversary in October 2013; telling the story of the National from Laurence Olivier’s Old Vic company to the South Bank, it will include footage of historic performances, and goes behind the scenes of recent productions such as War Horse, Frankenstein and Nicholas Hytner’s 2013 production of Othello. Contributors include Joan Plowright, Peter Hall, Adrian Lester, Judi Dench, Ian McKellen, Lucy Prebble, Alan Bennett and many more.


11 July 2012 saw the first known performance of a play in the 900-year history of Westminster Hall, attended by the Speakers of both Houses of Parliament. The play was Re-write by 17-year-old Tosin Omosebi, a student at Greenford High School in Southwark and a participant in New Views, the National’s playwriting programme for 15-19 year-olds. Tosin’s teacher commented:

I feel that we have genuinely enriched [students’] lives – with New Views and with your feedback and support. That’s what we teachers go into the profession to do – to change people’s lives – and it’s incredibly fulfilling when you think you may actually have [that] positive impact.

The premiere of Re-Write was one highlight of a year of development and growth, with many projects building towards the launch of the Clore Learning Centre as part of NT Future in 2014. These included the Pop-up Workshop, which over the three months of the Inside Out festival (see page 35) offered young people, children and families the chance to take part in aspects of theatre: from puppetry, stage combat and directing to set and costume design, prop-making and scenic art. Schools visited for Inside Out days exploring aspects of the NT’s work, and we ran three week-long, in-depth projects with young people. Key to the success of the Pop-up Workshop was the NT’s first large-scale volunteering programme, a pilot for the Clore Learning Centre: 48 volunteers supported the programme throughout the summer for a total of 200 shifts and 579 hours.

I have volunteered everywhere from inner city education projects to high profile projects within some of our national institutions. My experience at the National has been far and away the best. The National team have got it right in all aspects. (Volunteer, Pop-up Workshop)

Two new plays were also produced in the Pop-up. Cesario by Bryony Lavery was commissioned for the World Shakespeare Festival (produced by the RSC for London 2012) and performed by a cast of young actors aged from 12 to 18.

Cupboard of Surprises, for audiences aged 2-5, was created as part of our Early Years programme, which works with local community groups, young parents and grandparents to encourage creative play and learning. The production also toured to seven nurseries and children’s centres across inner London.

Autumn saw the launch of a major new youth programme with funding from the Paul Hamlyn Foundation. The Young Studio is aimed at talented and committed young theatre-makers aged 16-25, from a wide-range of disciplines, offering the support of NT and NT Studio artists to enable participants to create their own work. Its first season explored approaches to devised work; the second saw young people working with writers Rachel De-lahay and Bola Agbaje, with Simon Stephens among a number of visiting artists. We have also launched a programme of Youth Partnerships, working in London communities with young people with little or no previous experience of theatre: the first partnership is with the Blackfriars Settlement. Through Entry Pass we continue to offer open-access workshops, events and courses for young people aged 16-25.

Connections is a national programme, offering youth theatres and school drama groups the chance to stage one of 10 new plays, commissioned by the NT, and take part in festivals held at theatres across the UK. Numbers participating grew this year: in 2011-12, 173 youth theatre companies completed the project; in September 2012, 235 companies joined the programme. The National Theatre’s own Connections Festival in June 2012 invited ten companies from London, Essex, Yorkshire, Northern Ireland, Bristol, Plymouth and Nottingham to perform in the Cottesloe and Lyttelton Theatres. Connections 2012-13 was launched in the autumn with an expanded Directors’ Weekend, offering in-depth professional development for the teachers and youth theatre directors leading each company; we also expanded the number

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

Learning


of partner theatres, with Eden Court, Inverness, the Marlowe Theatre, Canterbury, Greenwich Theatre and the Lyric Theatre, Belfast, bringing the number of Connections festivals across the country to 23. This year’s Connections plays, published in an anthology by Methuen Drama, are written by Howard Brenton, Jim Cartwright, Lucinda Coxon, Ryan Craig, Stacey Gregg, Jonathan Harvey, Lenny Henry, Jemma Kennedy, Morna Pearson and Anya Reiss.

New Views is a national playwriting programme in schools. The project invites teachers to set up playwriting groups, supported by a weekend’s intensive training at the National, an online course, and workshops in school by playwrights. 45 schools joined this year, with additional groups based at the NT and Bristol Old Vic. Three hundred scripts were submitted, an increase from last year’s 178; ten have been selected for rehearsed readings by members of the NT acting company, and one play will be produced in The Shed and at Parliament.

Schools programmes opening up NT repertoire, including in the West End, have also expanded this year. The Curious Incident of the Dog in the Night-time and Port were the focus of a number of in-depth projects: Curious with groups including young people with Autistic Spectrum conditions; and Port with students from four girls’ schools in East London who created a short film telling their own stories of resilience. Students from five London schools worked with NT directors to explore and stage excerpts from the Black Plays Archive. Director Polly Findlay opened the rehearsal room for Antigone to groups of sixth-form students and teachers.

We ran 107 workshops and Q&A sessions for schools exploring NT productions and skills in acting, directing and design, involving 2,227 students. The NT Revealed programme of masterclasses for schools, exploring aspects of performance, design and technical skills, crafts and careers in theatre, saw a further 12 events attended by 990 young people. Highlights of the year’s programme included a conference inspired by Katie Mitchell’s Five Truths installation. On tour, a learning programme alongside One Man, Two Guvnors involved schools in Blackpool, Leeds, Norwich, Salford and Nottingham, and youth groups in Belfast, Cardiff and Llandudno.

220school and youth theatres participated in Connections at:

23regional theatre partner festivals

53,000school and college students saw NT performances in London

5,000young people from

NT Learning programmes also run internationally alongside War Horse. In Australia, a large-scale education programme was launched in Melbourne and continues in Sydney and Brisbane. Loyal Creatures, a monologue exploring the themes of War Horse from an Australian perspective, was commissioned from Morris Gleitzman and performed as a core part of the programme. In Bendigo, Victoria, a 3-day residency explored the play with residents spanning different generations and uncovered extraordinary and moving local testimonies of the First World War.

The National’s Primary school programme has this year focused on NT repertoire . 23 classes from 13 primary schools, involving 644 children and 46 teachers, took part in projects on Hansel and Gretel, exploring different aspects of theatre including song-writing, stage design, and creating their own short devised performances based on one of Grimm’s fairy tales. All also attended a performance in the Cottesloe Theatre. Children and teachers from two primary schools took part in a project on War Horse, exploring how the production might act as a stimulus for creative learning and independent reading; this will provide new resources for schools attending the production in London.

Adult and community programmes also continue to build partnerships across inner London. We ran 18 Theatreworks Partnerships projects – building confidence, developing skills and introducing aspects of theatre – with a wide range of partners and participants, including looked after children, young people not in employment, education or training, and older people. Highlights of the year included a project with participants from Age UK Lambeth and Southwark creating a performance in response to People; and two projects with young people in partnership with Barnardo’s, exploring Port:

As a result of the project they want to continue to work together as a group to tell their stories in a safe and creative way, to highlight the emotional and practical challenges of growing up in care but also the humour and the amazing ways that they overcome obstacles and challenges along the way to dispel some of the myths about kids in care... (Manager, Barnardo’s South London)

Our community programme is supported by income from Theatreworks, the NT’s communications training programme for the corporate and third sectors. We also collaborated with the British Museum on a late evening event linked to their Shakespeare: staging the world exhibition. Over 1,000 people watched stage combat demonstrations and performances of Lucinda Coxon’s The Eternal Not and Shakespeare Shorts, as well as participating in voice, acting, prop-making and design workshops led by NT staff and company.

Throughout the year, developments in the NT’s Learning programme have taken place against a growing concern for drama and theatre in schools, as a consequence of reforms to the primary and secondary curriculum and to examinations. The NT is concerned that without sustained drama teaching, many young people will not have the chance to take part in a school play, to have their imagination woken through drama, to see a live performance in a theatre – let alone discover a skill in playwriting. The National’s role, now more than ever, is to promote and support drama provision for young people across the UK, to argue for its value, and to offer wide opportunities for young people to

make, see, explore and respond to theatre. We will continue to grow and develop our Learning offer, at the NT, in schools and communities across the UK, and digitally, throughout the next year. We look forward with excitement to the new opportunities the Clore Learning Centre will bring to people of all ages from 2014.

The National Theatre ArchiveThe Archive serves as an important resource for learning and public engagement and for theatre practitioners, alongside its vital role in preserving a record of the National’s creative output and administrative functions. During 2012-13 we welcomed over three thousand people to research and engage with our collection. Over recent years the audience for the Archive has diversified from being a largely academic one, served by our partnerships with various universities and drama schools, to a much wider public. We are now working more closely with schools and have seen an enthusiastic take-up of our programme of screenings and introductory research sessions at the Archive. The work of the NT’s Broadcast and Digital team ensures that very high quality recordings of our productions and Platforms are available to everyone at the Archive and we are increasingly welcoming the NT-going public

1,140teachers and youth theatre directors trained

3,000visitors to the NT Archive

6,159people participated in the Pop-Up workshop

to revisit favourite shows or catch up on recent ones missed. We have also enjoyed hosting some very excited fan-clubs from all over the world: amongst his other accomplishments, Benedict Cumberbatch is responsible for introducing hundreds of people to archives.

Research projects this year focused on preparing resources to tell the story of the National Theatre through various publications, documentaries, catalogues and new digital resources to be released for the National’s 50th anniversary. A cataloguer was appointed to prepare for public access the Shakespeare Memorial National Theatre collection, which documents the movement to found the National. The NT’s Black Plays Archive (blackplaysarchive.org.uk) continues to grow as a national resource; work with the Learning, Broadcast and Digital and Platforms departments has been key to engaging a wide audience in the histories uncovered in the development of this resource. The papers of Kate Fleming, the National’s first voice coach, were gifted to the National by her family and a catalogue completed.

Volunteers continue to play a valued role in our work and we extend our thanks to them. The NT Archive is open to everyone by appointment.

Learning continued


147,000attended Watch This Space

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.

National Theatre Inside Out Festival and London 2012The summer of 2012 – from the Queen’s Diamond Jubilee to the end of the Paralympics – was an extraordinary one. The National Theatre wholeheartedly entered the spirit of London’s celebratory activities by turning itself inside out, with a packed festival programme designed to bring a flavour of what normally goes on inside the building – in the theatres themselves and backstage – onto the riverside terraces and squares. 238,000 people (of whom 63% weren’t seeing a play and 42% hadn’t visited the National in the previous two years) took part. 70% were under 45 years old.

Some of Inside Out’s highlights (and three NT productions: Timon of Athens, The Last of the Haussmans and The Curious Incident of the Dog in the Night-Time) were part of the London 2012 Festival, a 12-week nationwide celebration which brought together leading artists from across the world with the very best from the UK.

On Sunday 3 June, as Her Majesty Queen Elizabeth II sailed down the Thames in the Diamond Jubilee River Pageant, she received a unique salute from the National Theatre, in association with Handspring UK, culminating in an appearance by Joey from War Horse on the Olivier flytower. Joey was the natural choice to give the National’s Jubilee Salute; The Queen visited War Horse in 2009 and Joey has paid a private visit to Windsor Castle.

Two new site-specific works were commissioned from NT Studio affiliate companies: Made In China’s Get Stuff Break Free and non zero one’s you’ll see [me sailing in antarctica] were, for the first time, performed on rooftop locations at the National.

Me and My Shadow, an interactive digital portal, connected participants in the NT

foyer with counterparts in Paris, Istanbul and Brussels through a 3D virtual environment.

The fifteenth edition of Watch This Space in Theatre Square was the liveliest ever, with 367 performances by 134 companies and bands over 15 weeks. Featuring some of the most skilled outdoor artists working in the UK and internationally, including NoFit State Circus, Metro-boulot-dodo, Circa, Leandre, The Dirty Brothers, Cirque Bijou and The Burnt Out Punks, with new commissions or co-commissions from Square Peg Contemporary Circus, Bash Street Theatre, Upswing and The Gandinis among others, the programme also included deaf and disabled artists such as StopGAP Dance Company, Francesca Martinez, Bill Shannon and Kuljit Bhambra. WTS hosted a section of one of the big Olympic “surprises”, Elizabeth Streb’s One Extraordinary Day; WildWorks’ Ark-ive created a giant Noah’s Ark exploring man’s complex relationship with the animal world; and The Fire Garden by The World Famous set the building aflame for the arrival of the Olympic Torch.

Throughout the summer a Pop-up Workshop on Waterloo Terrace offered learning and family-focused events and workshops, both paid and free. Over 6,000 visitors of all ages were able to try their hand at puppetry and prop-making and learn about stage combat, costume design or the art of slapstick and commedia, led by members of the NT’s production staff and artists including Frantic Assembly and Candoco Dance company. Performances included Cupboard of Surprises, a play for very young children and their grown-ups, and Bryony Lavery’s new play Cesario, inspired by the twins in Shakespeare’s plays and performed by young people from London schools and youth theatres.

Two free exhibitions offered a rare and revealing look behind current productions. Staging War Horse told the full story of War Horse’s journey

238,000attended National Theatre Inside Out

from the first early workshops to the stage, through designs, costume, models, puppets and video. The Making of Timon, produced in association with the British Museum, gave audiences an insight into Timon of Athens and the world of the play in Jacobean London.

On the first day of the Olympic Games, the NT contributed to artist Martin Creed’s nationwide invitation to ring thousands of bells at 8am with a Big Bell Breakfast, welcoming the local community to toll the giant bell from Danny Boyle’s production of Frankenstein on the Baylis Terrace.

A unique café-bar, Propstore, was created for the duration of the summer on the riverfront. Designed in-house and crafted from National Theatre sets, including scenery from The Comedy of Errors, trees from She Stoops to Conquer and

seating from The Cherry Orchard, and filled with authentic props, it opened from noon every day serving street food and local English beer, spirits and wine, with music and DJs on Fridays and Saturdays until 2am. Attracting 160,000 customers, it was a commercial success entirely in the artistic and inclusive spirit of Inside Out.

Support for National Theatre Inside Out was one element of a multi-year partnership between American Express and the NT.

PlatformsPlatforms offer audiences a deeper insight into the work on stage and other aspects of cultural life. 167 guests took part in 60 Platforms and eight In Conversation events, attended by 19,000 people. James Graham’s This House offered a particularly rich vein for

seven Platforms, several featuring key political figures from the 1970s and current MPs. Fiona Shaw scored a unique double by appearing in two different Platforms on the same day (an afternoon In Conversation and an early evening poetry reading, before her “regular” evening performance of Scenes from an Execution). Simon Russell Beale, Alan Bennett, Julie Walters and Private Eye maintained their best-selling audience appeal; Matthew Bourne joined Ava Astaire McKenzie, daughter of the legendary dancer, to explore the legacy of the siblings Fred and Adele; and Christopher Hampton gave the Annual Jocelyn Herbert Lecture on the role of the designer in theatre from a playwright’s perspective.


Public Engagement continued

Free Exhibitions and ConcertsMuch of the summer of 2012 in the Lyttelton exhibition space was dedicated to Staging War Horse (covered earlier under Inside Out); this followed the Corbis-sponsored herald of the Festival summer, a selection of images from their archive, linking Glastonbury, the Siennese Palio, and swan-upping.

A lifetime’s collection of photographs and fascinating artefacts amassed by the explorer Robin Hanbury-Tenison was on display in the Olivier in the new year; after the exhibition closed, the collection was donated in toto to Eton College. A second exhibition drawn from the Corbis archive opened in March: Lifework, Norman Parkinson’s Century of Style brought together all the classic images from the great photographer’s career and drew unprecedented press attention.

Katie Mitchell’s immersive multi-media installation Five Truths, created for the V&A in association with the National Theatre and featuring the actress Michelle Terry, was exhibited in the Olivier Stalls foyer in the autumn: it explored how five of Europe’s most influential 20th-century theatre directors – Antonin Artaud, Bertolt Brecht, Peter Brook, Jerzy Grotowski and Constantin Stanislavski – would each have directed the actress playing Ophelia in the famous mad scene from Shakespeare’s Hamlet.

Free music concerts enliven the foyers for audiences pre-show and attract both casual and dedicated visitors. Some 500 musicians gave 322 concerts last year, indoors and out, including gifted amateurs from the Catering, Tours and Information, Sound and Lighting departments. Music also played a large role in Watch This Space with acts booked around themed weeks such as Dance and Children.

12free exhibitions

322free concerts

27,000people took a backstage tour

Backstage ToursAlmost 27,000 people joined a Backstage Tour this year. Seeing the sets and props up close highlighted the craftsmanship of the National’s workshops, from Vicki Mortimer’s minutely detailed house and garden for The Last of the Hausmanns to Bob Crowley’s opulent but decayed interiors for People. Cottesloe productions enabled visitors to step into the House of Commons or the waiting room for a clinical trial, or perhaps to avoid the gingerbread house of Hansel and Gretel.

Costume tours showcased the cutting room, dye shop and the intricate work of our Wigs, Hair and Make-up team. The subject matter of The Curious Incident of the Dog in the Night-Time increased interest from groups with learning disabilities and those with Autistic

Spectrum Conditions. And, when questions were invited on a tour in December, one young man fell to his knee on the Olivier stage and asked his partner to marry him. She said “yes”.

PublicationsProgrammes and other publications add to the experience of seeing a play. Specially commissioned articles providing background to the National’s repertoire this year included suburban transformation in post-2008 America; medical advances since Victorian times; mathematics as a ‘safe place’; the emergence of women artists; Robert Adam’s architecture; and the plague of neuroscientism. Distinguished writers included Richard Cork, Giles Fraser, Peter Holland, Michael Holroyd, Russell Jackson, Paul Morley, Steven Poole, Dominic Sandbrook and Marcus du Sautoy, alongside backstage

insights from Simon Russell Beale, Alan Bennett, Marianne Elliott, Mark Haddon, Frank McGuinness and Simon Stephens. The price for programmes in the Olivier and Lyttelton was held for the eighth successive year at £3, with some sold at only £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.


In essence, the National’s home presents three problems and one bottleneck. The building doesn’t take advantage of its river-side position and seems fortress-like. There is no space for our education programmes. The building is ageing and parts are wearing out; we need to make it cheaper to run, and to earn more income. As for the bottle-neck, there isn’t room to accommodate the designers, writers, directors and crafts-people who create the productions that make the NT responsible for 35% of London’s total play-going.

We have called this scheme NT Future because – as we come up to our 50th birthday – we’d like future playgoers to get as much out of the National as those who have enjoyed the first 50 years.

Lisa Burger, Chief Operating Officer

Construction work for NT Future has now begun in earnest, with the National remaining open and as busy as ever throughout.

At June 2013, the funds pledged for NT Future stand at over £68.4m. With this achievement in mind, we have taken the decision to raise the target for the campaign to £80m. This increased ambition will allow us to absorb the higher construction costs experienced in the first phases of the work; and to take advantage of this once-in-a-generation opportunity to broaden the scope of the campaign: increasing and improving the extent of the new landscaping around the building, redeveloping the ageing dressing-room block, overhauling and updating IT systems, and refurbishing the Olivier foyers and toilets.

This confident initiative is testimony to the fact that fundraising for NT Future has progressed extremely well over the past three years. In the past twelve months, the Heritage Lottery Foundation has pledged a grant of £2.5m. Another major gift has been received from the Rayne Foundation; as thanks for this donation, as well as for the Rayne family’s longstanding support of the NT, our new production building will be known as the Max Rayne Centre. Lord (Max) Rayne was the National Theatre’s longest-serving Chairman, overseeing the company for 18 years from 1971 – 1988, including its move from the Old Vic to the South Bank.

We are also enormously grateful to US-based Bruce and Suzie Kovner, who – seeing how effective the Kovner Foundation ‘challenge grant’ has proved in inspiring and attracting matched funding from American supporters – have increased it by a further $1 million, taking their potential grant to $5m. We continue to seek donations, large and small, in the US.

There are now 54 members of the Chairman’s Circle (gifts of £100,000 or more). Most of these individuals and foundations were involved in supporting the NT in some way before this campaign, albeit at a more modest level. The commitment inspired by this project is staggering and we would not have achieved so much without their foresight.

In January 2013 we launched an appeal to our audiences, many of whom have already responded generously, with contributions so far of £900,000 including gift aid. Over 2,000 people have sent gifts from £5 to £10,000, with £100 the most popular. A further 40,000 people have added a contribution to NT Future when making ticket purchases online or by telephone.

The first phase of construction work is well underway. Foundations have been laid for the Max Rayne Centre immediately behind the

National Theatre Future

Over the last ten years, we have done all we can to make the National Theatre as open as possible. We have made tickets affordable with the Travelex seasons; we perform on Sundays; we broadcast our productions six times a year into cinemas throughout Britain and abroad. It is now time to turn our attention to making our building itself more open.

National Theatre, which will accommodate a paint studio, design studios and production offices, and in spring 2013 its steel frame is starting to rise. New prop-making and set assembly areas are nearing completion; work has begun to create new carpentry, metalwork and resources workshops.

The Cottesloe’s transformation into the Dorfman Theatre (to open in spring 2014), alongside the Clore Learning Centre, is also in train. Having been handed over to our building contractors for stripping out in February, seats and technical equipment removed from the auditorium were installed in The Shed, a temporary theatre providing a third stage for the company during the Cottesloe’s redevelopment. Designed by Haworth Tompkins, it opened in April in Theatre Square. Celebrating new theatre that is original, ambitious and unexpected, it will present work by theatre-makers familiar to the NT as well as emerging voices.

The second phase of construction and renewal, primarily focused on upgrading and enhancing the front of house public facilities, including the creation of the new Sackler Entrance Pavilion and a riverside bar and café, will take place in 2014.

Regular updates and photos of construction work are posted on the website at nationaltheatre.org.uk/ntfuture.


NT Studio

A major focus for the Studio this year has been to generate work for the National’s repertoire, and in particular The Shed, the temporary venue operating during the Cottesloe’s closure for the NT Future redevelopment from April 2013. The production which will open The Shed, Table, has largely been created through a workshop process at the Studio, led by director Rufus Norris and writer Tanya Ronder. Other major workshop projects developed in the Studio this year, and now set for Olivier, Lyttelton and Shed productions over the forthcoming year, include the musicals Home and The Light Princess, the children’s shows Emil and the Detectives and Elephantom, and revisited classics Edward II and From Morning To Midnight.

Alongside NT repertoire work is a commitment to support both emerging and established UK artists. 89 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 included Filter, developing the company’s 10-year anniversary show The Western; Olivier Award-nominated deviser Caroline Horton; and writer Tony Harrison, who workshopped his translation of Euripides’ Iphigenia.

In addition to organising workshops and readings, the Studio was host to 59 different artists on attachment: writers, directors, composers and devisers. This year, we were joined by multi-instrumentalist Ray Lee, deviser Tania El Khoury, performer/designer Mamoru Iriguchi, and writer Katherine Chandler amongst others. Ryan Craig was our Writer-in-Residence, working on several projects including an NT commission.

We welcomed a number of international artists to the Studio this year, including writers Nikole Beckwith from the USA and Carmel Winters

from Ireland. International companies who received a workshop included New York’s The TEAM and Dublin’s Corn Exchange, both developing new devised work. Iceland’s Gisli Örn Garðarsson collaborated with Ireland’s Enda Walsh to begin a research process for a new play revisiting ancient Icelandic sagas.

We continue to support and develop directors, and the fourth Leverhulme Emerging Director Award was presented to Justin Audibert. The award culminated in his UK premiere production of Rajiv Joseph’s Gruesome Playground Injuries at our new partner The Gate Theatre in Notting Hill, for a sold-out run. The second Quercus Award was repositioned to offer a year’s Associate Director salary to a regional theatre. Charlotte Gwinner was appointed jointly by the National Theatre and Liverpool Everyman and Playhouse, and will join the latter in 2013-14, culminating in a main-stage production. Joining existing affiliate companies Made in China and non zero one, the Studio appointed the newly formed Yard Theatre in Hackney Wick as an affiliate. Our support has ranged from development of Artistic Director Jay Miller’s own productions through to mentoring on areas including technical, fundraising, and management (further details overleaf under Leadership).

£1.6mspent on research and development

21play readings

59attachments offered (22 writers, 7 directors, 3 composers/sound artists, 4 producers, and 23 other theatre-makers)

66development workshops for projects outside the NT repertoire

The NT Studio is fundamental to our 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.

Sharing our ResourcesThis year we have again looked for ways to help sustain theatre-making in difficult times. In November, Danny Boyle (in his first media appearance since directing the Olympic Opening Ceremony) and Nicholas Hytner hosted a press briefing for artistic and executive directors from around the UK to highlight the strengths of

Building on our previous relationship with Punchdrunk, the National is currently co-producing their new London show The Drowned Man: A Hollywood Fable, opening in June 2013, also offering box office and marketing support.

The NT Studio has offered space and support to its new affiliate company, The Yard Theatre in Hackney Wick. NT lighting equipment has been loaned; business management advice has been given by NT departments including Finance and Commercial Operations; and Nicholas Hytner and Kate Horton have respectively offered advice on artistic direction and Board development.

NT Touring supported Iron Shoes’ production of Mad About the Boy by Gbolahan Obisesan, originally developed at the NT Studio, for a 44-performance tour to Oxford, Manchester, Sheffield, Whitehaven, Malton, Bristol and London, between May and September 2012.

The Yard, The Bush Theatre and Punchdrunk have benefited from advice on bar design and operation from the NT Commercial Operations and Catering team, who also wrote a business case for Cambridge Arts Centre’s successful fundraising application to develop their front of

house space. A fire risk assessment and exit review were carried out for the newly re-opened Bush Theatre. The Lyric Hammersmith, Young Vic, Polka Theatre, Royal Court, Royal & Derngate, Northampton and the Royal Academy 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. The Leverhulme Award production of Gruesome Playground Injuries at The Gate Theatre was cast by the NT; and a member of the Sound department provided consultancy to the Old Vic on problems with their assisted listening system. We continue to provide HR advice: regularly to the Young Vic, but also to several others on an ad hoc basis.

The National’s Head of Voice runs a professional mentoring programme, aiming to support voice teachers in Drama Schools from the perspective of professional theatre practice. Workshops were run in the Lyttelton Theatre for Infinity Drama School, which offers part-time actor training with a particular focus on ethnic minority students; and with The National Youth Theatre Repertory Company. Voice teachers are annually invited to bring students from the major drama schools onto the Olivier stage, to experience the demands that this unique theatre puts upon the actor’s voice.

Members of the Development department provide informal fundraising support and advice to a range of organisations, and in 2013 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.

Building external relationshipsAs part of the community in Lambeth, the National collaborated with our main NT Future building contractor, Lend Lease, on a project to refurbish two large rooms in the local community hub, Waterloo Action Centre; and offered architectural advice (via Haworth Tompkins) on the lay-out of a café at Archbishop’s Park. The Director of External Relationships and Partnerships chaired the Visitor Management Group of local companies, and 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.

The National last year forged a new partnership with the Industry and Parliament Trust, hosting Fellowship visits from two Members of Parliament with particular interests in costume-making and Learning respectively; and, in May, a rare group outing for parliamentary whips of all parties to see This House.

Developing PeopleWe strive to attract a diverse and talented staff, developing them to their fullest potential, and fostering an environment for ideas and innovation – both for the benefit of the NT, and for the creation of a generation who can take on what they learn to the benefit of theatre at large. Building a workforce that is talented, committed, enthusiastic and sufficiently resilient and agile to meet the various challenges is the core of HR activity across the next few years.

Having successfully piloted two paid apprenticeships in Technical theatre last year, the National has expanded the programme; we now have two apprentices in Sound and one in Health and Safety. In 2013 we will recruit a further apprentice in Prop-Making and another in IT, in both cases working with local community organisations to build a diverse pool of applicants. We are also committed to recruiting two apprentices in Concrete Conservation (supported by the National Lottery through the Heritage Lottery Fund as part of the NT Future programme), and an apprentice in Events Management. Each of these cases furthers the NT’s aim to to address areas of under-representation in our workforce, particularly women in technical theatre and attracting applicants from ethnic minority backgrounds; and to identify credible partners within the community and education sectors to help put the programme on a sustained footing.

A number of internal placements have assisted progress from customer service to backstage roles. Since 2010, nine staff have been placed on the V&A’s innovative leadership and management programme, whose aim is to develop future leaders in the arts and heritage sector.

February 2013 saw the graduation of the fifth cohort of participants from the Step Change programme, led and funded by the National with the Royal Opera House, and with in-kind support from BAC, Nitro and the Young Vic. Launched with a pilot in 2006-07 for an original commitment of five years, the programme has been very successful in meeting its stated aims of offering early to mid-career professional development for talented individuals in need of additional experience in order to make a change in direction or area of work; to encourage a greater diversity in the workforce of arts organisations; and to build relationships between larger and smaller companies. 81 people have participated since the outset, over 50% of whom are now in a role which they consider themselves unlikely to have achieved without the experience gained on Step Change.

The NT is committed to continuing the work of Step Change, but going forward we will endeavour to develop a new format with regional partners, to re-launch in autumn 2014. This reflects the welcome increase in numbers of applicants from outside London over the last two years. It is hoped that more secondments will be hosted outside the capital by new partners and other regional organisations, creating a truly national programme that will develop talented individuals across the entire country.

National Theatre FoundationThe National Theatre Foundation is an independent charity, whose primary purpose is to make benevolent welfare grants to support the National Theatre and individuals closely associated with it. In order to help support the health of the UK theatre at large (nourishing and sustaining theatre crafts, emergent theatre artists and managers as well as encouraging innovation), it is currently developing a long-term strategy to assist the profession with financial support, bursaries, training schemes, awards and prizes: in short, to support theatre education in the widest possible sense. Accordingly, fund-raising is a major priority, in particular the targeting of legacies. The first step is to ensure that the existence and purposes of the Foundation become better known.

the regional theatre network and examine the threat to their achievements should funding be further reduced. The conference brought together 23 directors from Liverpool, Leeds, Nottingham, York, Sheffield, Manchester, Leicester, Salisbury, Oldham, Scarborough, Newcastle, Watford, Birmingham, Plymouth, Bolton, Newcastle-under-Lyme, Colchester, Chichester, Ipswich and Bristol, and attracted substantial national media coverage.

The NT provides administrative and marketing support to other theatre companies by selling tickets via the NT Box Office and promoting them in NT marketing materials where appropriate. In 2012-13, 42,000 tickets were sold for Shunt’s The Architects at the Biscuit Factory in Bermondsey; Gatz (part of the LIFT Festival) in the West End; Handspring UK’s production of Crow at Greenwich International Festival; Matthew Bourne’s Play Without Words at Sadler’s Wells; Paines Plough’s Roundabout season at Shoreditch Town Hall; and dreamthinkspeak’s In the Beginning was the End at Somerset House. 65,000 tickets were sold for co-productions at the NT with companies including Fuel, 1927 and Headlong.


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, of both money and people.

Sustainability

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

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 had another very strong financial year, with significant box office income at its theatres on the South Bank, and the continued success of War Horse at the New London Theatre and One Man, Two Guvnors at the Theatre Royal Haymarket. In addition, four international productions of War Horse ran during 2012-13.

The Development department raised £10.5m for NT Future (including £1.9m from Arts Council England as the first tranche of their

£17.5m grant), as well as £7.1m 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 (£17.5m in 2012-13, representing 20% of income). The NT saw its Arts Council funding cut in the year by 4.4% (£0.8m) but was able to use its income from commercial productions to offset this reduction; finance the construction of The Shed, the temporary theatre open in 2013-14 whilst the Cottesloe Theatre is redeveloped; and run Inside Out, the extended 2012 summer festival programme.

After designations to the funds for capital and NT Future, the balance on unrestricted reserves is £2.6m.

Income2013

£m2012

£m

Box office at NT 22.5 26% 20.0 25%

UK Commercial Productions 25.1 29% 22.2 28%

International Commercial Productions 3.8 4% 2.6 3%

Trading and other income 11.9 14% 10.8 13%

Fundraising 6.3 7% 6.6 8%

ACE grants 17.5 20% 18.3 23%

Total 87.1 100% 80.5 100%

Expenditure

Production costs 36.0 43% 34.9 48%

UK Commercial Productions 23.6 28% 18.8 26%

International Commercial Productions 4.1 5% 1.7 2%

NT Learning & Public Engagement 6.8 8% 5.5 7%

Research 1.6 2% 1.7 2%

Trading 9.4 11% 8.1 11%

Fundraising 1.5 2% 1.5 2%

Irrecoverable VAT 1.0 1% 1.1 2%

Governance 0.2 0% 0.2 0%

Total 84.2 100% 73.5 100%

Transfers

Use of restricted project funds 0.1 (0.1)

Designation of funds:

Capital (2.7) (3.5)

The Shed (1.7) 0.0

War Horse International 1.4 (1.4)

NT Future 0.0 (1.7)

Net surplus on unrestricted funds 0.0 0.3

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 (£1.4m). 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.

4%

14%

7%

20%26%

29%

Box Of�ce at the NT

UK Commercial Productions

International Commercial Productions

Trading and other income

Fundraising

ACE grants


National Theatre paid attendances (thousands) 2008/09 2009/10 2010/11 2011/12 2012/13

Olivier 402 364 355 353 342

Lyttelton 310 322 285 286 314

Cottesloe 105 98 104 108 103

War Horse 398 408 422 404

One Man Two Guvnors 208 278

Curious Incident of the Dog in the Night-Time 23

Other 8 16

Total 817 1,182 1,152 1,385 1,480

Attendance as % of capacity 93% 90% 90% 92% 90%

Number of performances: 2008/09 2009/10 2010/11 2011/12 2012/13

Olivier 383 384 343 357 339

Lyttelton 376 393 373 391 394

Cottesloe 347 355 373 368 325

War Horse 414 414 421 409

One Man Two Guvnors 159 400

Curious Incident of the Dog in the Night-Time 31

Other 50 61

Total 1,106 1,546 1,503 1,746 1,959

A full Financial Review and Financial Statements for 2012-13 is available and can be downloaded from www.nationaltheatre.org.uk/annualreport

Production expenditure at the National Theatre and on tour represented 43% of total expenditure for the year; a further 33% of expenditure was for UK and international commercial productions.

21%

14%

8%

8%29%

20%

Performance running

Actors and Musicians

Production build

Planning and direction

Writers, Directors and Designers

Touring

Sustainability continued

‘I now realise that the Stockport of Port… is more a place of my imagination. Sometimes, coming back to this play has felt like sitting on the back seat of the top deck of the 192 bus with Marianne and Rachael, listening to the Stone Roses and talking about Paul Scholes – heading out of Manchester, heading home.’Simon Stephens, The Guardian


2013 by implementing a cooling strategy, utilising the absorption chiller and thermal storage.

The installation of 37 automated meter readers (AMRs) was completed in February. By targeting specific zones of the building, we can focus on electrical energy consumption area by area and, in some cases, even at departmental level. By analysing this data we can look for trends and interrogate anomalies; our initial priority will be to reduce overnight consumption. Electrical distribution equipment installed as part of NT Future is fitted with AMRs as standard; these will feed into our existing data collection, Trend Energy Manager software, allowing us to build up historical statistics and simplify the analysis of large amounts of data.

Low energy usage has been a guiding principle in the design for the NT’s temporary venue The Shed, which is connected to the Combined Heat and Power Plant. The building is also naturally ventilated, which generated the shape

of four corner towers that draw air through the building. With architects Haworth Tompkins we explored the possibility of designing a building that could be fully re-used but decided the extra construction cost, and transport costs for a moveable building, could not be justified. It has therefore been constructed out of materials designed to be recyclable, such as plywood and unpainted steel, and wherever possible with components re-used from elsewhere: all the seating and most of the lighting have been re-used from the Cottesloe Theatre.

The NT adheres to a zero-to-landfill waste policy with a building-wide recycling programme that aims to enlist all staff. In partnership with recycling company Paper Round, last year we achieved a 60% recycling rate. 38,910kg of paper were recycled; 250,730 kg of CO2 and 463 trees were saved. General waste is taken to a plant where energy from incinerated waste is pumped back into the National Grid.

Sustainability continued

Environmental Sustainability

39,960kgfood waste composted

37automated meter readers installed

The NT recognises that as one of the world’s major production theatre companies, its activities have significant environmental impacts which it has a responsibility to minimise. The NT has been at the forefront of energy-saving practice and aspires to lead by example in the theatre sector.

The Combined Heat and Power plant (CHP), whose installation was a significant element of the NT’s Environmental Master Plan, came online in January 2013. By generating heat from waste exhaust, an overall reduction of 6.7% in carbon emissions has been achieved since the start of the project. Further savings will be made in summer


IndividualsWe enjoyed substantial and continued support from individuals and, aside from a large legacy received last year, the figures show an increase compared to previous years. The roll-out of the NT Future campaign, far from causing the predicted dip in income, seems to have helped support growth in memberships. Raising awareness that the NT relies on charitable support for all that it sets out to achieve proved beneficial to annual revenue results.

The growth in membership was most apparent at two levels. We continue to attract Priority members (£65 p.a.) at the rate of around 1,000 new members a year; collectively they now number over 11,000 and contributed over £0.8m this year. The Individual Giving Committee’s leadership in hosting events to encourage new Patrons is working well and last year we saw 69 new supporters at this level giving from £1,250 p.a. Our highest level of membership, the Olivier Circle (£10,000 p.a.) is now 90 individuals/couples strong and many of these have gone on to provide significant support to NT Future as well.

CompaniesThe financial year 2012-13 saw a record year for corporate income with a gross revenue total of £3.4m. This was driven in large part by the number of high-value, multi-year partnerships which include the Travelex £12 Tickets scheme which this year celebrated its tenth season; Accenture, our partners for innovation; Aviva, our global partner for NT Live; J.P. Morgan, who renewed the Signature Series for another year (in which we are a partner along with the Southbank

Centre and the National Portrait Gallery); and Neptune, who extended their Cottesloe partnership to include the Shed and the Dorfman Theatre when it opens in early 2014.

In addition to these partnerships we also greatly benefited from increased activity from American Express, our preferred card partner, who sponsored both our Diamond Jubilee celebrations and our summer activity to coincide with the Olympics. American Express also agreed to sponsor War Horse internationally, including Australia and Europe.

We also developed our relationship with American Airlines, the official airline of the NT, who are now also the flight partner for One Man, Two Guvnors and War Horse, and initiated a new relationship with Hugo Boss who became the contemporary clothing partner for the National Theatre.

Trusts Over £400,000 came from Trusts and Foundations, who contributed towards a wide range of projects. The Paul Hamlyn Foundation have given a generous grant to our pioneering youth programme, Young Studio, and the Leverhulme Trust continued their generous support of emerging artists at the NT Studio. Our learning work on tour was once again supported by The Dorset Foundation, and our work with primary schools was enabled thanks to a number of trusts including The Ingram Trust and The Archie Sherman Charitable Trust. We were delighted to receive support from international foundations, including the Laura Pels International Foundation for Theater and the

Sidney E Frank Foundation, towards production support and innovative digital work, respectively.

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

When a vital capital campaign is underway – in our case for NT Future – there is always a danger that revenue for annual income may decline. Thankfully, owing to the generosity of our supporters, this did not happen. The ambition that the National Theatre demonstrates, and the extensive range of activities it programmes, allow trusts to direct grants towards specific areas of our work; people passionate about theatre to be so generous in their philanthropy; and for companies to find mutually rewarding opportunities that help us to achieve our mission. This year, our gross annual income from fundraising reached £7.1m.

‘The enduring power of ancient Greek tragedies to speak to us so directly almost 2,500 years afer they were written is one of the great wonders of civilisation.’Charles Spencer, Daily Telegraph


NT Future Major Gifts throughout campaign to 1 June 2013Arts Council England The Dorfman Foundation

American Associates of the National Theatre The Monument Trust The Garfield Weston Foundation

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

Clive & Sally Sherling The Wolfson Foundation

The Badenoch Turst Christine Collins The Foyle Foundation The Ingram Trust

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

Alex Beard & Emma Vernetti Tony & Gisela Bloom Russ & Linda Carr Terri & Timothy Childs Sir Trevor & Lady Chinn 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 Anna & Ralph Goldenberg Kate & Arne Groes Linda & Tony Hill Madeleine Hodgkin Sue Howes & Greg Dyke Mr & Mrs Robert I MacDonald Ian & Beth Mill Mirisch & Lebenheim Charitable Foundation Francesca Robinson Jay & Deanie Stein The Harold & Mimi Steinberg Charitable Trust Hugh & Catherine Stevenson Leila & Mickey Straus Monica G-S & Ali E Wambold Steven & Bonnie Ward Marcia B Whitaker George & Patricia White and 1 anonymous donor

Penny & Bill Bardel Dominic & Nancy Casserley CHK Charities Ltd Tim & Caroline Clark Barbara G. Fleischman Stephanie & Carter McClelland 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

Individual Giving – Annual Support April 2012 – March 2013

Major GiftsAlta Advisors 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

Supporters

Olivier CircleEric Abraham & Sigrid Rausing Celia & Edward Atkin CBE Penny & Bill Bardel Graham & Joanna Barker 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 Sir Ronald & Lady Cohen Veronica Cohen Christine Collins Lin & Ken Craig & the Aloisia Hofmann Charitable Trust The Cranshaw Corporation Polly Devlin OBE Shawn M Donnelley & Christopher M Kelly Sarah & Lloyd Dorfman Mr Greg Dyke & Ms Sue Howes Glenn & Phyllida Earle Peter & Leanda Englander Jane M & Howard D Epstein Lawton W Fitt & James I McLaren Foundation Barry & Penny Francis Robin Geffen Richard & Kara Gnodde Lydia & Manfred Gorvy Chris & Angela Graham Kate Groes Clare Groom Susan Harbour Ms Frances Hellman & Mr Warren Breslau Linda & Tony Hill Madeleine Hodgkin Clare & Bernard Horn Mrs Luce Julien Mr & Mrs Jack Keenan Bruce & Suzie Kovner The Mark Krueger Charitable Fund

Mr Robert MacDonald John Makinson Selina & David Marks Mr Ian & Mrs Beth Mill Mirisch & 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 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 Ian & Victoria Watson Marcia B Whitaker George & Patricia White Sir Robert & Lady Wilson Ms Anna Wintour Dr & Mrs Gerald Woolfson Richard & Jacqueline Worswick George & Moira Yip and 4 anonymous donors

Life BenefactorsEric Abraham & Sigrid Rausing Access Industries Irwin & Mary Ackerman Jonathan & Marie-Claire Agnew Basil Alkazzi 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 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 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 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

Supporters continued

Elizabeth & Daniel Peltz Mark Pigott OBE 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 The Hon Simon 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

BenefactorsJack & Ian Archer-Watters Peter & Ali Bennett-Jones Tania & Keith Black Alison & David Blood Mr Philip Bowman Mr Peter Brown Lord Browne of Madingley Sandra Carlisle & Angus Carlill Martin & Michele Cohen Guy & Lucy Davison Alyce Faye Eichelberger-Cleese Barbara G Fleischman Emily & Alex Fletcher Mark Frewin Anna & Ralph Goldenberg Ramy & Smadar Goldstein Mrs Themy Hamilton Sir Maurice & Lady Hatter Mrs Caroline Hoare Christopher Kneale Margie Marwick Sir Deryck & Lady Va Maughan Tim & Juliet Medforth Gabriela Mendoza David & Sue Morley Andrew & Jane Onslow Jeff & Liz Peek Oliver & Helen Prenn Mr Gerald M Ronson & Dame Gail Ronson Salomon Oppenheimer Philanthropic Foundation Mr & Mrs Paul Sonabend Joan Steinberg Leila & Mickey Straus Deryck L Thornley Mrs Diana Venison Charlotte & Simon Warshaw Maxine White Susan Wilen and 3 anonymous donors

Premier PatronsMr Stephen Allcock Mr Jeremy Asher Attias Family Foundation Sir John & Lady Baker Susan Baker & Michael Lynch Sir David & Lady Bell J & A Bénard William Benjamin & Jill Kowal

Mr & Mrs Michael Bienes Cathie Black & Tom Harvey Edward & Victoria Bonham Carter Mark & Susan Bradley Sir Peter & Lady Cazalet 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 Mr & Mrs R DeScherer Edmund & Fiona Dilger Dr Elza Eapen & Dr Govindasamy Balachandran Abby Edwards Mrs Maureen Elton Mrs Eliane Fattal Roger & Jane Formby The Edwin Fox Foundation Ian & Margaret Frost Andrew Galloway Jacqueline & Jonathan Gestetner Piers & Melanie Gibson Bruce Golden & Michelle Mercer Lady Shauna Gosling Mr and Mrs Edward Greene Mrs Kate Grimond Pamela, Lady Harlech Mark Heappy & Anne Markland Helen Lee Henderson The Lady Heseltine Mrs Caroline Hoare Cathy MacNeil Hollinger & Mark Hollinger Angela Howard & the late David Gestetner Piers & Melanie Gibson Lady Shauna Gosling Chris & Carolyn Hughes Liz & Peter Huhne William & Weslie Janeway Alex Joffe Ms Nicola J Kerr John Kinder Rupert & Alice King Philip Kingsley The Kowitz Family Foundation Herbert Kretzmer OBE

Mr & Mrs T Krumland Sarah Le May Mark & Sophie Lewisohn Mr James Libson & Ms Anne Joseph Jane E Livesey Graham & Eileen Lockwood John & Celine Lowrey Stephanie & Carter McClelland In memory of John McGinty Ian & Carolyn MacKenzie Donald Main Lady Medina Marks Brenda Meldrum Joy Menschel Ms May Mosawi Philip Noel Luke & Kate Nunneley Vincent O’Brien Maria O’Donoghue Enid Oppenheim Mark & Amanda Otway Midge & Simon Palley Michael & Mary Parkinson Mr David Pike Anne & Barry Pinson Peggy & John Pirovino The Porter Foundation Gail, Robert & Ian Reichert Mrs Clare Rich Mr Robert Rooney Elihu & Susan Rose John & Susan Rotenstreich William & Julie Ryan Betsy & Jack Ryan Dr Joseph Sassoon Phil Scaturro The Simon Family Foundation Sir David & Lady Scholey Patricia & David Smalley Helen & Anthony Spiro Mike Staunton Oliver & Sally Stocken Anne Sweetbaum Lady Juliet Tadgell Hilary Till Laura & Barry Townsley Melissa Ulfane Marina Vaizey Lady Patricia Varney Ed & Carol Victor Gerry Wakelin Mr Gene Zuriff &

Ms Sherry Jacobson and 3 anonymous donors

PatronsGraham & Pearl Aaronson Brian Abbs Dame Jennifer Abramsky Acacia Charitable Trust Act IV Meg Addison & Irwin Charles Ferry James & Esthy Adler Spindrift Al Swaidi Mr Harry Allan Mr & Mrs Richard Allan Joan & Robin Alvarez Helen & Bob Appel Mrs Catherine Armitage John Armitt Aspect Charitable Trust James Astor John Atanaskovic Annette Atkins & Thomas Joyce Denise Augar Professor John & Carolyn Axford John Ayton R Derek & Bonnie Bandeen Mr & Mrs Lawrence Banks John Barker Mr & Mrs John Barkshire Mr Keith Barnett Ray Barrell & Ursula van Almsick Anne J Barsh Stephen Bartlett Ginny & Humphrey Battcock Mrs Gwendoline Baxter Sir Peter Bazalgette & Hillary Newiss Mrs Arlene Beare Mr Ernest G Beaumont James & Caroline Beery J & A Bénard Mr Mark Benerofe Mr Michael Bennett Phil & Lisa Bennett Norman Benzaquen The Bertie Black Foundation Sam & Rosie Berwick Dr Kate Best Mrs Wendy Birkby Debbie Bisno Martin Blackburn

Mr & Mrs Francesco Boglione Mr & Mrs Charlie Bott John & Jean Botts Mr Thomas Brezina Mr & Mrs R L Bristow Mrs Sarah Britton Damon & Deborah Buffini John & Susan Burns Mr Philip Buscombe Helena Butler Keith & Pamela Butler-Wheelhouse Martin Byman & Margaret Samson Miss Sarah Caplin Ms Susan Carpenter Douglas & Joan Carter Jason & Belinda Chaffer Richard Clark Tim & Caroline Clark Michael & Susan Clasper Adam Cleal Mr Daniel Clifford Mrs Denise Cohen Louise & Bonnie Cohen Michael & Arlene Cohrs Mr John Coldman Geoffrey Collens Miss V I Comba Andrew & Polly Congreve Carole & Neville Conrad Kay Ellen Consolver Ricki & Robert Conway Mrs Jennifer Coombs Dorothy Cory-Wright Ms Sophie Coumantaros Ms Elizabeth Crosoer Sheila Cross Mr T A R Curran Deborah David & Norman A Kurland Mr & Mrs Jonathan Davie Mr & Mrs Ian Hay Davison Roger & Alison De Haan The de Laszlo Foundation Mrs Anne De Pinna Mrs Josephine Dean Conrad Dehn, QC Martin & Marian Denny Mrs Yvonne Destribats Mr & Mrs R DeScherer Mark Dichter Dr & Mrs C J Dilloway Arnold & Greta Edward Sir Vernon & Lady Ellis



Peter & Barbara Elliston Don Ellwood & Sandra Johnigan Sarah & Louis Elson Mrs Alexandra Emmerson Mr Stuart Errington Davide Erro Christophe & Priscille Evain Lord Feldman Dorothy Field Mrs Hilary Finer Claire Fisher Tony Fisher Mr & Mrs William Fisher Mr & Mrs Mortimer Fleishhacker Mr Paul Fletcher Susan Fletcher The Gerald Fogel Charitable Trust Helen Freeman Adam & Victoria Freudenheim Arnold Fulton Mr Jonathan Gaisman Paul Gambaccini Ms Lucy Garrett Brian Garrison Hon William & Lori Gibson Jon Gilmartin John & Indrani Gleave Mrs M C Godwin Mrs Carolyn Goldbart Val Gooding & Crawford Macdonald Paul & Kay Goswell Margaret & Arthur Grandy Mr & Mrs Edward Greene Lesley Gregory John & Ann Grieves Richard & Odile Grogan Karen Groos Stephen Gross & Dona Matthews Byron Grote & Susan Miller Don & Sue Guiney Clifford & Sooozee Gundle Jan & Michelle Hagemeier Ros & Alan Haigh Mark & Moira Hamlin Caroline Hansberry David & Claudia Harding Richard H Harding Richard Hardman & Alice Deschampsneufs Sir Michael & Lady Harrison Maureen & Derek Harte Mrs Dorothy G Harza

Mr Samuel A Haubold Dr Gordon Hay Marc Hayton Malcolm Herring Mrs Coreen R Hester Soo & Jonathan Hitchin Melvyn & Diane Hughes Jane Hurt John D Hyatt Robin & Inge Hyman Richard & Rosie Hytner Roda Infield Nicholas & Cherry Jones Nicholas Josefowitz Paul Kafka Ralph & Patricia Kanter David Kaskel & Christopher Teano Donovan Kelly & Ann Wood John & Jenny Kelly David Killick Steve Kingshott Baroness Denise Kingsmill CBE Mrs Frances Kirsh Robert & Susan Klein Mr & Mrs Adrian Knight Bill & Stephanie Knight David Knox David & Linda Lakhdhir Mr David Lanch Steven Larcombe & Sonya Leydecker Mrs Rosanna Laurence Nicola Leach Mark Lee J Leon Charity Fund Mrs Sahra T Lese Mr & Mrs B Lesslie Sara Levene Dr Mark Levesley Fred M Levin & Nancy Livingston Colette & Peter Levy Mrs Lynn Lewis William & Rebecca Lewis Sir Gavin & Dr Naomi Lightman Ms Jeanne Linnes Sam & Pam Lipfriend Sir Sydney Lipworth QC & Lady Lipworth CBE Mrs Georgina Liverpool Lady Lloyd of Berwick John Lockyer & Jane Creasey Rachel Lomax Victor & Marilyn Lownes



Mrs Lesley Jane Lynn Mrs Felicity Lyons Ginny Macbeth Gordon & Dena McCallum Hugh MacDougald David McGibney Alistair Mackinnon-Musson Ian McVeigh Dr John H Makin & Ms Gwendolyn Van Paasschen Mrs Claudine B Malone Charles & Nicola Manby Dr Anna Mann William Mansfield The Maplescombe Trust Paul & Paula Marber Marina & William Marcoux David M Marks QC Julian & Camilla Mash Victoria Mather Edward & Dale Mathias Lara & Richard Max Ian & Serrie Meakins Cornelius Medvei Mrs Elizabeth Meyer Sandy & Ed Meyer Mrs Kathryn Michael Nick & Suzie Miles Barbara Minto Mark & Carolyn Mishon Ashley & Elizabeth Mitchell The Lowy Mitchell Foundation Mr & Mrs Giuseppe Modiano Dr Donald Moir Barbara Morgan Mr & Mrs M D Moross Gary Morris & Robert Venables QC Mr & Mrs Morrison Pat Morton Gerald Moss Jacqueline Mountain Dr & Mrs Julian Muir Kathie Murphy & Walter Hall Dr Ann Naylor Dr Joy H W Newman Stanley Newman & Dr Brian Rosenthal Andrew & Sue Nichols Larry & Melanie Nussdorf David C Olstein Sandy & Caroline Orr Sir Peter Osborne

Mrs Katherine Palmer Lord & Lady Pannick Tim Parker Carol & David Pascall CBE Rakshita Patel Mr R H C Pattison Kristin M Paulus Countess Cosima Pavoncelli Oliver & Emma Pawle Ms Judy Peck Ms Suzanne Peck Gordon & Marian Pell William Pidduck William Plapinger & Cassie Murray Pat & John Porter Jack & Noreen Poulson Simone Prendergast Charitable Trust Clifford Press Mrs Marie Prutton David & Hilmary Quarmby Mrs Patricia Ranken Anthony & Ann Regan Greg & Karen Reid Christopher Marek Rencki Joyce Reuben His Honour Michael Rich QC Mrs Clare Rich Mrs Lesley Robins Caroline Roboh Mr David Rocklin Mr & Mrs Roeder Christina Rogge Mr & Mrs Kenneth Rokison Sir John & Lady Rose Mr & Mrs Harvey Rosenblatt Sue & Tony Rosner Mr P M Roth Mr David Royds Anthony Rudd William & Hillary Russell John & Jeremy Sacher Charitable Trust Anthony & Sally Salz Ruth & Brian Sandelson Victor & Bernice Sandelson Mr Robert Sansom & Ms Edith Eligator Michael Sayers, QC Mrs Sylvia Scheuer Michael & Beth Schneider Mr & Mrs Richard J Schwartz Rod & Sarah Selkirk

Eileen Serbutt Louisa Service Mr & Mrs Mark Shanker Ellen & Dan Shapiro Victor Shargai Mr Robert A Silver The Simon Family Foundation Linda & Stephen Simpson Mike & Janet Slosberg Christopher & Ingeborg Smallwood Mr & Mrs R A H Smart Brian D Smith John & Ann Smith Tessa Smith Sir Harry & Lady Solomon Janna Spark & Iko Meshoulam Ms Francesca Stanfill Nye Mr & Mrs Don Starr Alan & Ruth Stein Gayfryd Steinberg Kathryn Steinberg George & Elizabeth Stevens Judy & David Stewart Olive & Michael Stone Mr & Mrs Charles Stonehill Sue & Stuart Stradling Andrew & Laura Sukawaty Sir John & Lady Sunderland Mrs Ann Susman Robert & Patricia Swannell Richard Szpiro Eileen J Taylor Bernard & Nadine Taylor Mr & Mrs Russell W Taylor Ms Chantal Thompson Tony & Valerie Thompson Henry Timnick Christopher & Julia Tugendhat Mrs Margaret K B Turner Jonathan Tyler Debra Valentine Peter Ventress Mr & Mrs Eric Vezie Gary Von Lehmden Tim & Nadine Waddell Christopher Wade Mr & Mrs Jeffrey Walker Mary Wallach Denise & Frank Weil Geoff Westmore Mrs Reba White Williams Mrs Ailsa White

‘Language is as alive and as constant as air.’Inua Ellams, quoted in Metro



Graham & Sue White Mr & Mrs Brian M Wides Mary Willett Anne-Marie Williams Ann Williams Peter Williams Marilyn & Geoffrey Wilson Mr & Mrs Michael Wilson Henry & Louise Windeler Cohen Richard & Susan Wolff Mrs Jane Wood David & Vivienne Woolf David Wormsley Cynthia Wu Jonathan Yudkin David & Barbara Zalaznick Stephen & Laura Zimmerman James D Zirin and 33 anonymous donors

Legacies April 2012 – March 2013Peter & David Lund Ronny Schwartz Madeleine Berta Simms

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

Corporate Support April 2012 – March 2013

PartnersTravelex Accenture American Airlines American Express Aviva Hugo Boss J.P. Morgan Neptune Investment Management Philips National Theatre Education is supported by Goldman Sachs

Premium MembersLinklaters LLP Morgan Stanley UBS

Platinum MembersAmerican Airlines Bloomberg LP BNP Paribas British American Tobacco Cisco Daily Mail and General Trust plc Delta Airlines Deutsche Bank G3 GlaxoSmithKline Goldman Sachs Pearson plc Prudential plc Shell Smiths Group plc Standard Chartered Bank

Gold MembersBain & Company Bartle Bogle Hegarty Cantate Clifford Chance CQS Credit Suisse DAC Beachcroft Equity Invest Finsbury Ltd Forsters LLP The Inzito Partnership KPMG LLP Lazard Macfarlanes LLP Man Group plc Markson Pianos Moore Stephens LLP Nyman Libson Paul Penningtons Solicitors LLP Pentland Group plc Reed Elsevier Regatta Ltd The Rose Foundation Santander UK plc Slaughter and May Smith & Williamson

Société Gènèrale The Stanley Foundation Tesco plc Unilever plc Zurich Insurance plc

Team BuilderHutton Collins

Media PartnerTravelex £12 Tickets The Independent

Trusts & Foundation – Annual Revenue Support April 2012 – March 2013

Major Trusts & FoundationsThe Behrens Foundation The Dorset Foundation Sidney E Frank Foundation The Paul Hamlyn Foundation The Ingram Trust The Leverhulme Trust The Mulberry Trust The Laura Pels International Foundation for Theater Quercus Trust The Rose Foundation Archie Sherman Charitable Trust The Wates Foundation and 2 anonymous donors

Trusts & FoundationsThe E Dennis Armstrong Trust The Chapman Charitable Trust Ernest Cook Trust The Mohamed S. Farsi Foundation The Goldsmiths’ Company Charity The Worshipful Company of Grocers Milton Grundy Foundation The Idlewild Trust Jill & David Leuw Rosetrees Trust Royal Victoria Hall Foundation Santander Foundation The Schneer Foundation The Sobell Foundation

The Topinambour Trust The Transformation Trust The Vandervell Foundation The Worshipful Company of Weavers and 1 anonymous donor

American Associates of the National Theatre

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

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

The National Theatre would like to acknowledge the generous support of Robert Boyett Theatricals (US partner) and National Angels Ltd.

‘In many ways it’s a play for our times: foreseeing the foundation of the NHS; the vast financial rewards now at stake; and the moral choices which funding shortfalls may force doctors to make.’Tim Auld, The Sunday Telegraph


Performers 2012–13

The Acting CompanyMarianne AdamsWill AdamsdaleHolly AirdZoë AldrichGareth AledSam AlexanderNigel AllenSuzanne AndradeAntony AntunesAndy ApolloEsme AppletonChristina ArestisSebastian ArmestoDerek ArnoldOwain ArthurFrances AshmanAlex AveryJamie BallardJohn BanksAlice BarclayMatthew BarkerMartin BarrassLinda BassettSandy BatchelorOliver BeamishEmma BeattieMensah BediakoWilliam BelchambersEdward BennettDavid BensonPaul BentallRuby BentallRobin BerryLeanne BestNigel BettsJohn BigginsAnne BirdJoshua BlakeNick BlakeleyNicholas BlaneRichard BoothAmy Booth-SteelRobin BowermanEdward BraceyAlistair BrammerOwen Brazendale Michael BrettLorna BrownCharlie BucklandGillian BuddIan BurfieldPascale BurgessTom BurkeNicholas BurnsEllie BurrowClare BurtSarah-Jayne ButlerSelina CadellDavid CalderCalum CallaghanSarah Calver

Richard CantNancy CarrollTamsin CarrollSabrina CarterBertie CarvelPeter CaulfieldGunnar CautheryNick CavaliereMartin ChamberlainAshley CheadleJason CheaterPaul ChequerPhilip ChildsAshley ChinJack ChissickWilliam ChubbEke ChukwuSam ClarkCallum CoatesAlexander CobbDarren CockrillChristina Cole Kate ColebrookEmily CooperGiles CooperJonathan CooteJohn CormackPhil CornwellMatt CostainOlivia CowleyJonathan CoyRhona CrokerLaura CubittAmy CuddenEwen CumminsNiamh CusackDanny DaltonCarole DancePhil DanielsAlan DavidAlicia DaviesDamian DavisAndy de la TourFrances de la TourJack DeamRobert DemegerStavros DemetrakiAndrew DennisReece DinsdaleNeil DittJo DockeryPaul DoddsJames DohertyJonathan Dryden TaylorKate DuchêneClare DunneSophie DuvalChristopher EcclestonCharles EdwardsLynette EdwardsPeter EganTaron EgertonInua Ellams

Rachel SandersJack SandleKaris ScarletteAdrian SchillerAnnabel ScholeyMichael ShaefferAmit ShahRichard ShanksFiona ShawIan ShawMichael SheldonAntony SherKellie ShirleySeun ShoteEliot ShortNick SidiJay SimpsonMalcolm SinclairNicola SloaneRoger SlomanGavin SpokesUna StubbsClaire SundinMichael TaibiMatt TaitGiles TaylorSamuel TaylorRichard TeversonIvan Thorley

Derek ElroyCraige ElsAlfred EnochMark ExtanceJake FerrettiTamsin FesseyDeborah FindlayKate FleetwoodScott FolanMatthew ForbesHal FowlerBob FoxAaron FoyVincent FranklinRichard FreemanAntony GabrielRobert GalasDon GallagherPeter F. GardinerJohnny GibbonAden GillettSeán GleesonEmily GlenisterPhilip GlenisterChristopher GodwinTom Goodman-HillThomas GoodridgeMichael Gould Michael Grady-HallAmy GriffithsRobin GuiverOwain GwynnColin HaighAmy HallIan HallardKaisa HammarlundRobert HandsLucas HareRhiannon Harper-RaffertyEmma HarrisNathalie HarrisonNicholas HartLinzi HateleyAndrew HavillPaul HawkyardJames HayesLillian HenleyPaul HerzbergAnastasia HilleTom HodgkinsKobna Holdbrook-SmithJack HoldenNick HolderRobert HorwellRufus HoundDavid HounslowPeter HoweEd HughesDerek HutchinsonMax HutchinsonTrevor ImaniDaniel IngsJennifer Jackson

Zoe ThorneEmma ThornettPaul ThornleyLuke TreadawayMeghan TreadwayTilly TremayneJohn TrindleTony TurnerJez UnwinRupert VansittartJulian WadhamRoss WaitonDwane WalcottJosie WalkerNicola WalkerBrendan WallDaniel WalshJulie WaltersHoward WardAlexander WarnerAlex WarrenRobin WeaverAdam WelshGemma WhelanJodie WhittakerLiz WhiteRussell WilcoxJoseph WilkinsLeon Williams

Mark JacksonEllie JacobJonathan JaynesChristian JennerAlex JenningsLuke JerdyCurtis JordanCindy JourdainMiles JuppBarnaby KayGráinne KeenanRory KeenanDanny Kelly Louise KemptonJamie KennaDylan KennedyHarry KershawDavid KillickRory KinnearBarbara KirbyJoshua LaceyJane LambertFred LancasterRory LangmuirIsabella LaughlandPieter LawmanAmanda LawrencePenny LaydenNicholas le PrevostDominic LeederRose LeonardJohn LithgowOlivia LlewellynGabrielle LloydChristopher LoganAndrew LondonBrian LonsdaleTom LorcanTunji LucasNicholas LumleyHelena LymberyGerrard McArthurMaggie McCarthyJoshua McCordHelen McCroryAndrew McDonaldIarla McGowanJoshua McGuireTim McInnernyShaun McKeeSean McKenzieCiarán McMenaminKristen McNallyStuart McQuarrieHilton McRaeSiobhán McSweeneyColin MaceNick MalinowskiJoshua ManningBen MansfieldDavid MaraMatthew MarshBrian Martin

Lynne WilmotSam WilmottThomas WiltonClaire WinsperDuncan WisbeyMatthew WoodyattRosie WyattSimon YadooSion Daniel Young

SupernumerariesCharlie Blackwood, Scheherazade Brathwaite, Anna Burkholder, Jamie Champion, Tyson Douglas, Harper James, Matt Jessup, Pandora McCormick and Haydn Whiteside.

The Show Musicians Robert AmesNeyire AshworthArthur BoutillierMartin BriggsBen BrookerAlan BrownLisa BucknellAndrew CallardMargaret Campbell

Laura MatthewsHenry MaynardDogan MehmetPietra Mello-PitmanTom MeredithJustine MitchellMark MoneroClaire MooreRobyn MooreOkezie MorroCillian MurphyJess MurphyBen MurrayPaddy NavinLuke NewberryPhoebe NichollsSteve NicholsonMike NobleChristopher Patrick NolanLuke NorrisSteve NorthAnthony O’DonnellKate O’FlynnLauren O’NeilJonjo O’NeillGenevieve O’ReillySarah OvensAlastair ParkerJack ParkerAimee ParkesKatherine PearceReuben PearceRobin PearceAlan PearsonLewis PeploeTom PetersAdam PhilpsMatthew PidgeonBillie PiperPeter PolycarpouRobert PortalOlivia PouletJodie PrengerKelly PriceSergio PriftisJeff RawlePierce ReidRichard RidingsMalcolm RidleyPaul RitterIris RobertsTom RobertsonChristian RodskaMark RoseBeverly RuddSimon Russell BealeMat RuttleWilliam RycroftHugh SachsJustin SalingerNick SampsonTim SamuelsRochenda Sandall

Cristiano CastelittoJudih Choi CastroNick CooperRichard CoughlanSarah CrispAnna CroadJonathan EddieSam EdgingtonRachel ElliottChris FishChristian ForshawJohn Paul GandyTom GreenRichard HallidaySimon HaramAmy HarmanKimberly Jill HarrensteinRichie HartJoji HirotaDavid HoltRobin HopcraftPhil HopkinsJim HustwitJeremy IsaacPhil JamesLiam KirkmanRachael LanderEugene LeeIvan Leon

Tom LesselsAlisa LiubarskayaAisling ManningMonica McCarronAdam MartinGaelle-Anne MichelLouise MorganEd MorrisBuffy NorthGrant OldingColin RaeOliver Seymour MarshDavid ShrubsoleSteve SmithBryan SmithJosh SneesbyBilly StookesKevin StreetTim SuttonSeila TammisolaIan TownsendTony WagstaffPhilip Murray WarsonJenny WilkinsonMinsi YangBarbara Zdziarska


NT Associates, Committee Membership and Heads of Department

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

Associate ProducerPádraig Cusack

Committee Membership at 31 March 2013

Development CouncilSusan Chinn, ChairClive Sherling, Vice ChairGraham BarkerRoyce BellDr Neil Brener Sarah BrenerRuss CarrTim ClarkSimon DingemansCharles DorfmanDavid HallRosie HytnerJohn MakinsonOliver PawleRita SkinnerCharlotte WarshawCharlotte Weston

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

NT Future Fundraising CommitteeClive Sherling, ChairGraham BarkerLisa BurgerSusan ChinnTim ClarkIan CormackDavid HallJohn Makinson

John RodgersRita SkinnerNick Starr

NT Future Project CommitteeGlenn Earle, ChairLisa BurgerDominic Casserley Tim ClarkLloyd Dorman CBERos HaighKate HortonAlan 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 HarperKate HortonAndré 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, ChairLisa 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 CastingWendy SponCommercial OperationsPatrick HarrisonDevelopmentJohn RodgersDigital MediaDavid SabelEngineeringKieron LillisExternal Relationships & PartnershipsJohn LangleyFinanceFern StonerGeneral CounselPeter TaylorHuman ResourcesTony PeersInformation TechnologyJoe McFaddenLearningAlice King-FarlowMarketingAlex BayleyMusicMatthew ScottNT StudioLaura Collier

PlanningRobin HawkesPlatforms/WTS FestivalAngus MacKechniePressLucinda MorrisonPrint & PublicationsLyn HaillTechnical & ProductionMark Dakin Mark DaviesSacha MilroyTechnical ProducerKatrina GilroyVoiceJeannette Nelson

NT ProductionsChris HarperSteve Rebbeck

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

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Linda Bassett, Frances de la Tour and Selina Cadell in People Photo Catherine Ashmore

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The Fire Garden, National Theatre Inside Out Photo Ludovic des Cognets

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Luke Treadaway in The Curious Incident of the Dog in the Night-Time Photo Manuel Harlan

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Simon Russell Beale in Timon of Athens Photo Johan Persson

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Fiona Shaw in Scenes from an Execution Photo Mark Douet

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Helen McCrory, Julie Walters and Rory Kinnear in The Last of the Haussmans Photo Catherine Ashmore

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

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

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The National’s Diamond Jubilee Salute Photo Ludovic des Cognets

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Alex Jennings in Untold Stories Photo Jayne West

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National Theatre Live The Last of the Haussmans Photo Ludovic des Cognets

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Pop-up Workshop, National Theatre Inside Out Photo Ludovic des Cognets

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Port workshop in an East London school Photo Ludovic des Cognets

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The Burnt Out Punks, Watch This Space Photo Steve Stills

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Model wearing a Legroux Soeurs Hat, 1952, NPK001182 Corbis/© Norman Parkinson Ltd/Courtesy Norman Parkinson Archive

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Get Stuff Break Free Photo Ludovic des Cognets

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NT Future images courtesy of Haworth Tompkins

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Cillian Murphy in Misterman Photo Catherine Ashmore

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Regional theatre press conference Photo Richard H Smith

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John Lithgow in The Magistrate Photo Johan Persson

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Kate O’Flynn in Port Photo Kevin Cummins

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Stuart McQuarrie, Clare Dunne, Justine Mitchell and Will Adamsdale in Detroit Photo Catherine Ashmore

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Above: London Road Photo Helen Warner

Below: Owain Arthur in One Man, Two Guvnors Photo Johan Persson

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Jodie Whittaker in Antigone Photo Johan Persson

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Ruby Bentall and Dylan Kennedy in Hansel and Gretel Photo by Stephen Cummiskey

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Antony Sher and Anthony O’Donnell in The Captain of Köpenick Photo Brinkhoff/Mögenburg

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Inua Ellams in Black T-Shirt Collection Photo Brian Roberts

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Tom Burke and Genevieve O’Reilly in The Doctor’s Dilemma Photo Johan Persson

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Amanda Lawrence and Bertie Carvel in Damned by Despair Photo Brinkhoff/Mögenburg

Documents

National Theatre Annual Report 2012–2013 · 2015-07-17 · 6 National Theatre Annual Report 2012–2013 National Theatre Annual Report 2012–2013 7 The National Theatre opened