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National Theatre
Annual Report 2013–2014
Annual Report
2013–2014
Annual Report
For the 52 weeks ended 30 March 2014
2
Board and Advisers
4
Purpose, Vision and Objectives
6
John Makinson, Chairman
8
Nicholas Hytner, Director
12
Nick Starr, Executive Director
15
The National Theatre on tour
16
Plays and Artists
21 National Theatre Productions
25Awards
26 National Theatre 50th Anniversary celebrations
30Audiences
33 National Theatre Live, Digital Innovation and Broadcast
37Learning
40 Public Engagement
42 National Theatre Future
44 NT Studio
46Leadership
48 Finance and Sustainability
55Fundraising
56Supporters
64Performers
68NT Associates, Committee Membership
and Heads of Departments
69 Photo captions
In this document, The Royal National Theatre is referred to as
“the NT”, “the National”, and “the National Theatre”.
The full Financial Review and Financial Statements (and this
Annual Report) are available to download at www.nationaltheatre.
org.uk/annualreport The Trustees’ Report comprises those items
on pages 2 – 5 and12 – 69 of the Annual Report and pages
1 – 20 of the Financial Statements.
If you would like to receive it in large print,
or you are visually impaired and would
like a member of staff to talk through the
publication with you, please contact the
Board Secretary at the National Theatre.
National Theatre Annual Report 2013–2014 1
Board and Advisers
Board Members
Executive
Chairman John Makinson
Peter Bennett-Jones
Dame Ursula Brennan DCB
Dominic Casserley
Susan Chinn CBE
Tim Clark
Howard Davies
Lloyd Dorfman CBE
Glenn Earle
Aminatta Forna
Farah Ramzan Golant CBE
Ros Haigh
Neil MacGregor
Kate Mosse OBE
James Purnell
Clive Sherling
Director*
Nicholas Hytner
Executive Director
Nick Starr CBE
Chief Operating Officer
Lisa Burger
Chief Executive Designate
Tessa Ross
Director Designate
Rufus Norris
Associate Directors
Sebastian Born
Howard Davies
Marianne Elliott
Rufus Norris
Ben Power
Bijan Sheibani
Bankers
Coutts & Co
440 Strand, London
WC2R 0QS
Auditors
PricewaterhouseCoopers LLP
7 More London Riverside
London SE1 2RT
‘A swirling,
postmodern
maelstrom of
a production,
where modern
dress and
medieval
garb collide.’
Andrzej Lukowski, Time Out
*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
2 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 3
Our Purpose
The 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
4 National Theatre Annual Report 2013–2014
extensive learning and public
engagement programmes, touring
and broadcasting in the UK and
internationally, and creating
innovative digital content.
Our Vision
The National Theatre strives to
be a national centre of theatrical
arts, central to the creative life
of the country and unmatched
in the world for scale, range of
repertoire and audience reach. It
aspires to produce to the highest
standards by attracting the best
artists and staff and by providing
an environment which stimulates
them to realise the fullest extent
of their talents. Education and
public engagement are founding
principles for the NT and are
central to our vision of the future.
Our Objectives
— The Artistic Programme and
Artistic Development. The NT
presents a balanced artistic
programme, staging around 20
productions a year from the
whole of world drama, with a
specific responsibility for the
creation of new work and
representing the widest range
of voices.
— Audiences. The NT is tireless in trying to reach more people, broaden our audiences and give them an unparalleled experience.
— Learning & Engagement. The
NT aims to be an inspirational, internationally recognised resource for lifelong learning about and through theatre.
— Broadcast. The NT broadcasts
a selection of its repertoire to cinemas in the UK and internationally.
— Leadership. As a national theatre, the NT takes responsibility for fostering the health of the wider British theatre.
— Sustainability. The NT operates in a financially and environmentally responsible manner, whilst striving to increase self-generated income.
— Innovation. The NT actively considers the way in which it operates, and strives to innovate in all areas of its activity.
National Theatre Annual Report 2013–2014 5
John Makinson
Chairman
The National Theatre’s Board
had three challenging priorities
during the 12 months covered
by this review. The first was
to ensure that the NT’s 50th
birthday was celebrated with a
creative and commercial flourish;
the second was to guide NT
Future, our £80m redevelopment
programme, towards a successful
conclusion; and the third
was to provide a smooth and
compelling transition from the
most successful executive team
in the theatre’s history to a new
leadership possessing the skills
and experience to build on the
achievements of the past decade,
as well as the confidence and
vision to steer the NT in fresh
and exciting new directions.
The achievements of the year are documented
in detail later in this report. In a nutshell, we
presented more theatre to more people in more
places and formats than ever before. But it was a
birthday year to remember in so many other ways.
One million people watched BBC Television’s
transmission of Live from the National
Theatre: 50 years on stage, an extraordinary
celebration of the NT’s first half-century
orchestrated and directed by Nicholas Hytner.
Throughout the year visitors to the NT will
have seen (and occasionally heard) the physical
evidence of our ambitious NT Future project.
We have kept the Olivier and Lyttelton theatres
running at full throttle – and close to full
capacity – over this period of construction, while
The Shed has offered new and often younger
audiences a breathtaking mix of contemporary
theatre during the period of the Cottesloe’s
closure. By the time this annual report is
published, the temporary construction walls
will be coming down and visitors will have
the opportunity to experience a dramatically
enlarged and enhanced National Theatre. New
restaurants and bars are preparing to receive
customers, the Clore Learning Centre and Max
Rayne Centre are approaching completion, and
the Cottesloe theatre will reopen as the Dorfman
in September. There is more work to be done over
the next 12 months but the project is on track for
a successful completion, and all but £3m of the
£80m fund-raising target has been committed.
It is appropriate that I wind up this statement
by paying tribute to Nicholas Hytner and Nick
Starr, respectively the Director and Executive
Director of the National Theatre, because none
of the achievements that I have listed earlier
in this narrative would have been possible
without their creativity, drive, intelligence and
determination. They have led the NT for over
a decade and in that time the NT’s creative
reputation, commercial income, international
reach, and commercial production capacity,
on screens as well as on stages, have grown in
ways that no-one could have dared to predict
when they set out. Nick Starr will leave us in
6 National Theatre Annual Report 2013–2014
October of this year and Nicholas Hytner
will follow next March at the end of his final
season. Anyone who cares about theatre, in
the UK and indeed elsewhere, owes the two of
them an enormous debt of gratitude. We wish
them every success in their future enterprises.
‘As irresistible Jesus music
seems to be flying sky high,
carrying us with it, a jazz riff
in the background calls out
for not following the flock but
going your own way.’
Susannah Clapp, The Observer
Planning the succession to the two of them was
of course the most challenging of the Board’s
three assignments. We were delighted, however,
that we were able to persuade Rufus Norris, a
director whose ground-breaking work at the
NT and elsewhere needs little introduction
to regular theatre-goers, to become the next
Director of the National Theatre. Soon after,
we announced with some fanfare that Rufus
would be joined at the helm of the NT by Tessa
Ross, the current head of Film4, and one of the
most respected and admired film and television
executives in the world. In recognition of the
scale and reach that the NT has grown to
over the last decade, the Board has decided to
embrace a joint leadership model. Tessa joins
the NT in November, formally becoming Chief
Executive when she and Rufus pick up the
reins next April. Both are already fully engaged
in planning the future of the NT, working in
close partnership with the extraordinary Lisa
Burger, who has been promoted to the role of
Executive Director. These are early days but the
Board’s view is that the future leadership of the
National Theatre could not be in stronger hands.
I am also delighted to report that Kate Mosse,
who has served as an NT Board member for three
and a half years, has agreed to accept the role of
Deputy Chair of the National Theatre. The NT
has grown enormously in scale and complexity
over recent years and Kate’s appointment will
help to ensure that, as a Board, we are keeping
pace with that growth and development.
I know that I also speak for the executive teams
of the NT present and future in paying tribute
to all the exceptional people who work and
perform at the National Theatre, and who help to
make it the unique place that it undoubtedly is.
National Theatre Annual Report 2013–2014 7
Nicholas Hytner
Director
The NT celebrated its 50th
birthday on 22 October 2013.
On the day itself HM The Queen
visited us, watched a rehearsal
of Emil and the Detectives,
spent some time in the Props
department and finally saw a
performance of ‘Sit Down You’re
Rocking the Boat’ from Guys
and Dolls. On the way back to
her car, she said “They still work,
those old shows, don’t they?”
The Theatre was awash with that sentiment
a couple of weeks later when we staged our
anniversary celebration, National Theatre: 50
years on stage. In an extraordinary evening that
covered 36 old shows that still worked, there
were appearances from 100 actors from each
decade of our existence, including Roger Allam,
Simon Russell Beale, Benedict Cumberbatch,
Frances de la Tour, Judi Dench, Christopher
Eccleston, Ralph Fiennes, Michael Gambon,
Derek Jacobi, Alex Jennings, Rory Kinnear,
Adrian Lester, Anna Maxwell Martin, Helen
Mirren, Joan Plowright, Andrew Scott, Maggie
Smith and Penelope Wilton. The cast in the
auditorium was as dazzling as the company on
stage, embracing many of the most distinguished
writers, actors, directors, designers and musicians
who have been part of the National, as well as
nearly 80 recipients of our 25-year service medal.
The evening was a vivid demonstration of what
has remained constant over 50 years, and of
what has changed profoundly. We started with
the first three minutes of Hamlet – the play
with which Laurence Olivier opened his first
National Theatre season at the Old Vic, and
which has been staged anew under all four of
his successors. Derek Jacobi, who played Laertes
in 1963, appeared 50 years later as the Ghost
of Hamlet’s father. At the end of the evening,
Adrian Lester and Rory Kinnear recreated the
climactic temptation scene of their 2013 Othello,
and gave way briefly to a recording of Laurence
Olivier and Frank Finlay playing the same scene
in 1964. The reinvigoration of the great classical
texts has been the National’s bedrock, and over
50 years our acting company has included the
most distinctive talents of our age. Joan Plowright
returned to the Old Vic to film part of Shaw’s
Saint Joan, which she played there in 1963. One
of the finest productions of my directorship
was Marianne Elliott’s Saint Joan, with a central
performance by Anne-Marie Duff in 2007,
which can stand proudly now beside Dame
Joan’s. Lester, Harewood, Scofield and Olivier
have played Othello; Kinnear, Russell Beale,
Charleson, Day Lewis, Finney and O’Toole have
played Hamlet; Mirren and Dench have played
Cleopatra; Wanamaker, Wilton and Smith have
played Beatrice. The meticulous attention of
8 National Theatre Annual Report 2013–2014
these great actors to great texts has been matched
only by the daring of their imaginations.
The National’s commitment to the great plays of
the past goes hand-in-hand with a determination
to seek out the best of the new. We are young
enough to be working still with playwrights
who worked for Olivier. In January 2015 Tom
Stoppard will give us his new play The Hard
Problem, 48 years after the Old Vic premiere of
Rosencrantz and Guildenstern Are Dead. It will
play in repertoire in the Dorfman Theatre with
Sam Holcroft’s Rules for Living, and there is every
reason to believe that she will be around for the
National’s 100th birthday with her newest play.
But it was also striking how much has changed.
Almost all of the new plays that made the cut
on 2 November were by men. The fact that our
selection of highlights barely differed from the
many wish-lists published in advance by the
handful of critics who’ve been around for as
long as we have makes this no less noticeable a
reflection on the way things have – mercifully
– changed. Over the last ten years the number
of women writing plays for the National has
gradually risen, and both this year and last
year there have been more new plays at the
National by women than by men (19 out of
32), so it is a belated relief to know that the
dominance of male playwrights is over.
Just as striking has been the emergence on our
stages of artists and voices who reflect the full
diversity of the nation and in particular of
London. 2013-15 have included new plays like
The World of Extreme Happiness, nut, Yellow Face,
Here Lies Love, Behind the Beautiful Forevers,
Dara and revivals like The Amen Corner and
Moon on a Rainbow Shawl which have focused
on (and in many cases have emerged from)
communities that were under-represented on
our stages 50 years ago and in some cases were
barely represented in the city. The National
will always be running to keep up with the
ever-evolving, ever-changing fabric of the
interlocking communities that make up our
potential audience. I don’t think we’ve gone
far enough, but I’m confident that under my
successor Rufus Norris the experience on the
stages and in the auditoriums of the National
Theatre will continue to change, and continue to
respond to the society of which we are a part.
For the last 11 years I have been galvanised by
every part of the National’s mission. I have been
bowled over by the quality of our actors and the
daring of our writers and directors. I have been
moved as much by our forays outside the great
literary tradition as by plays like Simon Stephens’
Harper Regan and Lucinda Coxon’s Happy Now?
which use traditional forms to explore apparently
ordinary lives. Recent plays by James Graham
and John Hodge (This House and Collaborators)
have explored the corridors of power; while
Lucy Prebble and Tena Štivičić (The Effect, 3
Winters) have explored issues as diverse as the
pharmaceutical industry and Balkan history.
I have been gripped by plays in the intimate
surroundings of our amazing red temporary
space in Theatre Square, and elevated by great
communal events in the Olivier. I’ve been thrilled
to see our work play to packed houses all over
the country (a record 392,000 people saw our
shows on tour in the UK in the past 12 months),
and was particularly proud this year to speak
to my home crowd at The Lowry Theatre in
Salford, and to discover how many Mancunians
appreciate our twice-yearly visits there. NT
Live now brings our work to all corners of the
country, and indeed of the globe. I spoke at
the Galway Festival recently to an audience
that was almost as familiar with what we do on
the South Bank as the London audience is.
By the time I relinquish the directorship of the
National in March 2015, the transformational
work of NT Future will be almost complete.
There will never be enough time or space
to pay tribute to the hundreds of colleagues
with whose achievements I have all too often
been credited; but I cannot sign off without
saying unequivocally that Nick Starr and
Lisa Burger have been the two main reasons
why I am, for the eleventh consecutive year,
able to produce a report that is testament
to the National’s continuing rude health.
National Theatre Annual Report 2013–2014 9
10 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 11
Nick Starr
Executive Director
For the last five years, we have
been listing in these annual
reports as one of our main
objectives the endeavour to reach
ever more people. This is more
than fine words; the spur to find
ways of enacting the ‘national’
part of our name by being as
ubiquitous as possible is fully felt.
And in this past year – thanks
to the burgeoning innovation of
National Theatre Live and the
great growth in our touring in the
UK, international productions
and continued popularity in
the West End – the number of
people who paid to see the NT’s
shows around the world reached
a high-water mark of 4.3million.
Our total audiences in the UK last year were
2.8million people. About half of that number
were outside London. For a few months this
year, we shall have three large-scale shows on the
road simultaneously; between September 2013
and November 2015, with 80 visits to towns
and cities across the UK, something like 1.3m
people will see a high-quality production that
originated at the NT on the South Bank. At the
same time as this big surge in touring, we have
been developing the UK coverage of NT Live
cinemas. It is a remarkable growth – from 70 at
the outset five years ago, to 550 now. We have
long suspected that NT Live doesn’t satisfy but
rather stimulates the appetite for theatre-going,
and a ‘big data’ study by Nesta confirms that
view1. We’ve put this to the test ourselves by
broadcasting War Horse and Curious Incident
into cinemas while they played in West End
theatres and, in the former case, on tour too.
Now that NT Live has become profitable –
having widened its scope beyond the South Bank
1nesta.org.uk/publications/estimating-impactlive-simulcast-theatre-attendance-applicationlondon%E2%80%99s-national
(and capturing its first New York production in
July 2014) – it has become one element in the
mix of what the NT does as part of fulfilling its
mission which also contributes to our income
(which reached £100m last year, 65% earned at a
box office). We have long felt that the value of our
work oughtn’t to be equated in some simplistic
way with whether it’s ‘commercial’ or subsidised,
as if there is some inherent virtue – or defect
– in either. It has been our great good fortune
that, at the same time as our public subsidy
began to be reduced (by 2017-18 it will have
declined 37% in real terms over the seven-year
period since 2010-11), the opportunities have
presented themselves to earn from this greater
reach. At the beginning of this current régime,
we benefited from an uplift in grant from the
Arts Council to respond to what we wanted to
do, and to back the kind of new work we wanted
to develop through the NT Studio, which was
refurbished in 2006-7 to be able to host more
workshops. It’s only fitting that, 12 years on,
it’s the successful exploitation of this strand of
work which is balancing our yearly budgets. Our
temporary theatre, The Shed, was built on the
profit made by War Horse in New York. The case
for funding emergent and experimental work
isn’t just a nostrum of the British subsidised arts:
it’s a clearly effective way of creating the vibrancy
that is fuelling the current theatre boom2 .
If there is a life-cycle to creation and production
in the theatre, the same is true but on a longer
time-scale for the architecture of the NT. We
started addressing ourselves to the need for a
masterplan for the building and its infrastructure
as long ago as 2006 which, crystallised as the
NT Future scheme, reaches fruition under
the direction of its co-creator Lisa Burger
over the next six months with the opening
of the Dorfman Theatre, the Clore Learning
Centre, the Max Rayne Production Centre
and a transformation of the river frontage and
public facilities. Eight years to conceive, design,
re-design, fundraise and build a scheme – all
while the organisation is fully active – is probably
about the right amount of time, and says a lot
for the staying-power of chairmen and trustees
past and present. Without NT Future we were
2 London Theatre Report, commissioned by the
Society of London Theatre and the National Theatre,
2014: solt.co.uk/downloads/pdfs/pressroom/
London%20Theatre%20Report%202014.pdf
coming close to breakdown in a number of
backstage areas. One of the private joys of the
scheme is its great investment in the working
conditions and facilities for people to practise
their craft, which range from the traditional
theatre-making staples of paint, carpentry,
prop-making, costumes and wigs through
to cutting-edge techniques in digital design,
lighting, sound, automation and projection. For
the first time these crafts-people will be together,
and for the first time too, the NT will give
proper facilities and space for designers and other
theatre-makers. Alongside the apprenticeships,
bursaries and training schemes we run,
some in concert with the RNT Foundation,
this is another way of being ‘national’.
In 2014-15 we have set the
following specific objectives:
— The opening of the Dorfman Theatre;
Clore Learning Centre; Max Rayne Centre; Sherling High-Level Walkway; Sackler
Pavilion; new restaurant, café, bookshop
and bar; re-landscaped terraces; and refurbished workshops, offices and
resource areas: all part of the NT
Future scheme
— The continuation of NT Future building works, with possible completion within the financial year, and further fundraising for the final £3m towards our £80m target
In 2013-14, the following specific objectives
were set with the aim of advancing the NT’s
constant organisational objectives (page 4);
these are reviewed in the appropriate sections,
as indicated, throughout this Annual Report:
— Continued fundraising for the increased
scope of NT Future and completion of the building works (page 42)
— A renewed focus on training and development with the introduction of further apprenticeships; and the re-
launch of Step Change to create a national programme of early to mid-career professional
development with regional partners
(page 47)
— Development of a new business model to
address the challenge of continued reduction in government funding and increased emphasis on fundraising
(page 48)
— The launch of the UK tour and German production of War Horse in autumn 2013,
and planning for involvement in
the centenary of World War One from 2014 (pp 18 & 38)
— Continued innovation, particularly in
Digital and Learning, while the NT is in
transition to a new Director taking over
from Nicholas Hytner in April 2015 (pp 33 – 35 & pp 37 – 39)
— The launch of the UK tour of The Curious Incident of the Dog in the Night-Time, further growing the NT’s audience in theatres outside London
— Widening the scope and reach of
NT Live to include more productions
beyond the South Bank
— The launch of the Chinese production of
War Horse in partnership with the National Theatre of China; the Broadway production of Curious Incident; and the co-production with the National Theatre of Scotland and Edinburgh International Festival of Rona Munro’s The James Plays.
2013-14 Objectives
12 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 13
The National Theatre on tour
Between September 2013 and November 2015, audiences in
these towns and cities can see an NT production (in the UK,
sometimes more than one) on stage in their local theatre:
33
productions in repertoire on the
South Bank
3,149
performances in the UK and
internationally
65%
of income from box office
receipts
14 National Theatre Annual Report 2013–2014
Aberdeen
Cape Town
Jacksonville
Northampton
Tampa
Albuquerque
Cardiff
Johannesburg
Nottingham
Toledo
Amsterdam
Charlotte
Kansas City
Norwich
Tokyo
Appleton
Cincinatti
Las Vegas
Omaha
Truro
Austin
Cleveland
Leeds
Orlando
Vancouver
Aylesbury
Columbus
Leicester
Ottawa
West Palm Beach
Baltimore
Crawley
Liverpool
Oxford
Wimbledon
Bath
Dartford
Los Angeles
Plymouth
Winnipeg
Beijing
Dayton
Louisville
Providence
Woking
Belfast
Detroit
Madison
Richmond, VA
Wolverhampton
Berlin
Dublin
Melbourne
Rochester
York
Birmingham
Eastbourne
Memphis
Salford
Birmingham, AL
Edinburgh
Miami
Salt Lake City
Blackpool
Fayetteville
Milton Keynes
Schenectady
Bradford
Fort Lauderdale
Milwaukee
Shanghai
Brighton
Glasgow
Minneapolis
Sheffield
Bristol
Greenville
Myers
Sioux Falls
Bromley
Hartford
Nashville
Southampton
Brisbane
Hersey
New Orleans
Stoke-on-Trent
Buffalo
High Wycombe
Sunderland
Calgary
Houston
Newcastleupon-Tyne
Canterbury
Hull
New York
Syracuse
Sydney
National Theatre Annual Report 2013–2014 15
Plays and Artists
The Repertoire
The NT’s repertoire in 2013-14
was true to its constant aim of
drawing from the whole of
world drama, with a specific
responsibility for the creation
of new work and representing
the widest range of voices.
The eleventh Travelex £12 Tickets season offered
four fascinating rediscoveries. In the Lyttelton,
director Howard Davies continued his fruitful
exploration of 19th and 20th-century Russian
drama with Maxim Gorky’s Children of the
Sun, in a new version by Andrew Upton; and
former NT Director Richard Eyre returned to
direct Pirandello’s rarely performed and atypical
Liolà, in a new version by Tanya Ronder. In the
Olivier, Rufus Norris directed James Baldwin’s
The Amen Corner, with Marianne-Jean Baptiste
making a long-awaited return to the stage in
a production suffused with gospel music and
jazz; and John Heffernan played the title role
in Christopher Marlowe’s Edward II, given
a contemporary take by Joe Hill-Gibbins
in his first production for the National.
Nicholas Hytner’s revelatory production of
Shakespeare’s Othello in the Olivier saw Adrian
Lester (in the title role) and Rory Kinnear
(Iago) recognised with a joint Evening Standard
Award for Best Actor. Another long-anticipated
collaboration, Simon Russell Beale and director
Sam Mendes’ interpretation of King Lear, also
played to packed houses. On a different scale,
Ben Power adapted Romeo and Juliet for young
audiences in a production by Bijan Sheibani
which toured London schools, visited DerryLondonderry for the UK City of Culture
2013 celebrations, and played in The Shed.
Anne-Marie Duff led the cast of Eugene O’Neill’s
epic masterpiece Strange Interlude, with director
Simon Godwin making his NT debut in the
Lyttelton; and Melly Still directed Adam Godley
in Georg Kaiser’s From Morning to Midnight, in
a new version by Dennis Kelly. Daniel Kitson
returned to the National with his new solo
show, Analog.Ue; and Lesley Sharp led a revival
of Shelagh Delaney’s defining play of the 1950s,
A Taste of Honey, directed by Bijan Sheibani.
The Light Princess, a new musical with music
and lyrics by Tori Amos, and book and lyrics by
Samuel Adamson, premiered in the Lyttelton
under the direction of Marianne Elliott, and
earned Rosalie Craig an Evening Standard Award
for Best Musical Performance for her astonishing
floating heroine. The latest in the National’s
tradition of shows for family audiences, Carl
Miller’s new adaptation of Erich Kästner’s classic
tale Emil and the Detectives, filled the Olivier stage
with three teams of local children – 180 in all.
If the National Theatre’s repertoire over the
year embraced an even more diverse selection of
new work than hitherto, it was largely thanks to
the addition of The Shed: the temporary space
providing a third stage following the Cottesloe’s
closure for its NT Future redevelopment.
Celebrating original, ambitious and unexpected
theatre, it presented work by theatre-makers
familiar to the NT as well as emerging voices.
The opening production was Table, a new
play by Tanya Ronder tracing six generations
and a piece of furniture across two continents,
directed by Rufus Norris. It was followed by
three visitors: Rob Drummond’s solo show
Bullet Catch from the Arches, Glasgow; Mission
Drift, created by American experimental
company the TEAM; and The Grandfathers
by Rory Mullarkey, originally commissioned
for Connections and performed by Bristol Old
Vic Young Company. The Hush, created by
Matthew Herbert with Ben Power, was followed
by the Paines Plough production of Sea Wall by
Simon Stephens, with Andrew Scott recreating
his devastating solo performance. A Limited
Editions festival featured short runs of work
by Still House, Little Bulb Theatre, Myrtle
Theatre Company, Sleepdogs and The Wardrobe
Ensemble. Home, created and directed by Nadia
Fall, giving voice to young residents of an inner
city hostel, was a critically acclaimed sell-out.
An examination of contemporary China, The
World of Extreme Happiness by Frances Ya-Chu
Cowhig, received its UK premiere directed by
Michael Longhurst; and debbie tucker green
made her NT debut directing her new play nut.
For young audiences, an adaptation of Ross
Collins’ The Elephantom directed by Finn
Caldwell and Toby Olié, saw The Shed invaded
by a group of giant pachyderm puppets for
daytime performances over Christmas; while
in the evenings, Protest Song by Tim Price,
exploring the reality of the Occupy movement,
gave actor Rhys Ifans a powerful solo vehicle.
Blurred Lines, created by Carrie Cracknell and
Nick Payne, featured an all-female cast in a
journey through the minefield of contemporary
gender politics. Olwen Fouéré performed her
own adaptation of the voice of the river in James
Joyce’s ‘Finnegan’s Wake’, riverrun, presented
by TheEmergencyRoom and Galway Arts
Festival; and Michaela Coel’s one-woman play
embodying an east London teenager, Chewing
Gum Dreams, was directed by Nadia Fall,
whose revival of Home ended The Shed’s first
year. Such was the temporary theatre’s success
that planning permission has been granted
to extend its life until March 2017 (it will be
relaunched in 2015 – the trademarked title ‘The
Shed’ having only been licensed for one year).
10
653
new plays
actors and musicians employed
by the NT in London
‘Not all mistakes
can be fully
rectified, all
damage repaired
and all love
restored – at
least, not here
and now.’
Simon Russell Beale, Daily Telegraph
16 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 17
Plays and Artists
continued
UK Touring
Following its world premiere at the
Lyttelton, Alan Bennett’s new play People,
directed by Nicholas Hytner, set off on
a 10-week tour with a cast led by Siân
Phillips, Brigit Forsyth and Selina Cadell.
It played to 65,500 people in Birmingham,
Leicester, Norwich, Salford, Canterbury,
Milton Keynes, Leeds and Plymouth.
War Horse embarked on a year-long, ten-venue
tour of the UK and Dublin in September
2013, visiting Plymouth, Birmingham, Salford,
Edinburgh, Southampton and Dublin, creating
box office stampedes and sell-out audiences of
327,000. The tour continues to Sunderland,
Bradford, Cardiff, Stoke-on-Trent, Bristol
and a return visit to Salford in 2014-15.
National touring will continue to expand
next year, with One Man, Two Guvnors
beginning a third UK tour to 37 cities in
May 2014, and The Curious Incident of the
Dog in the Night-Time opening a 31-city
UK tour in Salford in December 2014.
West End and international
transfers
War Horse entered its seventh year in London
and is booking until February 2015. The North
American touring production, in its second year,
visited 37 cities over 43 weeks. The Australian
production concluded with visits to Sydney and
Brisbane; the German-language production
opened in Berlin in October 2013; a Dutchlanguage production opens in Amsterdam in
June 2014, followed by a tour of the Netherlands;
and a Chinese-language production will open
in autumn 2015 in Beijing, followed by touring
in China, as part of the NT’s new partnership
with the National Theatre of China (see page
46). War Horse will also visit South Africa, the
home of Handspring Puppet Company, visiting
Johannesburg and Cape Town in autumn/
winter 2014-15. The production continues
to travel with a strong ethos and emphasis
on learning and participation; the centenary
commemorations of World War One will
offer numerous opportunities for involvement,
including a ‘War Horse Prom’ exploring the music
and stories of the Great War during the 2014
BBC Proms season at the Royal Albert Hall.
18 National Theatre Annual Report 2013–2014
One Man, Two Guvnors completed its West End
run on 1 March 2014, having played almost
900 London performances and becoming the
longest-running show at the Theatre Royal,
Haymarket in almost 200 years. The 20-week
international tour ended in Melbourne in
May 2013; and a third UK and Ireland tour
begins in May 2014. The production has been
seen by over one million people worldwide.
Alan Bennett’s Untold Stories completed its
scheduled 12-week run at the Duchess
Theatre in June 2013.
Following the partial ceiling collapse of the
Apollo Theatre during a performance of The
Curious Incident of the Dog in the Night-Time
on 19 December 2013, the production resumes
its West End run at the Gielgud Theatre from
24 June 2014. Winner of seven 2013 Olivier
Awards, Curious had played to 100% capacity
at the Apollo since opening in March 2013;
the closure of the gallery to enable the theatre’s
restoration meant that the show was no longer
economically viable there. In February, during
the lay-off of the production, the NT took
the opportunity to offer free performances of
Curious Incident in a rehearsal-room format, with
minimal settings and lighting, for students from
fourteen secondary schools in east London: at
The Old Town Hall, Stratford, in association with
the Theatre Royal, Stratford East and the London
Borough of Newham. Similar performances
were also given – for South London community
groups, along with representatives of local
employers and businesses, the emergency services
and audiences who had been at the Apollo on
19 December – at Rambert Dance Studios
(the NT’s new neighbour on the South Bank).
Curious Incident will open at the Barrymore
Theatre on Broadway in October 2014,
produced from the National’s New York office.
36
72
weeks of UK touring
weeks of international touring
National Theatre Annual Report 2013–2014 19
‘A Taste of Honey is one of those faintly
occult works of British literature: one
that has meaning for people who have
never seen it. It’s a play that brought
a new sensibility to the theatre.’
Matthew Sweet, Daily Telegraph
National Theatre Productions
2013–14
TABLE
A new play by Tanya Ronder
STRANGE INTERLUDE
Eugene O’Neill
THE HUSH
Created by Matthew Herbert with Ben Power
Director Rufus Norris
Director Simon Godwin
Devised by the Company
Designer Katrina Lindsay
Designer Soutra Gilmour
Director Matthew Herbert
Lighting Designer Paule Constable
Lighting Designer Guy Hoare
Designer Sarah Hopper
Movement Director Javier de Frutos
Music Michael Bruce
Lighting Designer Paul Knott
Music David Shrubsole
Movement Director Jonathan Goddard
Sound Designer Matthew Herbert
Sound Designer Rich Walsh
Sound Designer Christopher Shutt
Associate Sound Designer Mike Winship
Company Voice Work Jeannette Nelson
Company Voice Work Jeannette Nelson
Company Voice Work Richard Ryder
Dialect Coach Richard Ryder
Dialect Coach Judith Windsor
Staff Director Kate Sagovsky
The Shed 12 April 2013
Staff Director Caitlin McLeod
The Shed 22 July
Supported by The Shed Partner
Neptune Investment Management
Lyttelton 4 June
Supported by The Shed Partner
Neptune Investment Management
CHILDREN OF THE SUN
Maxim Gorky, in a new version
by Andrew Upton
MISSION DRIFT
Created by the TEAM
In collaboration with Heather
Christian and Sarah Gancher
ROMEO AND JULIET
William Shakespeare
In a version for young audiences by Ben Power
Director Howard Davies
Music composed by Heather Christian
Director Bijan Sheibani
Designer Bunny Christie
Lighting Designer Neil Austin
Music Dominic Muldowney
Sound Designer Paul Groothuis
Company Voice Work Kate Godfrey
Staff Director James Blakey
Lyttelton 16 April
Sponsored by Travelex
OTHELLO
William Shakespeare
Director Nicholas Hytner
Designer Vicki Mortimer
Lighting Designer Jon Clark
Music Nick Powell
Fight Director Kate Waters
Sound Designer Gareth Fry
Company Voice Work Jeannette Nelson
Staff Director Natasha Nixon
Olivier 23 April
An Arches, Glasgow production
BULLET CATCH
Writer, Director, Performer Rob Drummond
Co-Director David Overend
Stage Designer Francis Gallop
Lighting Designer Simon Hayes
Sound Designer Ross Ramsay
The Shed 21 May
Supported by The Shed Partner
Neptune Investment Management
Lyrics by Heather Christian and the TEAM
Director Rachel Chavkin
Set Designer Nick Vaughan
Costume Designer Brenda Abbandandolo
Lighting Designer Jack Heinrich
Sound Designer Matt Hubbs
The Shed 5 June
Supported by The Shed Partner
Neptune Investment Management
THE AMEN CORNER
James Baldwin
Director Rufus Norris
Designer Becs Andrews
Lighting Designer Paul Knott
Music Soumik Datta
Choreographer Aline David
Sound Designer Mike Winship
Company Voice Work Richard Ryder
Staff Director Cheryl Gallagher
The Shed 24 July
Supported by The Shed Partner
Neptune Investment Management
Paines Plough presents
Set Designer Ian MacNeil
SEA WALL
Simon Stephens
Costume Designer Joan Wadge
Director George Perrin
Lighting Designer Paul Anderson
Music Supervisor & Vocal Arranger
The Reverend Bazil Meade
Music Director & Composer Tim Sutton
Additional Music Byron Wallen & Joseph Roberts
Movement Coral Messam
Sound Designer Simon Baker
Company Voice Work Kate Godfrey
Dialect Coach Jeannette Nelson
Staff Director Kimberley Sykes
The Shed 25 July
Supported by The Shed Partner
Neptune Investment Management
LIOLÀ
Luigi Pirandello
In a new version by Tanya Ronder
Director Richard Eyre
Designer Anthony Ward
Lighting Designer Neil Austin
Music Orlando Gough
Olivier 11 June
Choreographer Scarlett Mackmin
Sponsored by Travelex
Sound Designer Rich Walsh
Fight Director Kate Waters
Company Voice Work Kate Godfrey
Staff Director Rebecca Frecknall
Lyttelton 7 August
Sponsored by Travelex
20 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 21
National Theatre Productions
2013–14 continued
National Theatre Touring
Productions
HOME
THE WORLD OF EXTREME HAPPINESS
nut
THE ELEPHANTOM
KING LEAR
Created by Nadia Fall
Frances Ya-Chu Cowhig
A new play by debbie tucker green
Ross Collins, adapted by Ben Power
William Shakespeare
Director Nadia Fall
Director Michael Longhurst
Director debbie tucker green
Directors Finn Caldwell and Toby Olié
Director Sam Mendes
Designer Ruth Sutcliffe
Designer Chloe Lamford
Designer Lisa Marie Hall
Designer Samuel Wyer
Designer Anthony Ward
Lighting Designer Ciaran Bagnall
Lighting Designer Philip Gladwell
Lighting Designer Tim Mitchell
Puppet Designer Toby Olié
Lighting Designer Paul Pyant
PEOPLE
UK tour, 3 September – 16 November 2013
Movement Director Jack Murphy
Movement Anna Morrissey
Movement Polly Bennett
Lighting Designer Matt Daw
Music Paddy Cunneen
Birmingham Rep Theatre
Music Tom Green and Shakka
Music & Sound Designers Max and Ben Ringham
Music Matthew Scott
Music Adam Pleeth
Projection Designer Jon Driscoll
The Curve, Leicester
Music Director Gareth Valentine
Fight Director Bret Yount
Sound Designer Emma Laxton
Sound Designer Alma Kelliher
Fight Director Terry King
Theatre Royal, Norwich
Fight Director Kate Waters
Company Voice Work Kate Godfrey
Company Voice Work Jeannette Nelson
Consultant Director Marianne Elliott
Sound Designer Paul Arditti
The Lowry, Salford
The Shed 13 December
Company Voice Work Jeannette Nelson
Marlowe Theatre, Canterbury
Staff Director Tim Hoare
Milton Keynes Theatre
Olivier 23 January
Grand Theatre, Leeds
Sound Designer Mike Walker
Staff Director Teunkie van der Sluijs
Staff Director Ng Choon Ping
Company Voice Work Richard Ryder
The Shed 30 September
The Shed 5 November
Supported by The Shed Partner
Neptune Investment Management
Supported by The Shed Partner
Neptune Investment Management
Staff Director/Assistant Dramaturg Rob Drummer
The Shed 9 August, revived 26 March 2014
Supported by The Shed Partner
Neptune Investment Management
EDWARD II
Christopher Marlowe
Director Joe Hill-Gibbins
Set Designer Lizzie Clachan
Costume Designer Alex Lowde
Lighting Designer James Farncombe
Video & Projection Designer Chris Kondek
Music Gary Yershon
Movement Director Imogen Knight
Sound Designer Paul Arditti
Music Associate Sam Cable
Dramaturg Zoë Svendsen
Company Voice Work Jeannette Nelson
Staff Director Jeff James
Olivier Theatre 4 September
Sponsored by Travelex
PROTEST SONG
EMIL AND THE DETECTIVES
A new musical
Music & lyrics by Tori Amos
Book & lyrics by Samuel Adamson
Suggested by a story by George MacDonald
Erich Kästner, adapted by Carl Miller
Director Polly Findlay
Director Bijan Sheibani
Designer Merle Hensel
Designer Bunny Christie
Lighting Designer Lee Curran
Director Marianne Elliott
Lighting Designer Lucy Carter
Movement Director Jack Murphy
Designer Rae Smith
Movement Director Aline David
Sound Designer Carolyn Downing
Lighting Designer Paule Constable
Projection Design 59 Productions
Voice & Dialect Coach Richard Ryder
Choreographer Steven Hoggett
Music Paul Englishby
Staff Director Sean Linnen
Music Supervisor Martin Lowe
Fight Director Bret Yount
The Shed 19 December
Orchestrations John Philip Shenale
Sound Designer Ian Dickinson
Vocal Arrangements & Additional
Orchestrations Tori Amos & Martin Lowe
Associate Sound Designer Peter Rice
Animations Matthew Robins
Company Voice Work
Kate Godfrey & Richard Ryder
Projection Designer Ian William Galloway
Staff Directors Jesse Jones & Emily Kempson
Puppetry Director Finn Caldwell
Puppetry Designer Toby Olié
Aerial Effects Designer Paul Rubin
Sound Designer Simon Baker
Associate Set Designer Paul Atkinson
SQUALLY SHOWERS created &
devised by Little Bulb Theatre
Staff Director Paul Foster
RIOT devised by The Wardrobe Ensemble
UP DOWN BOY by Sue Shields
The Shed 9-21 September
Supported by The Shed Partner
Neptune Investment Management
A new play by Tim Price
THE LIGHT PRINCESS
LIMITED EDITIONS
THE BULLET AND THE BASS
TROMBONE created by Sleepdogs
OURS WAS THE FEN COUNTRY
created by Dan Canham & the Company
Supported by The Shed Partner
Neptune Investment Management
Associate Choreographer Neil Bettles
Assistant Music Director Tom Brady
Lyttelton 9 October
NATIONAL THEATRE:
50 YEARS ON STAGE
Director Nicholas Hytner
Designer Mark Thompson
Lighting Designer Mark Henderson
Music for short films George Fenton
Sound Paul Arditti
Music Director Gareth Valentine
Associate Director Adam Penford
Olivier 1 & 2 November
Olivier 4 December
FROM MORNING TO MIDNIGHT
Georg Kaiser, in a new version by Dennis Kelly
Director Melly Still
Designer Soutra Gilmour
Lighting Designer Bruno Poet
Video & Projection Designer Andrzej Goulding
Music Dave Price
Movement Director Al Nedjari
Fight Director Kate Waters
Sound Designer Christopher Shutt
Physical Comedy Consultant Jason Thorpe
Company Voice Work Jeannette Nelson
Staff Director Rebecca Frecknall
Lyttelton 6 December
Supported by The Shed Partner
Neptune Investment Management
BLURRED LINES
Created by Nick Payne & Carrie Cracknell
Devised by the Company,
with poetry by Michaela Coel
Text Nick Payne
Director Carrie Cracknell
Sponsored by Julius Baer
A TASTE OF HONEY
Shelagh Delaney
Director Bijan Sheibani
Designer Hildegard Bechtler
Lighting Designer Paul Anderson
Music Paul Englishby
Movement Director Aline David
Sound Designer Ian Dickinson
Company Voice Work Kate Godfrey
Dialect Coach Richard Ryder
Staff Director Ola Ince
Lyttelton 18 February
ANALOG.UE
Written and performed by Daniel Kitson
Lyttelton 25 February
Designer Bunny Christie
Lighting Designer Lucy Carter
TheEmergencyRoom & Galway Arts Festival
Music Stuart Earl
RIVERRUN
Movement Ann Yee
Sound Designer David McSeveney
Dramaturg Jenny Worton
Fight Director Kate Waters
Company Voice Work Richard Ryder
Staff Director Jeff James
Poetry Michaela Coel
The Shed 22 January 2014
Supported by The Shed Partner
Neptune Investment Management
The voice of the river in
James Joyce’s Finnegans Wake
Adapted and performed by Olwen Fouéré
Director Olwen Fouéré with Kellie Hughes
Sound Designer/Composer Alma Kelliher
Lighting Designer Stephen Dodd
Costume Designer Monica Frawley
Theatre Royal, Plymouth
WAR HORSE
UK & Dublin tour, 27 September
2013 – 30 March 2014
Theatre Royal, Plymouth
Birmingham Hippodrome
The Lowry, Salford
Festival Theatre, Edinburgh
Mayflower Theatre, Southampton
Bord Gáis Energy Theatre, Dublin
(UK tour continues in 2014-15)
North American tour, 7 April
2013 – 30 March 2014
Cincinatti, Cleveland, Columbus, Tampa, Ft.
Lauderdale, Fayetteville, Charlotte, Providence,
Minneapolis, Appleton, Sioux Falls, Calgary,
Vancouver, Las Vegas, Los Angeles, Greenville,
Dayton, Richmond, Rochester, Buffalo, Louisville,
Syracuse, Toledo, Hersey, Detroit, Milwaukee,
Schenectady, Ottawa, Hartford, Baltimore, West
Palm Beach, Jacksonville, Orlando, Miami, Myers,
Birmingham, Memphis (tour continues in 2014-15)
Australia, 1 April – 30 June 2013
Lyric Theatre, Sydney; Lyric Theatre, Brisbane
Berlin, 21 October 2013 – 30 March 2014
(ongoing)
Theater des Westens
The Shed 12 March
Supported by The Shed Partner
Neptune Investment Management
CHEWING GUM DREAMS
Written and performed by Michaela Coel
Director Nadia Fall
Lighting Designer Jamie Spirito
ONE MAN, TWO GUVNORS
Australia, 30 March – 29 June 2013
Sydney Theatre
Arts Centre, Melbourne
(previously Hong Kong, Adelaide and Auckland,
15 February – 23 March)
Sound Designer Mike Walker
The Shed 17 March
Supported by The Shed Partner
Neptune Investment Management
22 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 23
Awards 2013–14
2013 Olivier Awards
2013 New London Awards
2014 Olivier Awards
Best Actress in a Supporting Role
Temporary Project
Best Actor
Nicola Walker for The Curious Incident of the Dog
in the Night-Time
Haworth Tompkins for the National Theatre:
The Shed
Best Actress in a Supporting Role
Best Lighting Design
Paule Constable for The Curious Incident of the Dog
in the Night-Time
Best Sound Design
Ian Dickinson and Adrian Sutton for The Curious
Incident of the Dog in the Night-Time
Best Set Design
Bunny Christie and Finn Ross for The Curious
Incident of the Dog in the Night-Time
2013 Broadway World.com
UK Awards
Best Direction of a New Production of a Play
Marianne Elliott for The Curious Incident of the
Dog in the Night-Time
Best New Play in the West End
The Curious Incident of the Dog in the Night-Time
Best Actor
Luke Treadaway for The Curious Incident of the
Dog in the Night-Time
Best Director
Marianne Elliott for The Curious Incident of the
Dog in the Night-Time
Best New Play
The Curious Incident of the Dog in the Night-Time
TripAdvisor Certificate
of Excellence 2013
Royal National Theatre (awarded to
businesses that rank in the top 10%
worldwide for traveller feedback)
2013 Empty Space…
Peter Brook Award
The Shed
2013 Critics’ Circle Awards
Rory Kinnear for Othello
Sharon D Clarke for The Amen Corner
Special Award
Nicholas Hytner and Nick Starr
2014 Learning on Screen
Awards (British Universities
Film & Video Council)
Educational Multimedia Award
50 Years of the National Theatre iPad app
Courseware and Curriculum Broadcast
Award
The Curious Incident of the Dog in the Night-Time:
From Page to Stage (BBC for BBC Two Learning
Zone)
Rory Kinnear for Othello
2014 RIBA London
Regional Awards
Most Promising Newcomer
The Shed by Haworth Tompkins
Best Shakespearean Performance
Kate O’Flynn for Port
2014 Civic Trust Special Awards
Pro Tem Special Award
(presented to an exemplar project)
Drama Victoria Award
(Melbourne, Australia)
The Shed
Best Performance by a Theatre Company
for Secondary Students
2013 Manchester Theatre
Awards
One Man, Two Guvnors
Best Visiting Production
War Horse, National Theatre at The Lowry
2013 Evening Standard Awards
Best Actor
Rory Kinnear and Adrian Lester for Othello
(won jointly)
‘A magical and ravishingly
distinctive fusion of the
theatrical arts.’
Paul Taylor, The Independent
Best Designer
Bob Crowley for People (with The Audience
and Once)
Best Musical Performance
Rosalie Craig for The Light Princess
2013 Walpole British Luxury
Awards
2014 Association for Cultural
Enterprises Awards
Best New Range
The National Theatre’s Everybody Dies
merchandise
2014 American Institute
of Architects UK Chapter
Excellence in Design Award
Haworth Tompkins for The Shed
British Cultural Excellence
The National Theatre
24 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 25
The National Theatre at 50
‘When asked what his policy was for
the theatre, Olivier replied: ‘To make
the audience applaud’. Half a century
on, it hasn’t stopped yet.’
Daily Telegraph leader
The National Theatre opened its doors in 1963
at the Old Vic under Laurence Olivier. Eight
hundred productions later, its 50th anniversary
was marked in autumn 2013 with a short season
celebrating the remarkable people and plays that
have made the NT one of the most cherished
and creative of great British institutions.
Three years in the making, Arena: The National
Theatre was a two-part documentary which told
the story of the National from the appointment
of Olivier as its first Director, and the great
period of legendary productions at the Old
Vic, to the move to the controversial and now
iconic building on the South Bank. Using
rare footage of historic productions from the
National’s own archive, the film went inside the
workings of the theatre and looked at recent
hit productions including Othello, Frankenstein
and War Horse in the making. Produced in
partnership with Lone Star Productions and
BBC Arena, the documentary aired on BBC
4, was seen by over half a million viewers,
26 National Theatre Annual Report 2013–2014
and won a FOCAL Award for Best Use of
Archive Footage in an Arts Production.
Live from the National Theatre: 50 years on stage,
broadcast live on BBC Two on 2 November and
to cinemas internationally, was an unforgettable
evening of live performance and rare glimpses
from the archive, featuring many of the most
celebrated actors who have performed on the
National’s stages over the past five decades and
directed by Nicholas Hytner. Extracts ranged
from Rosencrantz and Guildenstern Are Dead
to The History Boys, from Antony and Cleopatra
to Angels in America, and from Guys and Dolls
to London Road. The cast of over 100 included
Roger Allam, Simon Russell Beale, Benedict
Cumberbatch, Frances de la Tour, Judi Dench,
Christopher Eccleston, Ralph Fiennes, Michael
Gambon, Derek Jacobi, Alex Jennings, Rory
Kinnear, Adrian Lester, Anna Maxwell Martin,
Helen Mirren, Andrew Scott, Maggie Smith,
Penelope Wilton and many more – joined
at the curtain-call by the dozens of backstage
staff who had helped make it happen.
Over a million people watched live on television
and an additional 200,000 on BBC iPlayer.
A slightly edited version of 50 Years on Stage
was shown on US television in February
2014 as part of PBS’ Great Performances.
The documentary and the gala performance
have been released as a double-disc DVD,
currently sold exclusively through the NT
Bookshop; it has sold over 3,000 copies and
will soon be made available more widely.
Two contrasting exhibitions reflected on the
NT’s half century. Chris Arthur: Scenes from
National Life included unseen portraits of
Anthony Hopkins, Maggie Smith and Laurence
Olivier taken by a member of the original lighting
team with unique access to document the shows,
company life and backstage world of the Old
Vic. National Theatre Lampoon uncovered the
story of the National from the early 1900s to
the present day through rarely-seen cartoons
and caricatures, satirical swipes from diarists,
and records from the National’s own archive.
An anniversary programme of 29 Platforms told
three distinct stories. Scene Changes looked at the
sweeping changes that have taken place across the
theatre sector over the last 50 years, both onstage
and off; National Histories told very personal
stories about the National by some of the leading
artists who have been part of the company; while
Future Questions looked ahead at the challenges
facing writing, funding and regional theatre
over the next 50 years. The 119 contributors
ranged from distinguished designers, architects,
administrators and critics to leading actors and
directors. All 29 Platforms were made available
online and watched by over 150,000 people.
Part-treasure hunt, part-history tour, a National
Trail created by innovative company metroboulot-dodo took the audience on an interactive
journey around the NT. A pop-up shop
appeared on the South Bank for unique items
created for the anniversary, including signed,
limited edition prints by designers Michael
Craig-Martin, Jamie Reid, Paula Scher, David
Carson and Graphic Thought Facility; and a
witty range of gifts centred on Shakespeare’s
tragedies, ‘Everybody Dies’, which won Best
New Range at the 2014 Association for Cultural
Enterprises Awards (the second year running
the NT Bookshop had carried off this award). A
specially commissioned poster was sent to every
secondary school across the country for display
in drama studios and English classrooms to
inspire young people to make and enjoy theatre.
National Theatre Live presented encore
screenings of some of the National’s most
acclaimed recent productions: Shakespeare’s
Hamlet, with Rory Kinnear; Danny Boyle’s
production of Frankenstein by Nick Dear, based
on the novel by Mary Shelley, with Benedict
Cumberbatch and Jonny Lee Miller alternating
the roles of Frankenstein and the Creature;
and Alan Bennett’s The Habit of Art, with
Alex Jennings and the late Richard Griffiths.
The National launched its first app, 50 Years
of the National Theatre, an interactive timeline
available to download free for iPad. Focusing
on 50 seminal productions, it includes specially
written introductions to each play by playwright
Nicholas Wright, newly created content and
a wealth of assets from the Archive, including
photography, exclusive video interviews,
costume and set designs, audio features and
original programme articles. Having featured
as a ‘best app of the week’ in The Guardian, it
went on to win the 2014 Learning on Screen
‘Educational Multimedia’ Award and has now
been downloaded over 12,000 times. An updated
version containing interview footage from
Arena: The National Theatre will be released
in 2014 and will also be available on iPhone.
A social history project called Your National
Theatre was initiated as part of a three-year
project, asking audiences to share their memories
of the NT’s last 50 years. Over 500 people
submitted memories which are featured online;
collectively, they will help to create a unique
record that will form a vital part of the history
of the National for future generations. A series
of six digital exhibitions with the Google
National Theatre Annual Report 2013–2014 27
The National Theatre at 50
continued
Cultural Institute was launched, showcasing the
treasures of the National Theatre archive, offering
unique insights into the theatre’s rich history
and reaching out to a global audience. The first
exhibition centred on Greek tragedy, while the
second focused on staging children’s stories at the
National. Exhibits on Shakespeare and costume,
among others, will follow in the next two years.
On 22 October, HM The Queen, accompanied
by HRH The Duke of Edinburgh, marked
50 years to the day of the National’s opening
with a backstage visit. The royal party watched
rehearsals for Emil and the Detectives and
‘Sit Down You’re Rocking The Boat’ from
Guys and Dolls (which was to be performed
in the live gala performance), toured the new
prop-making workshop and met Dame Joan
Plowright (Lady Olivier). After unveiling
a plaque, the Queen was escorted from the
Theatre by Joey, the horse puppet from War
Horse, who had given the National’s Jubilee
Salute during the Thames Pageant of 2012.
That evening, the anniversary was marked
with speeches from the stage not only in the
three theatres on the South Bank – where
celebratory fireworks lit up the night sky – but
also in three West End theatres where War
Horse, One Man, Two Guvnors and The Curious
Incident of the Dog in the Night-Time were
playing; in Canterbury, where Alan Bennett’s
People was on tour; and in Birmingham, in
Dayton, Ohio and in Berlin, where War Horse
was also playing. Across the world, the NT’s
recent Hamlet, with Rory Kinnear, was seen
in 600 cinemas in 25 countries as part of the
National Theatre Live ‘Encore’ programme:
50 years after Peter O’Toole’s performance in
the same play on the NT’s opening night.
Your National Theatre, Chris Arthur: Scenes
from National Life, National Theatre Lampoon,
online exhibitions and the Timeline app
were supported by the National Lottery
through the Heritage Lottery Fund. Digital
and broadcast work was also supported
by the Sydney E Frank Foundation.
‘The mix of live performances from
a stellar cast and film clips of
performances in earlier years was one
of the most moving and exhilarating
nights I have ever spent in a theatre.’
Charles Spencer, Daily Telegraph
28 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 29
Audiences
The expansion of touring and National Theatre Live means that more people in the UK now see National
Theatre productions in their local theatres and cinemas regionally than at the NT on the South Bank.
Between September 2013 and November 2015, NT productions will make over 80 visits to British cities,
spending 133 weeks on the road. In 2013-14, the National’s audience reached almost 4.3million globally,
2.8million of them in the UK.
Audience Development
The eleventh Travelex Tickets season took the
number of £12 (originally £10) Tickets sold
since 2003 to 1,375,000 (74,000 in 2013);
2.26 million people in total have attended
the Seasons. Travelex Tickets continue to
attract first-time ticket-buyers: 25% in 2013.
156,000 discounted tickets for young people
were sold for NT performances in London.
Entry Pass, our popular free discount ticket
scheme for 16-25-year-olds, now numbers over
47,000 members. Further engagement with the
scheme was encouraged through 20 workshops
and events, ranging from a practical workshop
exploring the use of puppetry in live performance
to post-show Q&As with actors. The scheme
also offered two four-day introductory courses
392,122
people saw an NT touring
production in the UK
74,000
Travelex £12 Tickets sold
33%
of South Bank audiences were
first-time bookers
30 National Theatre Annual Report 2013–2014
for young producers and playwrights. Half-price
tickets for under-18s continue to be available
for all productions outside the Travelex season.
Over 23,000 concessionary tickets were sold to
disabled people and their companions for NT
productions in London, where we provided 41
captioned performances, two sign languageinterpreted performances and 41 audio-described
performances, along with 29 touch tours.
For Untold Stories at the Duchess Theatre, a
pilot was run offering audio introduction for
every performance. Outside the capital, for
People and War Horse on tour, there were 11
captioned performances, seven sign languageinterpreted performances and 12 audiodescribed performances with 12 touch tours.
Following the success of last year’s pilot ‘relaxed
performances’ – specifically designed to welcome
people with an Autistic Spectrum Condition,
learning disability or sensory and communication
disorders into the theatre – four further relaxed
performances were programmed, for Curious
Incident at the Apollo and Romeo and Juliet, Up
Down Boy and The Elephantom in The Shed.
In order to ensure The Shed attracted a mix of
audience members – including younger people
with a propensity to book late – a marketing,
press and ticketing strategy was developed
to target key groups outside the NT’s core
audience, and ensure tickets were available
close to the performance date. This approach
contributed to the venue attracting almost
double the percentage of ticket-bookers aged
under 35, when compared to the Lyttelton
and Olivier theatres in the same period.
Audience Experience
at the National
Commercial Operations is run by and for the
National Theatre and comprises Catering,
Hospitality Events, Retail, House Management,
Tours and Visiting, Building Operations
and Housekeeping. Its focus is to deliver an
exceptional audience experience to help support
the NT’s commitment to reaching and retaining
more audience members; and to generate revenue
to support the ongoing work of the NT.
Propstore, the café-bar created for the Inside
Out festival in 2012, returned to the river bank
for the summer of 2013 and outdid its previous
success: thanks to a programme of bands and
DJs, it served 200,000 customers, well up on
last year. For the second year running, the
NT Bookshop won best product range at the
Association of Cultural Enterprises awards (see
under 50th Anniversary above). In three hives
on the NT’s roof, 60,000 bees produced 100
jars of honey, which sold out in 24 hours.
From the summer of 2013, considerable planning
and attention was given to the impact NT Future
building works would have on audiences. While
maintaining a full programme of performances,
efforts have been made to keep disruption to a
minimum. New parking arrangements for Blue
Badge (disabled) holders have worked well. The
relocation of the main box office to the Lyttelton
foyer and the move of the main entrance to the
temporary theatre foyer while the new Sackler
Pavilion is under construction have proved
more challenging for regular visitors; however,
new signage, colourful hoardings and increased
staffing have helped to combat confusion. The
temporary housing of the Bookshop in a popup location on the riverbank in spring 2014
proved popular with South Bank visitors.
‘Earthy, exuberant
and fecund with
symbolism and
superstition…
Nature’s life force
triumphs over
human tragedy.’
Sam Marlowe, The Times
4.3m
paying audience worldwide
89%
capacity houses on the South Bank
1,453,104
people saw War Horse in the UK, North
America, Australia & Berlin and via
NT Live
National Theatre Annual Report 2013–2014 31
‘Betrayal is the most
heinous of military sins
so it is the last to be
suspected.’
National Theatre Live
Jonathan Shaw, military adviser
The remarkable growth of the NT Live
programme of cinema broadcasts has continued,
reaching an impressive audience of 1.49
million in 2013-14: a growth of over 200%,
with a total UK audience of 890,000 (in over
500 cinema screens across the country) and
overseas audience of 597,000. It is now regularly
available in 1,000 cinemas across the world
in more than 35 countries; the worldwide
audience since National Theatre Live launched
in 2009 has now reached 2.7 million.
A strong driver of this growth was the series
of NT Live broadcasts of productions from
other British theatre companies, with 676,000
tickets sold over the year for The Audience
(Playful Productions), Macbeth (Manchester
International Festival) and Coriolanus (Donmar
Warehouse), while the audience for the NT’s
own productions grew by 69% to reach 811,000.
Peter Morgan’s The Audience, with Helen
Mirren giving an Olivier Award-winning
performance as The Queen, was broadcast
from the Gielgud Theatre in London’s West
End to a worldwide audience of almost
400,000 people, the largest to date for a
single National Theatre Live production.
Partnerships with Manchester International
Festival for Kenneth Branagh’s Macbeth
and the Donmar Warehouse for Coriolanus
with Tom Hiddleston both drew audiences
approaching 150,000 (the latter marking
our second partnership with the Donmar,
following Derek Jacobi’s King Lear in 2011).
36
1,000
countries
NT Live venues worldwide
32 National Theatre Annual Report 2013–2014
Back at the National, James Graham’s new play
This House was broadcast to over 70,000 people
from the Olivier Theatre; Nicholas Hytner’s
much-acclaimed production of Othello reached
130,000 and included more than 130 screenings
aimed specifically at a schools audience. As
noted earlier, encore screenings of Hamlet,
Frankenstein and The Habit of Art were given
to mark the NT’s 50th anniversary and the
celebratory performance Live from the National
Theatre: 50 years on stage was broadcast to
international cinemas. The final broadcast of the
year was the long-anticipated War Horse from
the New London Theatre which, by the end of
the financial year, had played to 322,000 people
with many encore screenings still to come.
National Theatre Live Audiences
1600
1400
1200
1000
800
0.5% 0.5%
600
400
7%
8%
200
2009-10
2010-11
2011-12
UK Audience (’000)
2012-13
22%
2013-14
International Audience (’000)
62%
Total Audience (’000)
0.5% 0.5%
UK
7%
North America
Europe
8%
Australia and New Zealand
Asia
South Africa
22%
62%
UK
530
2,700,000+
North America
Europe
Australia and New Zealand
Asia
South Africa
venues in the UK
worldwide audience for National Theatre
Live since its launch
National Theatre Annual Report 2013–2014 33
Digital Innovation and Broadcast
Much of the Broadcast and
Digital department’s work this
year centred around the
National’s 50th anniversary
celebrations covered earlier in
this Report, with a range of
activities across broadcast and
digital platforms to reach as
wide and varied an audience
as possible.
The National continued to grow and develop its
audiences for digital content about productions
in the repertoire and behind-the-scenes theatre
craft. In 2013-14 there was a total of 1.9 million
downloads and streams of free digital content
across five online channels (YouTube, iTunes,
iTunesU, SoundCloud and the NT website).
A high quality archive recording of Polly
Findlay’s 2012 production of Antigone was
made freely available with protected access
through a content partnership with Clipbank,
a digital learning experience for secondary
schools, and was seen by over 40,000 students.
This was followed by a high quality archive
recording of the Primary Classics production
of Romeo and Juliet, also made available with a
range of supporting digital resources through
Clipbank to over 20,000 school children.
The Hour, a 30-minute documentary following
six actors in the 60 minutes before curtainup as they prepared to go on stage at the
NT, was made exclusively available on the
Guardian website in October and attracted
nearly 20,000 viewers in four weeks.
The National also launched a bold new venture,
starting production on a feature film adaptation
of Alecky Blythe and Adam Cork’s London
Road, first seen at the National in 2012.
Financed by the National, BBC Films, the BFI
and Lip Sync, the film is being co-produced
with Cuba Pictures and directed by Rufus
Norris, and will feature all the original cast
members from its runs in the Cottesloe and
Olivier Theatres. The film began production in
March 2014 for likely release in early 2015.
34 National Theatre Annual Report 2013–2014
60,000
Views and downloads of
Antigone and Romeo and Juliet
on Channel 4’s Clipbank
1.9m
Downloads and streams
of NT digital content in 2013
National Theatre Annual Report 2013–2014 35
Learning
NT Learning opens up the NT’s repertoire, artistry, expertise, and the
building itself, enabling participants of all ages to discover new skills
and experience the excitement of theatre.
In October 2013, marking its 50th birthday,
the National sent a specially-commissioned
poster with a letter from Nicholas Hytner to
every secondary school in the country. The
poster (illustrated opposite) celebrates the many
ways in which young people can use their skills
and imagination in making theatre: a visual
manifesto for the National’s aim to open up
the breadth of expertise in making theatre.
The National’s new Clore Learning Centre opens
in autumn 2014 and will widen still further the
opportunities we offer to schools, young people,
families and adults, with the invitation to discover
and explore theatre at the heart of the NT.
Exploring theatre with schools
Ben Power’s adaptation of Romeo and Juliet for
primary schools, directed by Bijan Sheibani,
opened at the Waterside Theatre in DerryLondonderry as part of City of Culture
2013, toured to schools in London in June
and July and played in The Shed during the
school summer holidays. Over 8000 children
saw the play; 2,135 took part in the creative
education programme offered with the
production; and 24 primary schools and three
secondary schools hosted performances.
It was an outstanding performance. The costumes,
the production, the multi-cultural cast together
reminded me of the great tradition of contemporary
theatre our lucky children are being exposed to, via
the National Theatre.
Year 5 teacher – Lauriston Primary School
Bijan Sheibani’s production of Emil and the
Detectives was also the inspiration for a series
of projects focusing on playwriting and design.
540 children from 13 schools wrote their own
short plays inspired by the production, and
saw excerpts performed by NT actors in The
Shed. Another 90 children from three schools
worked with a theatre designer to create their
own settings for the play. The Elephantom
provided an opportunity to work with younger
children from six local schools, who created
36 National Theatre Annual Report 2013–2014
elephant puppets, songs and dances which they
performed for other classes in their schools.
It was really good to see them expressing themselves
so confidently in front of an audience… Coming
to the performance was just amazing and an
unforgettable experience for the children which
they’re still talking about.
Year 1 Teacher – Griffin Primary School
An in-depth project for secondary schools
runs alongside The Curious Incident of The
Dog in the Night-Time, working with students
on the autistic spectrum or who have other
social and communication difficulties.
Each project culminates in performances
by the young people for their families:
I loved the show last night and I loved the way that
the show acknowledged what our children find
difficult and through drama presented them with a
way around difficult social situations.
Parent, Ashcroft Academy
The NT’s secondary school programme
has explored repertoire through a series of
projects on the Black Plays Archive and on
Port, sixth form conferences on Othello, King
Lear and Katie Mitchell’s Five Practitioners
films, and events on Edward II and A Taste
of Honey. Students also have the opportunity
to explore theatre production and careers in
theatre, with events focusing on Lighting and
Sound, Costume, Wigs, Hair and Make-up,
and Voice. A wide programme of teacher
training included in-depth courses on Verbatim
Theatre, Devising and Adaptation and active
approaches to teaching Shakespeare.
National reach
The National’s flagship youth programme,
Connections, marks its 20th year in 2014-15.
It continues to grow in reach and popularity,
with 235 youth and school theatre companies
participating in the 2012-13 cycle. Almost 300
companies applied to take part in 2013-14. Of
the 240 accepted onto the programme, half were
new to the scheme and more than a quarter
received bursary support to take part, recognizing
scarce funding or a group or school based in a
disadvantaged community. Companies come
from across the UK, with an increase this year
in participants in Wales and in Scotland. The
number of partner theatres across the UK has
grown to 26: each partner works with the NT
to recruit and support local youth theatres and
host a Connections festival. The National has
now commissioned over 150 plays for young
people, creating a lasting repertoire for youth
theatre companies worldwide, and Dennis Kelly’s
DNA, commissioned in 2007, is included in the
GCSE English syllabus. This year’s Connections
writers are Deborah Bruce, Matt Hartley, Sam
Holcroft, Dafydd James, Catherine Johnson,
Pauline McLynn, Sabrina Mahfouz, Luke
Norris, Evan Placey and Simon Vinnicombe.
New Views, another national programme,
challenges young people to try their hand at
playwriting. Now in its third year, New Views
supports playwriting groups in schools and invites
participating students to submit short plays to an
annual competition. 300 plays were submitted
in 2013, of which nine were given rehearsed
readings by members of NT companies, and
one, Carpe Diem by 14-year-old Ella Thompson
from Dorothy Stringer High School in
Brighton, was given a staged performance in
The Shed. New Views has continued to grow,
with 66 schools from across the UK signing
up in September 2013 and groups set up at
Bristol Old Vic, Leicester Curve and the NT.
National Theatre Annual Report 2013–2014 37
Learning
continued
Completely terrific in every way. A wonderful, fully
resourced opportunity for both staff and students to
be involved in. … The joy of working with students
in an organic and free way. The knowledge that I
can escape the prescription of the curriculum.
Teacher, New Views 2013-14
The UK tour of War Horse has been the
catalyst for a wide range of projects developed
in partnership with tour venues. These aimed
to reach audiences that would not otherwise
have the opportunity to see the production,
and to connect with local histories around the
centenary of the First World War. In addition,
a partnership with the National Army Museum
has provided free historical workshops and
sessions handling First World War artefacts in
schools across the UK. In Birmingham a teacher
commented on the ‘noticeable difference’ in
her students’ practical drama work after taking
part in War Horse workshops and added:
For me, the highlight of the whole project was seeing
Mohammed [a student] interacting with the actors
of War Horse and then taking his horse to meet
THE horse… something in the War Horse trailer
and the puppetry it displayed captured his
imagination and all of a sudden he started his own
designing and building project. It was lovely to see
him so engaged and filled with confidence talking to
the cast and asking questions. He was so proud of his
work, as was I.
Teacher, Yardleys School, Birmingham
Digital provision is also key to national
reach, providing access to the work of the
NT in classrooms across the country. As well
as offering high quality archive recordings
of Antigone and Romeo and Juliet through
Clipbank, the NT worked with BBC
Learning to develop educational resources on
Curious Incident – winning the Courseware
and Curriculum Broadcast Award in the
2014 Learning on Screen Awards.
Informal learning and training
Activity for young people at the NT has
continued to develop, building towards the
launch of a larger programme in the Clore
Learning Centre. Partnership projects with
Blackfriars Settlement, Spotlight Youth
Centre, Barnardos and Coram Family have
enabled more than 70 young people with no
previous access to theatre to take part in youth
theatre programmes. Entry Pass has offered
repertoire-based workshops and short courses
in playwriting and producing. Young people
have also had the opportunity to create their
own work in collaboration with NT artists and
the NT Studio through Young Studio. Three
seasons of intensive activity took place over the
year, culminating in an immersive installation
at the NT Studio, a production devised for
The Shed, and a site-specific performance in
an abandoned office space in Oxford Street,
inspired by a week-long residency with
Punchdrunk. Young Studio members have
also collaborated with NT Studio artists over
the year, including the TEAM and playwright
Sam Holcroft. The NT’s Youth Programme is
supported by the Paul Hamlyn Foundation.
Theatreworks Partnerships engage hard-toreach community groups with the work of the
NT, providing opportunities for development
through theatre. Projects this year explored many
different aspects of theatre, including puppetrymaking, playwriting, the Commedia tradition,
scenic art and set design, and music. Fourteen
projects took place during the year involving
200 participants from groups including the
National Autistic Society, Crisis, outpatients
from the Maudsley Psychiatric Hospital and
the Jagonari Centre in Tower Hamlets.
This project has generated my creativity again.
Using skills I forgot I had, or didn’t think I had.
Participant, nut partnership project.
Theatreworks also offers internal training
programmes for the NT, this year devising
a training and mentoring programme to
support NT apprenticeships and continuing
to provide training for Front of House staff.
The Theatreworks corporate programme
reached 800 clients over 80 sessions, generating
£82,000 to support NT Learning.
38 National Theatre Annual Report 2012–2013
5,000
240
young people from
school and youth theatres
participated in Connections at
26
88,000
regional theatre partner festivals
school and college students saw
NT performances in London
6,472
secondary schools and colleges
received an NT 50th anniversary
poster
570
teachers and youth theatre
leaders trained
300
NT Archive
The Archive played a key role in the NT’s 50th
anniversary celebrations: both the BBC Arena
documentary and the live 50th anniversary
performance drew heavily on its collection and
featured documentary footage. NT Archivist
Gavin Clarke curated two exhibitions for the
50th anniversary: National Lampoon and
Scenes from National Life (see page 26), and
Archive content features in the 50 Years of the
National Theatre app and Google Cultural
Institute digital exhibitions. The Archive
also played a vital role in Daniel Rosenthal’s
research for The National Theatre Story.
The Archive is increasingly a focus for
Learning activity, with its resources widely
used by secondary schools. A series of projects
supported by the National Lottery through the
Heritage Lottery Fund have taken place over
the year, including several teacher residencies
developing archive-based resources for
primary and secondary schools and a primary
school project exploring the Archive and the
architecture of the NT’s South Bank building.
of the Shakespeare Memorial National Theatre
Collection – documenting the movement to
found a national theatre – is now complete.
The papers of Ken Briggs, the NT’s first
graphic designer, have been donated to the
Archive and cataloguing is underway.
Volunteers continue to play a valued role
in the work of the Archive, and the NT is
grateful for their support. The NT Archive
is open to everyone by appointment.
Work has continued on the Black Plays
Archive, which provides access to a range of
resources designed to support the study of black
British theatre history; it now documents 511
productions by 168 playwrights. Cataloguing
scripts submitted for New Views
National Theatre Annual Report 2013–2014 39
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.
Platforms
Platforms offer audiences a deeper insight into
the work on stage and other aspects of cultural
life. 402 guests took part in 93 Platforms,
attended by 24,500 people. In addition to the
NT-at-50 Platforms (covered earlier), three
other birthdays were celebrated: Michael Frayn
at 80, Paines Plough at 40 and Complicite at
30. The actor Giles Terera led a week of events
called Walk in the Light, honouring the rich
contribution that black artists have made to
British theatre over the past 50 years, which
culminated in a performance in the Lyttelton
featuring 79 actors and musicians. Perennial
favourites Simon Russell Beale, Alan Bennett,
Nicholas Hytner, Peter Brook and Private
Eye once again drew sell-out audiences; ten
Platforms were devoted to Shakespeare, and
14 were followed by book-signings. New
this year were ShedTalks, ten pre- and postshow discussions with the creative teams
and companies in the temporary theatre.
Free Exhibitions
The major exhibitions of autumn 2013, marking
the NT’s 50th anniversary, are covered earlier
in this Report, but there was no shortage of
highlights during the rest of the year. Peter
Bobby’s photographic exhibition High-rise,
presented as part of the London Festival of
Architecture, looked in a compelling and
imaginative way at the world’s developing love
affair with the skyscraper. The British Press
Photographers’ Association returned after a
year’s absence to survey the major stories of
2011 and 2012 in images that were in turn
joyous, dramatic and highly controversial.
The 2013 Linbury Prize displayed the work
of 12 graduate stage designers; and Take a
View (the Landscape Photographer of the Year
competition) proved as crowd-pleasing as ever.
40 National Theatre Annual Report 2013–2014
The year under review ended with Photo Noir,
The Art of Cornel Lucas, a tribute to the doyen
of film photography featuring the immaculately
composed high-contrast portraits that – alone
among photographers – won him a BAFTA.
Watch This Space
With The Shed occupying much of Theatre
Square, the annual Watch This Space festival took
a break from its usual large-scale programme and
presented a more modest offering entitled August
Outdoors in partnership with American Express.
This pop-up mini-festival of free entertainment
in the gap between the NT main entrance and
The Shed, included funky music, a gallery in a
caravan, a hairdresser in a caravan, an explorer in a
garden shed, a contemporary dance/circus fusion
and interactive children’s puppetry, much enjoyed
by visitors of all ages.
Backstage Tours
Just under 21,000 people joined a Backstage
Tour this year. As well as seeing productions
evolve and how the repertoire runs, the
changing environment of the building while
NT Future works progress provided much to
engage and inspire visitors – not least, a whole
new theatre and additional space backstage.
Many were fascinated to see seating and other
elements from the Cottesloe recycled in The
Shed; how the Speaker’s Chair from the House
of Commons doubled up as cleaners’ cupboard
in This House; and in one scene of Strange
Interlude, to see the harbour, within seconds,
become a boat. Costume Tours provided an
in-depth look at a well-loved area of theatre
design, and Family Tours gave young (and
young at heart) a chance to dress up in costumes
and see ‘prop food’ on the menu: “best fun
in all the world”, one six-year-old decided.
Publications
Programmes, and the NT’s other publications,
add to the experience of seeing a play. Specially
commissioned articles providing background
to the National’s repertoire this year explored
life in Berlin in the 1920s and in Salford in the
1950s; Othello from a military perspective;
being young and homeless; the ‘anonymous’
protest movement; the feudal world of
Marlowe’s Edward II; Pirandello’s women; the
power of fairy tales; and Expressionism; plus
a conversation on theatrical process between
Simon Russell Beale and Sam Mendes. Other
distinguished contributors included Jonathan
Bate, Camilla Batmanghelidjh, Tanya Byron,
Peter Holland, Nicholas Hytner, Caryl Phillips,
Tanya Ronder, Dominic Sandbrook, Marina
Warner and Jeanette Winterson, For the ninth
successive year, the selling price for Olivier and
Lyttelton programmes was held at £3, while those
for The Shed sold at £1. NT programme contents
are also supplied to touring and transfer venues in
the UK and abroad, and illuminating background
packs on most productions are compiled and
edited by Publications with NT Learning.
For the NT’s 50th anniversary celebration,
50 years on stage, a sumptuous programme was
produced, giving audience and performers’
memories of the NT and a brief history; it was
given to the audience at both performances on
1 and 2 November. Publications gave vital
support to Daniel Rosenthal’s The National
Theatre Story, published by Oberon Books, which
was launched at the NT in December 2013 and
went on to win the 2014 Theatre Book Prize.
24,500 197,777
8
21,000
attended platforms
programmes sold
free exhibitions
people took a backstage tour
National Theatre Annual Report 2013–2014 41
National Theatre Future
Reaching audiences not just on our stages but also through the work of the Learning department, and
through the National’s digital outreach including NT Live, has shaped the way in which the NT Future
redevelopment scheme is designed. From 2015, when the scheme will be complete, these plans will
begin to bear fruit, as the Dorfman Theatre, Clore Learning Centre and Max Rayne Centre allow us to
engage with audiences, young people and theatre-makers in new ways, creating broader and deeper
relationships with larger numbers of people from around the country and across the world.
Another major theme of the NT Future scheme is to provide new project spaces within the Max Rayne
Centre. This will enable us to offer a temporary base with support facilities to both established and
emerging freelance designers and theatre-makers, allowing a space for sharing of ideas and practices,
as well as immediate access for designers working on current NT productions.
Lisa Burger, Chief Operating Officer
During 2013-14 over £8.5m was raised for
NT Future, bringing the fundraising total
to £76.3m towards our target of £80m.
We received additional major gifts from The
Dorfman Foundation, The Monument Trust,
The Sackler Foundation and The Garfield Weston
Foundation, all of whom were founding donors
when we first launched the campaign. This year
saw the first corporate support of the project,
with Bank of America Merrill Lynch becoming
the Founding Corporate Partner for NT Future.
We also received major gifts from 11 new
members of the Chairman’s Circle, all of
whom have pledged £100,000 or more; this
took overall membership of the Chairman’s
Circle to 65 by the end of 2013-14.
The support shown by members of our audience
for NT Future has continued to grow. The
Audience Appeal was launched in January
2013 to encourage donations at all levels. Their
total contribution had reached over £2m by
the end of 2013-14, with donations being sent
by almost 4,000 people, as well as the 90,000
people who have chosen to make an additional
5% donation when booking tickets online or
by telephone. When the NT Future Supporters
Mural is unveiled in 2014, it will include the
42 National Theatre Annual Report 2013–2014
names of over 3,000 people, all of whom
have donated £100 or more to NT Future.
Building work for NT Future hit its full stride
this year, with the National maintaining a full
programme of performances throughout (see
under Audience Experience, page 30). The
new prop-making workshop and set assembly
areas were the first elements of the project to be
completed, and were visited by HM The Queen
on our 50th anniversary in October 2013; visitors
will be able to see these for themselves when the
Sherling High-Level Walkway opens. New offices
for the catering, house management, tours and
housekeeping departments have been created,
and the sound, lighting and armoury departments
are now occupying refurbished offices, workshops
and resource areas which will directly connect
to each other and the Max Rayne Centre.
House (formerly Mezzanine) restaurant has been
stripped back and restored to re-open in summer
2014 as an all-day brasserie. At ground floor level
on the north-east corner, a glazed atrium will
offer a café and bakery called Kitchen alongside
a new craft beer pub with riverside seating (The
Understudy). The Sackler Pavilion will welcome
visitors approaching from both west and east;
these areas will open successively throughout
autumn 2014. New landscaping is being laid
on the Weston Terrace which will include a
permanent staircase to the Terrace restaurant and
the installation of donor paving stones; the Bank
of America Merrill Lynch Terrace is also being
re-landscaped and greened, as is Stage Door
Avenue and the entrance to the Dorfman Theatre.
Construction delays – particularly the complex
integration of mechanical and engineering
services, many at subterranean level – led to
the opening of the Dorfman Theatre and
Clore Learning Centre being rescheduled
to autumn 2014. The transformation of the
Dorfman auditorium is well under way, with new
elevators to raise and lower the pit seating area
installed, along with the new seats themselves;
final fitting-out of the Dorfman and Clore
Learning Centre takes place in summer 2014.
The last phase of construction and renewal,
primarily focused on upgrading and enhancing
the front of house public facilities in the
Lyttelton foyer, will roll out from autumn
2014 to spring 2015. Regular updates and
photos of construction work are posted on the
website at nationaltheatre.org.uk/ntfuture.
National Theatre Annual Report 2013–2014 43
NT Studio
The NT Studio is fundamental to the National’s system of artistic
development and support, broadening the work we present on our
stages and allowing us to refresh and renew our repertoire. The Studio
plays a vital role in promoting the health and renewal of theatre at
large by providing an environment in which writers, actors and
practitioners of all kinds can explore, experiment and devise work,
free from the pressure of public performance.
In 2013, the Studio has continued to play a vital
role in initiating, developing and generating
much of the new work that has been presented
on the National’s stages over the last 12 months.
Breadth of form is matched by the wide network
of artists with whom we have created work, from
the musical The Light Princess and sound-based
piece The Hush, to family shows Emil and the
Detectives and The Elephantom, devised projects
Home and Blurred Lines, and revisited classics
Edward II and From Morning to Midnight.
The Studio has a commitment to working in
partnership with other theatre companies.
In 2013, our successful Studio Affiliate
programme has been extended to include the
New Vic Theatre in Newcastle-under-Lyme.
The partnership intends to boost the New Vic’s
ambition and skills-base; raise its industry and
audience profiles; and develop a network of
artists, and has already helped lead to the creation
of an ambitious multi-authored project, due to
be produced in 2015. This year the Studio has
worked with Manchester’s Royal Exchange, to
act as the London hub for the theatre’s writing
award, the Bruntwood Prize; presented works
from SPILL Festival of Performance; and run
events at leading regional theatres including
Birmingham Rep and Northampton’s Royal
and Derngate for their artistic directors to
meet with promising emerging directors.
Professional training remains at the heart of
the Studio’s work, and our training activity
cuts across all levels of professional practice.
In addition to our staff director programme
and the annual Directors’ Course, we also
run a number of bursaries. The JP Morgan
Award for Emerging Theatre Directors sees a
director receive a residency at the Studio, as
well as support through the development and
production of a show at The Gate in Notting
44 National Theatre Annual Report 2013–2014
Hill. The Quercus Award is our programme for
mid-level directors to take on a year’s Associateship at a major regional producing house, and be
supported through the realisation of a main-stage
production. Charlotte Gwinner has spent a year
as Associate Director at Liverpool Everyman and
Playhouse: her production of A View from the
Bridge was developed at the Studio, and opened
in April 2014. This year we have also introduced
a new training strand, with our monthly
Inspire events bringing together emerging
directors and designers in shared learning.
Leading practitioners in technical creative fields
lead practical skills workshops, encouraging
peer sharing and creative collaboration.
Alongside NT repertoire work is a commitment
to support both emerging and established
UK artists. 44 workshops took place from
independent theatre-makers of all kinds,
who came together to develop new ideas
and relationships. Artists whom the Studio
supported this year include Gbolahan Obisesan,
workshopping a show that has subsequently
been picked up by The Bush for presentation;
devising company Dead Centre, whose
production of Lippy won the Irish Theatre
Award for Best Production; and dance company
Ballet Black, whose children’s ballet Dogs
Don’t Do Ballet will be produced in 2014.
As well as organising workshops and readings,
the Studio was host to 57 different artists on
attachment, including writers, directors, video
artists and performance poets. This year, we were
joined by video artist Mark Grimmer, aerial
company Tangled Feet, and writer Rebecca
Prichard amongst others. Sam Holcroft was
our Writer-in-Residence for the year, working
on a number of projects including an NT
commission of a play which will be produced in
the opening season of the new Dorfman Theatre.
£1.9m
spent on research and
development at the NT
19
57
play readings
attachments offered (25 writers,
7 directors, 3 companies, and
22 other theatre-makers)
44
development workshops
for projects outside the
NT repertoire
National Theatre Annual Report 2013–2014 45
Leadership
As a national company, the NT
takes responsibility for fostering
the health and renewal of the
wider British theatre community
by sharing our expertise and
resources with emerging talent,
freelance artists and other theatre
companies and providing
appropriate levels of support
across artistic and administrative
areas of theatre-making. We also
take responsibility for resourcing
training and professional
development across the sector
(this is a major theme of the
NT Future scheme which will
house freelance designers and
theatre-makers).
Sharing our Resources
Building on our previous relationship with
Punchdrunk, the National co-produced their
new London show The Drowned Man: A
Hollywood Fable, which opened in June 2013.
As well as supporting the development of a
business model for the production, the National
Theatre contributed a variety of resources,
including box office and marketing support,
technical and production staff and resources,
and guidance and advice on areas including
planning, and front of house operations. 157,000
tickets have been sold for the production,
which runs for a year until July 2014.
At the end of 2013, the NT and Royal
Shakespeare Company casting departments
joined forces to organise an event specifically
aimed at broadening their knowledge of deaf
and disabled actors, to try and ensure better
representation of this community on our stages.
Applications were invited from actors with
some training or professional experience via
established deaf and disabled theatre companies
such as Graeae and Deafinitely Theatre, and
through social media and an informal network
of existing contacts. In early January and late
46 National Theatre Annual Report 2013–2014
March 2014, three days of general auditions
were held at the NT Studio, with successful
applicants performing prepared speeches to
casting directors from not only the NT and RSC
but those working for other theatre organisations
or as freelances. A Q&A was held at the end of
the event to gather feedback. Generally, those
who had taken part declared the event a positive
step in the right direction and all the casting
directors who took part met many actors whose
work they did not know. It also opened up
other networks of contacts for future reference,
both in terms of seeing work and sourcing
actors. One actor who attended the event has
already been employed in a show at the NT.
department provide informal fundraising
support and advice to a range of organisations,
and in 2014 will continue their work with
Northern Stage. Members of the NT Executive
and Senior Management continue to serve on a
wide range of theatre boards and as formal and
informal mentors. National Theatre Scotland,
Citizens’ Theatre Glasgow, Sydney Theatre
and the Abbey Theatre, Dublin have benefited
from advice on literary commissioning and
contractual terms. A member of the NT’s
casting department spent three months on
secondment to Regent’s Park Theatre where
she cast Twelfth Night Re-Imagined and
was casting associate on Porgy and Bess.
A relationship with Theatre Royal, Stratford
East began with the collaboration on
performances of The Curious Incident of the
Dog in the Night-Time for local students (see
page 18). The NT Commercial Operations
and Catering team are currently working with
them on the development of their public
spaces and commercial projects; and also with
theatre company Fuel to advise on commercial
and ticketing services for their new project for
summer 2014 in the neighbouring Doon Street
car park, The Roof, for which we will run their
bar. They have assisted with the recruitment
of new managers for Battersea Arts Centre;
and for Cambridge Arts Theatre, helping to
realise the potential of their new front of house
space for which the NT wrote a business case
for a successful fundraising application last
year. Informal advice has also been offered to
Hampstead Theatre on their commercial options.
Building external relationships
The NT provided administrative and marketing
support to the National Youth Theatre by
selling tickets via the NT Box Office, and
also for Nesta’s ‘Future Fest’ at Shoreditch
Town Hall. We continue to provide IT and
Box Office support to Greenwich Theatre.
Fairfield Halls, Arts Depot and Sadler’s Wells
have joined the Arts Basket, a collective
arrangement launched by the NT in 2012
with the Royal Albert Hall and Royal Opera
House, which allows arts venues to combine
forces in order to procure the most cost-effective
and clean energy and now has 12 members.
A strategic partnership between the National
Theatre of China and the National Theatre
was announced as part of the Prime Minister’s
trade delegation to China in December 2013.
In addition to a Chinese-language production
of War Horse in autumn 2015 at the National
Theatre of China’s theatre in Beijing and then
a tour across China, beginning in Shanghai,
the partnership will see an exchange of skills
and expertise between the two theatres in areas
including technical production, marketing and
education, as well as the possibility of creative
collaboration on future productions. Joey caused
his now customary sensation, appearing at a
lunch with David Cameron for 600 Chinese and
British delegates in Shanghai. We were invited
to visit China again in April 2014, in the first
instance by the British Council, to participate
in the 2014 UK-China High Level People to
People Dialogue as an eye-catching example of
creative collaboration between China and the
UK. The signing of the agreement between the
National Theatres of China and Great Britain
was witnessed by the co-chairs of the Dialogue,
Chinese Vice Premier Liu Yangdong and Jeremy
Hunt MP, Secretary of State for Health and the
PM’s special envoy to the Dialogue. On this trip,
Joey was photographed at the Great Wall. As our
partnership with the National Theatre of China
develops we hope to be able to continue to engage
with both the UK and Chinese governments as
an example of a successful UK creative export.
We continue to provide HR advice to a number
of publicly funded theatres and some local
charitable groups. Members of the Development
The Director of External Relationships and
Partnerships, John Langley, chaired the Visitor
Management Group of local companies,
which will be responsible for representing
the interests of visitors and residents alike in
the context of the major construction work
about to happen on sites around Waterloo.
He also participated in board meetings of the
South Bank Employers’ Group, South Bank
Partnership, South Bank Forum, South Bank
and Bankside Cultural Quarter, South Bank
Business Watch, and the Waterloo Quarter
Business Improvement District. In February he
was elected Chair of the Neighbourhood Forum,
the group charged with developing a Planning
Statement that, under the Localism Act, must
be adopted as guidance for the Waterloo area.
Developing People
2013-14 saw a renewed focus on training
and development with the introduction
of further apprenticeships.
The Step Change programme, for early to
mid-career professionals seeking to progress
or develop their careers in the performing arts,
relaunched in May 2014 with a new structure
designed to build regional relationships and
attract talented participants from across
the UK. Providing coaching, mentoring,
masterclasses and experience-based learning,
and focusing predominantly on producing
and management roles, Step Change expands
the range of opportunities for those hoping
to make a transition within or into the arts,
especially those who are overlooked and
under-represented. Now in its sixth year, the
programme’s key aim is to develop confident,
experienced, daring and aware professionals
who will strengthen the heart of the sector.
Step Change 2014-15 and 2016-17 will be run in
partnership with Bristol Old Vic; Live Theatre,
Newcastle upon Tyne; and The Lowry, Salford,
with additional support from the Ambassador
Theatre Group, Paines Plough and Theatre
Royal, Stratford East. As well as helping to
recruit participants, these organisations have
committed to supporting all elements of the
programme: providing speakers for masterclasses,
hosting secondments and staff members
volunteering as mentors. In addition, residential
masterclasses will be hosted at each of the three
partner organisations, with the final evaluation
session taking place at the National Theatre.
The National’s apprenticeship and trainee
programme goes from strength to strength,
providing valuable opportunities for people who
might not otherwise have considered careers at
the NT, and helping to address issues of diversity
in theatre more generally. By September 2013,
nine apprentices and trainees were in post across
seven departments: Technical Theatre (Lighting),
Health and Safety, Sound, Props, IT Service
Desk Support, Concrete Conservation (based in
Engineering, supported by the National Lottery
through the Heritage Lottery Fund as part of
the NT Future programme) and Development
Events. All are supported by mentors from both
within their departments and from the wider NT
community, and regularly work together on a
specifically designed TheatreWorks programme
aimed at developing their soft skills and thus
their employability and confidence. Training
is also run around coaching and feedback, and
mentorship skills for existing staff members
who are involved with apprentices and trainees;
we hope to offer more of this in the future.
In February 2014 Nell Allan, our original
Technical Theatre apprentice, became the first
person to reach the end of her apprenticeship.
Having been supported in her transition to
the outside world through working on her
CV, interview techniques and networking, she
secured a fixed term contract at the St James’s
Theatre, Victoria. Health and Safety trainee,
Georga Costi, has been given a permanent
position at the NT as a Safety Risk Assistant
and on completion of her traineeship will
continue her training and development under
the guidance of her colleagues. We have initiated
a policy whereby ex-apprentices and trainees can
continue to make use of the NT’s facilities for
at least a year after their training is completed.
of candidates and to remove barriers that
might inhibit people from applying. Two
focus groups have looked at how to encourage
diversity through the recruitment process,
through advertising, application, interview
and workshop. The team from The Deck
put together NT Talent, an in-house agency
promoting the Theatre’s talented Front of
House staff as musicians and entertainers for
clients using the NT’s entertainment spaces.
National Theatre Foundation
Richard Eyre, formerly Director of the National
Theatre (1988 – 97), became Chairman of the
National Theatre Foundation in November
2013. The Foundation is an independent
charity, whose primary purpose is to support
the National Theatre and make benevolent
welfare grants to individuals closely associated
with it. In order to help support the health of
the UK theatre at large, the National Theatre
has entered into a joint arrangement to create
a new Education Endowment Fund within the
Foundation; all unrestricted legacies directed
to the NT will in future go to the Foundation.
A regular income will finance both the NT’s
education work and programmes for the
development of the profession, for example
bursaries, apprenticeships and training.
In 2014-15 we will take on a specific Lighting
apprentice (with Tower Hamlets College),
and a Sound trainee. We also intend to expand
into Digital Drawing and Design, offering
an IT apprenticeship specialising in CAD
Drawing, whilst working with the Royal Opera
House and West Thames College on a new
apprenticeship in Wigs, Hair and Make-up.
In other areas, Commercial Operations holds
two recruitment drives a year (typically hiring
30-40 people) which aim to be as inclusive
and accessible as possible to a wide variety
National Theatre Annual Report 2013–2014 47
17%
18%
Sustainability
7%
11%
40%
7%
The NT keeps a constant eye on
sustainability and efficiency,
streamlining operations,
processes and practices to achieve
the best and fairest use of
our resources, both money
and people.
During the year the NT developed a new
business model looking at the likelihood of
continued reduction in government funding
and increased emphasis on fundraising and
other income streams. The model looks at likely
outcomes at three different operational levels
(aspirational, expected and a more conservative
outlook) over a three-year period. The model
will enable the Executive and Board to make
informed business decisions while understanding
the risks and opportunities for the organisation
and how this might affect the NT in the future.
The NT Future redevelopment will bring a larger
building footprint and an increased volume of
activity. However, we will more than offset the
costs by investing in energy-saving measures,
increasing self-generated revenue, improving
operations and finding efficiencies and savings.
Financial Sustainability
The National achieved a break-even result
for the year reflecting strong ticket sales at its
theatres on the South Bank, in the West End
and on tour as well as for NT Live, offset by
the abrupt closure of The Curious Incident of
the Dog in the Night-Time after the collapse
of the ceiling at the Apollo Theatre.
The Development department raised £16.4m
for NT Future (including £7.7m from Arts
Council England as the second tranche of their
£17.5m grant), as well as £6.5m for revenue
activity from individual giving, corporate
sponsorships and commercial promotion.
Our current levels of activity are dependent on
the funding received from the Arts Council
which in 2013-14 was £17.5m, in line with
the previous year’s funding, and represented
17% of income. Since 2010-11 the grant has
been cut by £2.1m – a real term cumulative
reduction of 25%. Income from commercial
transfers has significantly increased to offset
the impact of this real term cut and were
used in full to support activity at the NT.
After designations to the fund for capital, the
balance on unrestricted reserves is £2.7m.
Box Office at the NT
Box Office on tour, West End and International
17%
18%
Trading
7%
Fundraising
ACE grants
The National maintains a balance between self
generated income – box office, fundraising,
exploitation of National Theatre productions
in the UK and internationally, catering and
front of house trading – and public subsidy
from Arts Council England (ACE).
11%
7%
40%
Box Office at the NT
Box Office on tour, West End and International
NT Live
Set outTrading
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
Fundraising
of the regular ACE grant which has been restricted to capital expenditure (£1.9m). It excludes NT Future income and
ACE grants
expenditure
which is treated as a long term project, as well as movements in any other long-term restricted funds.
Income
48 National Theatre Annual Report 2013–2014
2013
£m
18.3
18%
18.3
21%
Box Office on tour, in the West End and Internationally
39.7
40%
30.8
35%
6.7
7%
2.4
3%
11.2
11%
11.1
13%
Fundraising
6.5
7%
7.0
8%
ACE grants
17.5
17%
17.5
20%
Total
99.9
100%
87.1
100%
Production costs – NT South Bank
36.5
37%
36.0
43%
Production costs – Touring, West End & International
36.7
38%
27.7
33%
NT Learning, NT Live & Public Engagement
9.1
9%
6.8
8%
Research
1.9
2%
1.6
2%
10.7
11%
9.4
11%
1.6
2%
1.5
2%
Irrecoverable VAT
0.8
1%
1.0
1%
Governance
0.2
-
0.2
-
97.5
100%
84.2
100%
Trading and other income
Lyn Gardner, The Guardian
2014
£m
Box office at NT
NT Live
‘The words of
these bruised
yet resilient
young people
tell us one
story; the songs
they sing tell
another, and
help them
channel their
blasted hearts.’
NT Live
Expenditure
Trading
Fundraising
Total
The NT makes an annual transfer to the Buildings and Equipment Fund of £2.5m to fund routine capital
purchases. In 2012 –13 (prior year), an additional £1.7m was designated to this fund for the Shed.
Net result after transfers
-
-
National Theatre Annual Report 2013–2014 49
Sustainability
continued
Production expenditure at the National Theatre
and on tour represented 37% of total expenditure
for the year which can be analysed as follows:
The table below shows the five-year trend of attendances.
National Theatre paid
attendances (thousands)
6%
8%
30%
21%
21%
Performance running
2012/13
2011/12
2010/11
2009/10
Olivier
364
342
353
355
364
Lyttelton
269
314
286
285
322
75
103
108
104
98
West End
807
705
630
408
398
UK Touring
392
97
63
79
56
International Touring
869
770
-
2
38
Other
3
16
8
-
-
Total
2,779
2,347
1,448
1,233
1,276
86%
90%
90%
92%
90%
2013/14
2012/13
2011/12
2010/11
2009/10
The Shed / Cottesloe
14%
2013/14
NT Attendance as % of capacity
Actors and Musicians
Production build
Planning and direction
Writers, Directors and Designers
Touring
A further 38% of expenditure was for commercial
productions in the West End and on tour
both internationally and in the UK.
Number of performances:
Olivier
339
339
357
343
384
Lyttelton
360
394
391
373
393
The Shed / Cottesloe
369
325
368
373
355
1,005
409
421
414
414
UK Touring
251
96
70
98
70
International Touring
727
476
-
2
15
Other
98
61
50
-
-
Total
3,149
2,100
1,657
1,603
1,631
West End
A full Financial Review and Financial Statements for 2013-14 is available and
can be downloaded from www.nationaltheatre.org.uk/annualreport
50 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 51
Sustainability
continued
66,815kg
food waste composted
Environmental Sustainability
The NT recognises that, as one
of the world’s major production
theatre companies, its activities
have significant environmental
impact, which it has a
responsibility to minimise.
The NT has exceeded its primary
objective of increasing recycling
up to 65%, achieving a recycling
rate of 71% in the past year.
71%
Average recycling rate
52 National Theatre Annual Report 2013–2014
The NT has a zero-to-landfill policy which means
everything is reused. General waste is taken by
barge along the Thames to an energy-from-waste
facility where it is incinerated and the energy
generated put back into the National Grid.
Over the past year, the collected recycling
helped to save 270,630kg of CO2 emissions
and the equivalent of 767 trees. 574 meals were
provided to vulnerable people through the
FareShare scheme. Food waste is taken to an
anaerobic digester and turned into agricultural
fertiliser and biogas, a renewable energy supply
that has helped power 5,000 houses in the UK
per month. In total the recycling collected
from the NT has reached 563,333kg.
The Combined Heat and Power Plant (CHP),
installed as a significant element of the NT’s
Environmental Master Plan, is now fully
operational. This year the CHP has been
combined with the Absorption Chiller to
cool areas of the building, using the innovative
technology of the Thermal Storage Vessels.
Running the CHP for the last two seasons
has enabled us to fine-tune the control
strategy, achieving optimum efficiency.
Original light fittings in the Lyttelton and
Olivier Theatres have been retro-fitted to accept
new LED technology; this will realise long
term reductions in energy consumption, with
more immediate savings in maintenance costs.
This year has also seen investment in the water
distribution throughout the building, replacing
our main pumps with a more efficient design
and upgrading the two ageing, galvanised
9,000-gallon storage tanks with a modern
Glass Reinforced Plastic (GRP) construction.
Further improvements in energy efficiency will
be achieved as a result of the NT Future works.
National Theatre Annual Report 2013–2014 53
‘The Shed has landed.
It’s one of the theatrical
events of the year…
This is a building that opens
your heart before you get into
the auditorium. It’s a building
that enables invention.’
Susannah Clapp, Observer
Fundraising
In our 50th Anniversary year, the support given for NT core activities
by individual donors, companies, trusts and foundations amounted to
£6.5m. This sum is in addition to the funds raised for NT Future,
which are detailed separately.
Individuals
Individual giving has increased every year for the
last five years, with funds received in 2013-14
reaching £3.3m. This is due to the growth in
the number of supporters who have joined at all
levels of the Individual membership ladder. At
entry level, we now have over 12,000 Priority
members who collectively have contributed over
£0.9m this year; while at our top membership
levels, we have 112 Olivier and Chairman’s
Circle members. Our Young Patron scheme
is flourishing with the support of a very active
and engaged committee, and contributed
£70,000. Recently we introduced a Young
Patron Ambassador level and now have 19 young
members each giving £1,000 annually. The Board
of the American Associates of the National
Theatre has yet again been able to make a very
significant grant to the NT.
Companies
Our revenue from Companies was lower than
last year at £2.8m, since this was the last year of
our multi-year agreement with both Accenture,
our partner for Innovation, and with Aviva, our
partner for National Theatre Live. Finding new
partners to work with us in these areas is vital.
Travelex continues to support the National
Theatre with the low-cost ticket seasons (£12
in 2013-14, £15 in 2014-15) and has been
doing so now for 11 years. In an extension of
our Preferred Card Partnership, American
Express sponsored the return of Propstore and
increased their sponsorship to embrace the NT’s
shows in the West End – Curious Incident, War
Horse and One Man, Two Guvnors – as part of a
season of summer activity. Our new partnership
with Bank of America Merrill Lynch extends
beyond NT Future to include support for our
apprenticeship programme and our ongoing
commitment to environmental sustainability.
activity with schools in Hammersmith and
Fulham. This was our third year as one of the
J.P. Morgan Signature Series Partners (along with
the Southbank Centre and National Portrait
Gallery); and the costs of our productions were
eased thanks to flight partner, American Airlines
and contemporary clothing partner, Hugo Boss.
During the year we welcomed Julius Baer
as the headline sponsor of King Lear, their
first sponsorship at the National Theatre;
and we secured the support of Radisson
Blu Edwardian London, who became the
National Theatre’s Official Hotel Partner.
for The Light Princess. The Sidney E Frank
Foundation continued their generous support
of our archive and digital work by supporting
a special digital broadcast project around
the National Theatre’s 50th anniversary.
We would like to express our gratitude to
the very many people and organisations that
have helped us, by recognising them in the
following pages. Their support is invaluable
and we are immensely grateful for their
continuing commitment and for the many ways
in which they enable and enrich our work.
Trusts and Foundations
Over £470,000 came from Trusts and
Foundations, who contributed towards a
wide range of projects. Significant grants were
received from The Ingram Trust, The Archie
Sherman Charitable Trust and the Mohamed
S. Farsi Foundation for our work in primary
schools, and from the John Lyon’s Charity
for a new secondary schools project. We are
most grateful for the continued support of
The Paul Hamlyn Foundation towards Young
Studio and The Dorset Foundation towards
our touring Learning work around War Horse
in the UK. We were delighted to see growth
in our apprenticeships scheme with support
from The Eranda Foundation and The Harold
Hyam Wingate Trust towards our Events and
Props Apprentices, respectively. The Leverhulme
Trust has continued its generous support of
the NT Studio by committing to support
emerging artists across a range of art-forms.
From America we received the generous support
of the Laura Pels International Foundation
for Theater for our production of The Amen
Corner and from the Edgerton Foundation
We deepened our relationship with Neptune
Investment Management who, as well as being
partner for The Shed, supported NT Learning
54 National Theatre Annual Report 2013–2014
National Theatre Annual Report 2013–2014 55
Supporters
NT Future Major Gifts
throughout campaign
to May 2014
Arts Council England
The Dorfman Foundation
American Associates of the National Theatre
Bruce & Suzie Kovner
The Monument Trust
The Garfield Weston Foundation
The Clore Duffield Foundation
Heritage Lottery Fund
The Rayne Foundation
The Royal National Theatre Foundation
The Dr Mortimer and Theresa Sackler Foundation
Clive & Sally Sherling
The Wolfson Foundation
Bank of America Merrill Lynch
The Badenoch Trust
Christine Collins
The Foyle Foundation
The Ingram Trust
The Thompson Family Charitable Trust
Celia & Edward Atkin CBE
Graham & Joanna Barker
Ginny & Humphrey Battcock
Simon & Sally Borrows
The Deborah Loeb Brice Foundation
Sir Trevor & Lady Chinn
Roscoe Crabbe
The Dorset Foundation
Glenn & Phyllida Earle
Lydia & Manfred Gorvy
The Hintze Family Charitable Foundation
John Makinson
Susie & Stelio Stefanou
Leila & Mickey Straus
Sir Siegmund Warburg’s
Voluntary Settlement
Jacqueline & Richard Worswick
and 1 anonymous donor
Penny & Bill Bardel
Alex Beard & Emma Vernetti
Tony & Gisela Bloom
Neil & Sarah Brener
56 National Theatre Annual Report 2013–2014
Russ & Linda Carr
Terri & Timothy Childs
Michael & Susan Clasper
Lin & Ken Craig & the Aloisia Hofmann Charitable Trust
Mick & Barbara Davis
Liz & Simon Dingemans
Shawn M Donnelley & Christopher M Kelly
Lawton W Fitt & James I McLaren
Barbara G Fleischman
J Paul Getty Jr Charitable Trust
Anna & Ralph Goldenberg
Kate & Arne Groes
Linda & Tony Hill
Madeleine Hodgkin
Sue Howes & Greg Dyke
Maxine Isaacs
Luce & Jean-Charles Julien
Mr & Mrs Robert Ian MacDonald
Ian & Beth Mill
Mirisch and Lebenheim Charitable Foundation
Nicola & Harold Pasha
Philips
Francesca Robinson
Miss Dasha Shenkman
Jay & Deanie Stein
The Harold & Mimi Steinberg Charitable Trust
Hugh & Catherine Stevenson
Monica G-S & Ali E Wambold
Steven & Bonnie Ward
Marcia B Whitaker
George & Patricia White
Dominic & Nancy Casserley
Russell & Monkey Chambers
CHK Charities Limited
The City Bridge Trust
Tim & Caroline Clark
The Mark Krueger Charitable Trust
Stephanie & Carter McClelland
Jeff & Liz Peek
Michael & Melanie Sherwood
and 1 anonymous donor
The National Theatre is also
grateful for the generous support
of members of the Royal National
Theatre Board and the Board
of the American Associates
of the National Theatre
Individual Giving
Annual Support April
2013 – March 2014
Major Gifts
Alta Advisors
Arête Foundation / Betsy &
Ed Cohen
Keith & Helen Bolderson
Sir Trevor & Lady Chinn
Ian & Caroline Cormack
Liz & Simon Dingemans
Sir Harry & Lady Djanogly
Beth & Gary Glynn
Clive & Sally Sherling
Edgar & Judith Wallner
Guy & Charlotte Weston
Jacqueline & Richard Worswick
Olivier Circle
Eric Abraham & Sigrid Rausing
Celia & Edward Atkin CBE
Penny & Bill Bardel
Graham & Joanna Barker
Ginny & Humphrey Battcock
Alex Beard & Emma Vernetti
Tony & Gisela Bloom
Simon & Sally Borrows
Neil & Sarah Brener
James & Debby Brice
Barbara Broccoli OBE
Mrs J A Brodie
Mr & Mrs L L Browning, Jr
Mr John Burbank & Ms Jordan Cook
Russ & Linda Carr
Dominic & Nancy Casserley
Terri & Timothy Childs
The Cielinski Family
Michael & Susan Clasper
Veronica Cohen
Christine Collins
Lin & Ken Craig & the Aloisia Hofmann Charitable Trust
The Cranshaw Corporation
Scott Delman
Polly Devlin OBE
Shawn M Donnelley & Christopher M Kelly
Sarah & Lloyd Dorfman
Glenn & Phyllida Earle
Peter & Leanda Englander
Lawton W Fitt & James
I McLaren Foundation
Barry & Penny Francis
Jason Gatenby
Robin Geffen
Richard & Kara Gnodde
Anna & Ralph Goldenberg
Lydia & Manfred Gorvy
Chris & Angela Graham
Kate Groes
Clare Groom
Susan Harbour
Susan & Richard Hayden
Ms Frances Hellman &
Mr Warren Breslau
Linda & Tony Hill
Madeleine Hodgkin
Cathy MacNeil Hollinger
& Mark Hollinger
Clare & Bernard Horn
Sue Howes & Greg Dyke
Mrs Luce Julien
Mr & Mrs Jack Keenan
Bruce & Suzie Kovner
Rocco & Debby Landesman
John Makinson
Selina & David Marks
Ian & Beth Mill
Mirisch and Lebenheim Charitable Foundation
Malcolm & Elizabeth Offord
The O’Grady Foundation
Dalip & Chandrika Pathak
Laura Pels
Sara & Paul Phillips
The David & Elaine Potter Foundation
Francesca Robinson
Michael Rose & Roz Rosenblatt
The Ruddock Foundation for the Arts
Sir Robin & Lady Saxby
Jon & NoraLee Sedmak
Mrs Carol Sellars
David & Sophie Shalit
Richard Sharp
Miss Dasha Shenkman
Michael & Melanie Sherwood
David & Alison Slade
Peter & Esther Smedvig
Mr George Soros
National Theatre Annual Report 2013–2014 57
Supporters
continued
Susie & Stelio Stefanou
Jay & Deanie Stein
Leila & Mickey Straus
Max & Joy Ulfane
Steven & Bonnie Ward
Charlotte & Simon Warshaw
Ian & Victoria Watson
Marcia B Whitaker
George & Patricia White
Maxine White
Sir Robert & Lady Wilson
Anna Wintour
Dr & Mrs Gerald Woolfson
George & Moira Yip
and 4 anonymous donors
Life Benefactors
Eric Abraham & Sigrid Rausing
Access Industries
Irwin & Mary Ackerman
Jonathan & Marie-Claire Agnew
Jeffrey Archer
Celia & Edward Atkin CBE
Royce & Rotha Bell
Ron Beller & Jennifer Moses
Jody Locker Berger
Tony & Gisela Bloom
Keith & Helen Bolderson
Benjamin Bonas
Ms Katie Bradford
Ivor Braka Ltd
Neil & Sarah Brener
The Deborah Loeb Brice Foundation
Jonathan Brooks & Clare Laffin
Russ & Linda Carr
Camilla Cazalet
Terri & Timothy Childs
Sir Trevor & Lady Chinn
Janet M Christensen
Myoung-Cheul Chung
Dr David Cohen CBE
Sir Ronald & Lady Cohen
Veronica Cohen
Ian & Caroline Cormack
Sidney & Elizabeth Corob
Lin & Ken Craig & the Aloisia Hofmann Charitable Trust
Lord Dalmeny
David Day
Jose & David Dent
Sir Harry & Lady Djanogly
58 National Theatre Annual Report 2013–2014
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
The Mirisch & Lebenheim Charitable Foundation
Carol Mitchell
Mr Miles Morland
Debbie Morris
Mr & Mrs George Newell
Mr & Mrs Jim Nicol
Robert & Jane Norbury
The O’Grady Foundation
Georgia Oetker
Gregory & Susan Palm
Simon & Carolyn Parker Bowles
Barrie & Catherine Pearson
Elizabeth & Daniel Peltz
Mark Pigott KBE
The David & Elaine Potter Foundation
Oliver & Helen Prenn
Quercus Trust
Sue & David Ramsbotham
Mr H K Rausing
Stephen & Monica Richardson
Sir Simon & Lady Robertson
Ruth Robinson
The Roddick Foundation
Bianca & Stuart Roden
Michael Rose & Roz Rosenblatt
Jeffrey A & Marjorie G Rosen
The Michael Harry Sacher Charitable Trust
Theresa Sackler
Anya & John Sainsbury
Yusuf & Fawzia Samad
Jon & NoraLee Sedmak
Mrs Carol Sellars
Sir Patrick Sergeant
Miss Dasha Shenkman
Mr & Mrs William Shenkman
Clive & Sally Sherling
Lois Sieff OBE
Rita & Paul Skinner
Jay & Deanie Stein
Joan Steinberg
Hugh & Catherine Stevenson
Leila & Mickey Straus
Mr John J Studzinski CBE
Mr Ian Taylor
Mr Eric Tomsett
Jan & Michael Topham
Jonathan Tyler
Mr & Mrs Max Ulfane
The Ury Trust
Edgar & Judith Wallner
Monica G-S & Ali E Wambold
Ian & Victoria Watson
Jeffrey Weingarten
Guy & Charlotte Weston
Mrs Mary Weston
Susan Wilen
Rachel & Anthony Williams
The Stuart & Hilary
Williams Foundation
Sir Robert & Lady Wilson
Dr & Mrs Gerald Woolfson
and 16 anonymous donors
Benefactors
Helen & Bob Appel
Jack & Ian Archer-Watters
Susan Baker & Michael Lynch
R Derek & Bonnie Bandeen
Linda Beecham
Peter & Ali Bennett-Jones
Norman S Benzaquen & Judy Francis Zankel
Tania & Keith Black
Mr Philip Bowman
Mr Peter Brown
Lord Browne of Madingley
Sandra Carlisle & Angus Carlill
Marty & Michele Cohen
Guy & Lucy Davison
Alyce Faye Eichelberger-Cleese
Barbara G Fleischman
Emily & Alex Fletcher
Uri & Angela Greenwood
Mrs Themy Hamilton
Sir Maurice & Lady Hatter
Mrs Caroline Hoare
Maxine Isaacs
Philip Kingsley
Roger & Jane Kirby
Paul & Nicolette Kirkby
Stephanie & Carter McClelland
Ian & Carolyn MacKenzie
Margie Markwick
Tim & Juliet Medforth
David & Sue Morley
John & Caroline Nelson
Sabine Notz Catsiapis
Andrew & Jane Onslow
Enid Oppenheim
Ms Suzanne Peck
Jeff & Liz Peek
Oliver & Helen Prenn
Elihu & Susan Rose
Jon & Susan Rotenstreich
Salomon Oppenheimer Philanthropic Foundation
Louisa Service OBE
Mr & Mrs Paul Sonabend
Joan Steinberg
Gwen Thornley
N’Gunu Tiny
Mrs Diana Venison
Gerry Wakelin
Susan Wilen
James D Zirin
and 4 anonymous donors
Premier Patrons
Mrs Margot Adams
Mr Stephen Allcock
Mr Jeremy Asher
Attias Family Foundation
Sir John & Lady Baker
Henry C Beck, Jr Charitable
Lead Trust
Sir David & Lady Bell
William Benjamin & Jill Kowal
Mr & Mrs Michael Bienes
Cathie Black & Tom Harvey
Susan Bloomberg
Edward & Victoria Bonham Carter
Mark & Susan Bradley
Simon Burgess
Sir Peter & Lady Cazalet
Louis & Bonnie Cohen
Alan & Betsy Cohn
Gill & Garf Collins
Mr & Mrs Leigh Collins
Mr & Mrs Paul Collins
Douglas S Cramer
Dr Neil Cross
Mr & Mrs Cullman
Sir Howard Davies
Mrs Josephine Dean
John & Catherine Debs
Martin & Marian Denny
Mr & Mrs R DeScherer
Edmund & Fiona Dilger
Dr Elza Eapen & Dr Govindasamy Balachandran
Abby Edwards
Sir Vernon & Lady Ellis
Mrs Maureen Elton
Roger & Jane Formby
The Edwin Fox Foundation
Ian & Margaret Frost
Andrew Galloway
Peter & Barbara Georgescu
Jacqueline & Jonathan Gestetner
Piers & Melanie Gibson
Bruce Golden & Michelle Mercer
Lady Shauna Gosling
Mr & Mrs Edward Greene
Jamie & Marritje Greene
Mrs Kate Grimond
Charles & Kaaren Hale
Richard H Harding
Pamela, Lady Harlech
Mark Heappey & Anne Markland
Helen Lee Henderson
The Lady Heseltine
Angela Howard & the late
David Gestetner
Chris & Carolyn Hughes
Melvyn & Diane Hughes
Liz & Peter Huhne
Al & Denise Hurley
William & Weslie Janeway
Mr James Libson &
Ms Anne Joseph
Douglas Kennedy
Ms Nicola J Kerr
John Kinder
Rupert & Alice King
Christopher Kneale
The Kowitz Family Foundation
Herbert Kretzmer OBE
Mr & Mrs T Krumland
Ms Jolana Leinson
Jacqueline & Marc Leland
Sarah Le May
Mrs Sahra T Lese
Fred M Levin & Nancy Livingston
Mark & Sophie Lewisohn
Jane E Livesey
Graham & Eileen Lockwood
Rachel Lomax
John & Celine Lowrey
John & Bridget Macaskill
Dr Sarah McGinty
Gill Macleod
Donald Main
Dr John H Makin & Ms Gwendolyn van Paasschen
Ms Claudine B Malone
Ian & Serrie Meakins
Brenda Meldrum
Gabriela Mendoza
Joyce Menschel
John & Susan Michaelson
Simon Millson
Mr & Mrs A Mosawi
Philip Noel
Luke & Kate Nunneley
Vincent O’Brien
Maria O’Donoghue
Mark & Amanda Otway
Midge & Simon Palley
Michael & Mary Parkinson
Ms Judy Peck
Anne & Barry Pinson
Peggy & John Pirovano
The Porter Foundation Switzerland
Gail, Robert & Ian Reichert
Greg & Karen Reid
Mrs Clare Rich
Mr Robert Rooney
Jonathan Ross
William & Julie Ryan
Betsy & Jack Ryan
Dr Joseph Sassoon
Phil Scaturro
Sir David & Lady Scholey
Mr Robert A Silver
Mrs Kate Sloane
Patricia & David Smalley
Helen & Anthony Spiro
Judy & Michael Steinhardt
Oliver & Sally Stocken
Anne Sweetbaum
Lady Juliet Tadgell
Hilary Till
Laura & Barry Townsley
Melissa Ulfane
Lady Patricia Varney
Ed & Carol Victor
Mary Wallach
Mr Gene Zuriff &
Ms Sherry Jacobson
and 4 anonymous donors
Patrons
Brian Abbs
Dame Jennifer Abramsky
Acacia Charitable Trust
ACT IV
Meg Addison & Irwin
Charles Ferry
James & Esthy Adler
Mr Harry Allan
Mr & Mrs Richard Allan
Tim Allan & Carey Scott
Roger & Angela Allen
Joan & Robin Alvarez
Mrs Catherine Armitage
Aspect Charitable Trust
Edward & Amanda Astle
James Astor
Annette Atkins & Thomas Joyce
Denise Augar
Professor John & Carolyn Axford
John Ayton
Mr & Mrs Lawrence Banks
John Barker
Mr & Mrs John Barkshire
Mr Keith Barnett
Ray Barrell & Ursula van Almsick
Anne J Barsh
Stephen Bartlett
Mrs Gwendoline Baxter
Peter Bazalgette & Hilary Newiss
Mrs Arlene Beare
Mr Ernest G Beaumont
James & Caroline Beery
Sarah Bell
J & A Bénard
Mr Michael Bennett
Phil & Lisa Bennett
The Bertie Black Foundation
Sam & Rosie Berwick
Dr Kate Best
National Theatre Annual Report 2013–2014 59
Supporters
continued
Robin & Veronica Bidwell
Mrs Wendy Birkby
Martin Blackburn
Peter Blake-Turner
Mr & Mrs Charlie Bott
John & Jean Botts
Mr Thomas Brezina
Mr & Mrs R L Bristow
Mrs Sarah Britton
Lord & Lady Brown of Eaton-under-Heywood
Damon & Deborah Buffini
John & Ruth Bullock
John & Susan Burns
Joan Burstein CBE
Mr Philip Buscombe
Helena Butler
Keith & Pamela Butler-Wheelhouse
Martin Byman & Margaret Samson
Georgia Byng
Andrew Cameron
Miss Sarah Caplin
Michael Carpenter
Ms Susan Carpenter
Sir Roger & Lady Carr
Douglas & Joan Carter
Jason & Belinda Chaffer
Richard Clark
Tim & Caroline Clark
Michael & Susan Clasper
Adam Cleal
Thea Cleminshaw
Daniel & Cornelia Clifford
James & Maggie Cochrane
The Denise Cohen Charitable Trust
Michael & Arlene Cohrs
Mr John Coldman
Geoffrey Collens
Ms V I Comba
Andrew & Polly Congreve
Carole & Neville Conrad
Kay Ellen Consolver
Ricki & Robert Conway
Mrs Jennifer Coombs
Mark & Rebecca Coombs
Dorothy Cory-Wright
Ms Sophie Coumantaros
Ms Elizabeth Crosoer
Mr T A R Curran
Deborah David &
Norman A Kurland
Mr & Mrs Jonathan Davie
Mr & Mrs Ian Hay Davison
60 National Theatre Annual Report 2013–2014
Sir Roger & Lady De Haan
The de Laszlo Foundation
Mrs Anne De Pinna
Conrad Dehn QC
Peter & Marian Dell
Mrs Yvonne Destribats
Dr & Mrs C J Dilloway
Leslie Dubow
Ann & Henry Ebner
Arnold & Greta Edward
Jeremy Edwards
Frederick & Diana Elghanayan
Symon Elliott
Stacey & Tessa Ellis
Peter & Barbara Elliston
Don Ellwood & Sandra Johnigan
Sarah & Louis Elson
Mrs Alexandra Emmerson
Mr Stuart Errington
Davide Erro
Mrs Eliane Fattal
David Fein
Lord Feldman
Dorothy Field
Mrs Hilary Finer
Claire Fisher
Tony Fisher
Mr & Mrs William Fisher
Mr & Mrs Mortimer Fleishhacker
Susan Fletcher
The Gerald Fogel Charitable Trust
Helen Freeman
Adam & Victoria Freudenheim
Arnold Fulton
Mr Jonathan Gaisman
Paul Gambaccini
Johanna Garfield
Ms Lucy Garrett
Brian Garrison
North Street Trust
Hon William & Lori Gibson
Jon Gilmartin
John & Indrani Gleave
Daniel Godfrey
Mrs M C Godwin
Mrs Carolyn Goldbart
Emma Gomme
Val Gooding & Crawford Macdonald
Paul & Kay Goswell
Sarah Gough
Dr Zoe Graham
Margaret & Arthur Grandy
Carolyn Gray
Lesley Gregory
John & Ann Grieves
Richard & Odile Grogan
Karen Groos
Byron Grote & Susan Miller
Clifford & Sooozee Gundle
Robert & Diana Guy
Jan & Michelle Hagemeier
Ros & Alan Haigh
William Haining
Mark & Moira Hamlin
Caroline Hansberry
David & Claudia Harding
Sir Michael & Lady Harrison
Maureen & Derek Harte
Mrs Dorothy G Harza
Mr Samuel A Haubold
Dr Gordon Hay
Marc Hayton
Helen Lee Henderson
Alan Herdman
Malcolm Herring
Mrs Coreen R Hester
Tim & Pippa Hincks
Soo & Jonathan Hitchin
Andrew Hochhauser
Rodney & Zmira Hornstein
Jane Hurt
Graham Hutton
John D Hyatt
Robin & Inge Hyman
Richard & Rosie Hytner
Roda Infield
Simon & Sally Jackson
Barbara Johnson
Mary Ellen Johnson &
Richard Goeltz
Alan Jones
Nicholas & Cherry Jones
Paul Kafka
Ralph & Patricia Kanter
David Kaskel & Christopher Teano
Donovan Kelly & Ann Wood
John & Jenny Kelly
Mrs Helene Kessler
David Killick
Neil King
Steve Kingshott
Baroness Denise Kingsmill CBE
Mrs Frances Kirsh
James Klosty
National Theatre Annual Report 2013–2014 61
Supporters
continued
Bill & Stephanie Knight
David Knox
David & Linda Lakhdhir
Mr David Lanch
Martha Lane Fox
Steven Larcombe & Sonya Leydecker
Mrs Rosanna Laurence
Nicola Leach
Sir Terry Leahy
Mark Lee
Joanna Le Grice
J Leon Charity Fund
Mr & Mrs B Lesslie
Sara Levene
Dr Mark Levesley
Colette & Peter Levy
Marc Lewell
Mrs Lynn Lewis
Sir Gavin & Dr Naomi Lightman
Sam & Pam Lipfriend
Sir Sydney Lipworth QC & Lady Lipworth CBE
Mrs Georgina Liverpool
Lady Lloyd of Berwick
John Lockyer & Jane Creasey
Victor & Marilyn Lownes
Angela & Michael Lynch
Mrs Lesley Jane Lynn
Mrs Felicity Lyons
John Stuart Macara
Ginny Macbeth
Gordon & Dena McCallum
Hugh MacDougald
David McGibney
Alistair Mackinnon-Musson
Ian McVeigh
Charles & Nicola Manby
Dr Anna Mann
The Maplescombe Trust
Paul & Paula Marber
David M Marks QC
Mr & Mrs Jonathan Marks
Lady Medina Marks
Julian & Camilla Mash
Victoria Mather
Richard & Lara Max
Cornelius Medvei
David & Wendy Meller
Sandy & Ed Meyer
Sue Meynell
Mrs Kathryn Michael
62 National Theatre Annual Report 2013–2014
Costas Michaelides & John Soderquist
Nick & Suzie Miles
Barbara Minto
Ashley & Elizabeth Mitchell
The Lowy Mitchell Foundation
Mrs Barbara Modiano
Dr Donald Moir
Sir Mark Moody-Stuart
Peter Moran
Barbara Morgan
David & Sue Morley
Mr & Mrs M D Moross
Gary Morris & Robert
Venables QC
Mr & Mrs Morrison
Pat Morton
Gerald Moss
Jacqueline Mountain
Randi Glass Murray
Mr & Mrs Peter Murray-Smith
Dr Ann Naylor
Stanley Newman & Dr
Brian Rosenthal
Andrew & Sue Nichols
Sarah Nichols
Sir Charles & Lady Nunneley
David C Olstein
Sandy & Caroline Orr
Sir Peter Osborne
Mrs Kathrine Palmer
Lord & Lady Pannick
Tim Parker
Carolyn & David Pascall CBE
Mr R H C Pattison
Kristin M Paulus
Countess Cosima Pavoncelli
Oliver & Emma Pawle
Gareth & Ginny Pearce
Gordon & Marian Pell
Christina & Ben Perry
Roger & Virginia Phillimore
William Pidduck
Mr David Pike
Andrew Pitt
William Plapinger & Cassie Murray
Pat & John Porter
Jack & Noreen Poulson
William Powar
Andrew Powrie
Mr & Mrs Michael Pragnell
Mrs Marie Prutton
David & Hilmary Quarmby
Anthony & Ann Regan
Christopher Marek Rencki
Joyce Reuben
His Honour Michael Rich QC
Philip & Sarah Richards
Dennis Robins
Mrs Lesley Robins
Caroline Roboh
Mr David Rocklin
Kristina Rogge
Mr & Mrs Kenneth Rokison
Sir John & Lady Rose
Tim Rosenberg
Mr & Mrs Harvey Rosenblatt
Sue & Tony Rosner
Mr P M Roth
Mr David Royds
Anthony Rudd
William & Hillary Russell
Bonnie Sacerdote
John & Jeremy Sacher Charitable Trust
Pushpinder Saini
Anthony & Sally Salz
Ruth & Brian Sandelson
Michael Sayers QC
Michael & Beth Schneider
Mr & Mrs Richard J Schwartz
Rod & Sarah Selkirk
Eileen Serbutt
Mr & Mrs Mark Shanker
Ellen & Dan Shapiro
Philip & Rebecca Shelley
Linda & Stephen Simpson
The Mike & Janet
Slosberg Foundation
Mr Francis D Small
Christopher & Ingeborg Smallwood
Mr & Mrs R A H Smart
Brian D Smith
John & Ann Smith
Tessa Smith
Sir Harry & Lady Solomon
Stephen & Connie Spahn
Janna Spark & Iko Meshoulam
Ms Francesca Stanfill Nye
Mr & Mrs Don Starr
Mike Staunton
Alan & Ruth Stein
Gayfryd Steinberg
Kathryn Steinberg
George & Elizabeth Stevens
Judy & David Stewart
Olive & Michael Stone
Siân Stonehill
Sue & Stuart Stradling
Andrew & Laura Sukawaty
Sir John & Lady Sunderland
Mrs Ann Susman
Robert & Patricia Swannell
Richard Szpiro
Bernard & Nadine Taylor
Eileen J Taylor
Mr & Mrs Russell W Taylor
Ms Chantal Thompson
Tony & Valerie Thompson
Henry Timnick
Miklos Toth
Mr & Mrs John C Tucker
Christopher & Julia Tugendhat
Mrs Margaret K B Turner
Jonathan Tyler
Marina Vaizey
Debra Valentine
Peter Ventress
Mr & Mrs Eric Vezie
Frank & Emily Vogl
Gary von Lehmden
Tim & Nadine Waddell
Christopher Wade
Mr & Mrs Jeffrey Walker
Sally Warner
Denie & Frank Weil
Mr Nicholas Wells
Geoff Westmore
Mrs Ailsa White
Graham & Sue White
Mrs Reba White Williams
Mr & Mrs Brian M Wides
Mary Willett
Ann Williams
Peter Williams
Marilyn & Geoffrey Wilson
Mr & Mrs Michael Wilson
Henry & Louise Windeler Cohen
Richard & Susan Wolff
David & Vivienne Woolf
David Wormsley
Ms Cynthia Wu
David & Barbara Zalaznick
Stephen & Laura Zimmerman
Mr & Mrs Keith Zerdin
and 38 anonymous donors
Young Patron
Ambassadors
Poppy & Ross Allonby
Nicola Blake
Francesco Ciardi
Joshua Davis
Saul Doctor
Charles Dorfman
Virginia Garcia Esteban
William Gilpin
Matthew Hayday
Lucy Loveday
Sheryl Needham
James Nicola
Sinead Ni Mhuircheartaigh
Veronica Rivera & Will Sherling
Aliceson Robinson
April Robinson
Bryan Taylor
Ian Tollett
Lisa Valk
Sam & Sally Munday-Webb
and 2 anonymous donors
The National is also grateful for
the support of our Supporting
Cast, Young Patrons, Priority
and Priority Plus Members
Legacies
April 2013-March 2014
Margaret Flatman
Norah Elizabeth Gilchrist
Phyllis Margaret Hammond
Moira Hearn
Jean Holmes
Storm Garrett Kelly
Margaret Lowy
June Pike
Deryck Thornley
Corporate Support
April 2013 – March 2014
Partners
Travelex
Accenture
American Airlines
American Express
Aviva
Bank of America Merrill Lynch
Corbis Images
Hugo Boss
Julius Baer
J.P. Morgan
Neptune Investment Management
Philips
Radisson Blu Edwardian
National Theatre Education is supported by Goldman Sachs
Premium Members
Linklaters LLP
UBS
G3
Platinum Members
American Airlines
Bloomberg LP
BNP Paribas
Cisco
Corbis Images
Daily Mail and
General Trust plc
Delta Airlines
GlaxoSmithKline
Goldman Sachs
Pearson plc
Prudential plc
Shell
Smiths Group plc
Standard Chartered Bank
Gold Members
Bartle Bogle Hegarty
Bruntwood
Cantate
Carey Group plc
Clifford Chance
CQS
DAC Beachcroft
Equity Invest
Finsbury Ltd
Forsters LLP
Arthur J Gallagher
KPMG LLP
Lazard
Lubbock Fine
Macfarlanes LLP
Markson Pianos
Moore Stephens LLP
Nyman Libson Paul
Penningtons Manches
Solicitors LLP
Pentland Group plc
Precedent
Reed Elsevier
Regatta Ltd
Rio Tinto
The Rose Foundation
Santander UK plc
Slaughter and May
Smith & Williamson
Societe Generale
The Stanley Foundation
Tesco plc
Unilever plc
Zurich Insurance plc
Trusts & Foundation
– Annual Revenue
Support April 2013March 2014
Major Trusts &
Foundations
The Band Trust
The Behrens Foundation
Columbia Foundation
The Dorset Foundation
Edgerton Foundation
Sidney E Frank Foundation
Paul Hamlyn Foundation
The Ingram Trust
The Leverhulme Trust
John Lyon’s Charity
Mulberry Trust
The Laura Pels International Foundation for Theater
Quercus Trust
The Rose Foundation
Archie Sherman Charitable Trust
Trusts & Foundations
The E Dennis Armstrong Trust
Bill Belk
The Chapman Charitable Trust
The D’Oyly Carte Charitable Trust
The Gilbert and Eileen Edgar Foundation
The Eranda Foundation
Mohamed S Farsi Foundation
The Golden Bottle Trust
The Goldsmiths’ Company Charity
Milton Grundy Foundation
Heritage of London Trust
Jill & David Leuw
Newcomen Collett Foundation
St Olave’s Foundation Fund
Old Possum’s Practical Trust
The Schneer Foundation
The Sobell Foundation
The Topinambour Trust
The Transformation Trust
The Constance Travis Charitable Trust
The Vandervell Foundation
The Harold Hyam Wingate Foundation
and 1 anonymous donor
American Associates
of the NT
AANT Board Members
Leila Maw Straus, Chair
William G Bardel
Peter Brown
Timothy Childs
Shawn M Donnelley
Alyce Faye Eichelberger-Cleese
Lawton W Fitt
Barbara Fleischman
Maxine Isaacs
Suzie Kovner
Debby Landesman
Jeanne Linnes
Lady Lyall Grant
Stephanie McClelland
Carolyn MacDonald
Jeffrey Peek
Laura Pels
David Smalley
Jay Stein
Joan Steinberg
Monica Wambold
Lady Westmacott
Susan Wilen
Honorary Council
Terri Childs
Suzanne Elson
Richard Harding
Elliott F Kulick
John Makinson
Stafford Matthews
Sir Deryck Maughan
Lady Sheinwald
The National Theatre wishes
to acknowledge its partner
National Angels Limited.
National Theatre Annual Report 2013–2014 63
Performers 2013–14
The Acting Company
Eric Kofi Abrefa
Ben Addis
Tobi Adetunji
Kate Adler
Naana Agyei-Ampadu
Aidarus Aidid
Mel Aigbogun
Holly Aird
Gareth Aled
Geraldine Alexander
Sam Alexander
Esh Alladi
Roger Allam
Nigel Allen
Samuel Anderson
Anthony Antunes
Jennifer Armour
Derek Arnold
Owain Arthur
Timothy X Atack
Delroy Atkinson
Alex Avery
Rakie Ayola
Ayishat Babatunde
Marion Bailey
Jonathan Bailey
Matthew Barker
Carys Barnes
Jason Barnett
Martin Barrass
Edward Baruwa
Iain Batchelor
Sandy Batchelor
Greg Baxter
Oliver Beamish
Alex Beckett
Katrina Beckford
Mensah Bediako
Gina Bellman
Alan Bennett
David Benson
Paul Bentall
Clare Beresford
Adam Berry
Nathan Bessell
Anne Bird
Lucy Black
Donovan F Blackwood
Steven Blake
Jacqueline Boatswain
Richard Booth
Amy Booth-Steel
Sophie Bould
Caroline Bowman
Stephen Boxer
Cassie Bradley
Charlotte Bradley
Alistair Brammer
Michael Brandon
Peter Bray
Owen Brazendale
Tom Brennan
Michael Brett
Kevin Brewis
Audrey Brisson
Stephanie Bron
Tom Brooke
Lorna Brown
Miquel Brown
Gillian Budd
Ian Burfield
Kirsty Bushell
Stephen Campbell Moore
Dan Canham
David Carr
Evie Carricker
Nathalie Carrington
Mark Carter
Vivien Carter
Daniel Casey
Peter Caulfield
Daniel Cerqueira
Martin Chamberlain
James Charlton
Ashleigh Cheadle
Ashley Chin
Vera Chok
Heather Christian
William Chubb
Eke Chukwu
Matthew Churcher
Sharon D Clarke
Oliver Clement
Richard Clothier
Darren Cockrill
Michaela Coel
Judith Coke
Kate Colebrook
Dominic Conway
Dominic Cooper
Jonathan Coote
James Corden
Philip Correia
Sophie Cosson
Oliver Cotton
Rosalie Craig
Sophie Crawford
Rhona Croker
Matt Cross
Felix Crutchley
Laura Cubitt
Amy Cudden
Jonathan Cullen
Benedict Cumberbatch
Ewen Cummins
Niamh Cusack
Danny Dalton
Jessica Daugirda
Josie Daxter
Elliot Day
Frances de la Tour
Anthony Delaney
Robert Demeger
Judi Dench
64 National Theatre Annual Report 2013–2014
Natalie Dew
Sacha Dhawan
Christopher Dickins
Drew Dillon
Hasan Dixon
Jo Dockery
James Doherty
Reece Donn
James Donovan
Amanda Drew
Patrick Driver
Rob Drummond
Patrick Drury
Jonathan Dryden Taylor
Jacqui Dubois
Anne-Marie Duff
Sophie Duval
Lisa Dwyer Hogg
Christopher Eccleston
Charles Edwards
Marc Elliott
Elmi Rashid Elmi
Derek Elroy
David Emmings
Paapa Essiedu
Gershwyn Eustache Jr
Damon Falck
Georgie Farmer
Samuel Fava
Jenny Fennessy
Jake Ferretti
Tamsin Fessey
Theo Fewell
Ralph Fiennes
Deborah Findlay
Zac Fitzgerald
Gabriel Fleary
Kate Fleetwood
Tommy Fletcher McMeekin
Judy Flynn
Matthew Flynn
Gus Fontaine
Olwen Fouéré
Jayden Fowora-Knight
Trevor Fox
Naomi Frederick
Christian From
Michael Gambon
Trevor Michael Georges
Rokhsaneh Ghawam-Shahidi
Johnny Gibbon
Robert Gilbert
Sean Gleeson
Jonathan Glew
Adam Godley
Gawn Grainger
Serena Grant
Tiffany Graves
Amber Gray
Emily Greenslade
Alex Jennings
Emma Jerrold
Alison Jiear
CJ Johnson
Luke Johnson
Bettrys Jones
Jesse Jones
Ibrahim Kanu
Scott Karim
Richard Katz
Charles Kay
Rory Keenan
Chris Kelham
Dean Lennox Kelly
Louise Kempton
Ella Kenion
Jamie Kenna
Billy Kennedy
Harry Kershaw
Libby King
Rory Kinnear
Barbara Kirby
Vanessa Kirby
David Kirkbride
Kadiff Kirwan
Daniel Kitson
Andrew Knott
Gerald Kyd
Sarah Lam
Jane Lambert
David Langham
Carla Langley
Jason Langley
Ian Lassiter
Pieter Lawman
Gemma Lawrence
Penny Layden
Stephen Leask
Izzy Lee
Nicholas le Prevost
Adrian Lester
Katie Leung
Avye Leventis
Chris Lew Kum Hoi
Tim Lewis
Dylan Llewellyn
Rosaleen Linehan
Loré Lixenberg
Gabrielle Lloyd
Andrew London
Brian Lonsdale
Tom Lorcan
Kerry Lovell
Richard Lowe
Emma Lowndes
Jack Loxton
Nicholas Lumley
Tommy Luther
Lashana Lynch
Maggie McCarthy
Joshua McCord
Tony McGeever
Niamh McGowan
Ashley McGuire
Tim McMullan
Stuart McQuarrie
Éva Magyar
Katherine Manners
Simon Manyonda
David Mara
Lyndsey Marshal
Nadine Marshall
Nathaniel Martello-White
Abigail Matthews
Sinéad Matthews
Anna Maxwell Martin
Jesse Meadows
Dogan Mehmet
Tobias Menzies
Tom Meredith
Clive Merrison
Helena Middleton
Tahj Miles
Daniel Millar
Dan Milne
Helen Mirren
Iain Mitchell
Justine Mitchell
Miles Mitchell
Thomas Mittelheuser
Bunmi Mojekwu
Zackary Momoh
Gerard Monaco
Gertrude Montgomery
Claire Moore
Ian Morgan
Victoria Moseley
Lucian Msamati
Ben Murray
Toby Murray
Jamie Muscato
Emily Mytton
Nadim Naaman
Michael Nardone
Aaron Neil
Frederick Neilson
David Nellist
James Newton
Roxanna Nic Liam
Sarah Niles
Lorenzo Niyongabo
Cecilia Noble
Mike Noble
Emma Norin
Steve North
Anthony O’Donnell
Kate O’Flynn
Anna O’Grady
Toby Olié
Rhiannon Oliver
Landi Oshinowo
Aisling O’Sullivan
Lloyd Owen
Alexis Owen Hobbs
Will Palmer
Johnny Panchaud
Demi Papaminas
Neil Paris
Alastair Parker
National Theatre Annual Report 2013–2014 65
Performers 2013–14
continued
Jamie Parker
Aimee Parkes
Malinda Parris
Kane Oliver Parry
Jon Parsonage
Umar Pasha
Eugenie Pastor
Daniel Patten
Katie Elizabeth Payne
Adam Pearce
Johnny Peat
Lewis Peploe
Jane Perry
Tom Peters
Darren Pettie
Lisa Davina Phillip
Caspar Phillipson
Matthew Pidgeon
Tim Pigott-Smith
Laura Pitt-Pulford
Emily Plumtree
Gary Powell
Kelly Price
Sergio Priftis
Ryan Quartley
Sarah Quist
Tom Radford
Archana Ramaswamy
Jeff Rawle
Mark Rawlings
Richard Ridings
Jessica Regan
Guy Remmers
Tom Robertson
Oliver Rosario
Mark Rose
Golda Rosheuvel
Clive Rowe
Simon Russell Beale
William Rycroft
Hugh Sachs
Gemma Salter
Nick Sampson
Tim Samuels
Jack Sandle
Tom Sargent
Jamie Satterthwaite
Grace Savage
Henri Scanlon
Adrian Scarborough
Luke Scholefield
Wilf Scolding
Alex Scott
Andrew Scott
Maggie Service
Michael Shaeffer
Shakka
Lesley Sharp
Ian Shaw
Ruth Sheen
Kellie Shirley
David Sibley
Joe Sibley
Chook Sibtain
Nuno Silva
Nick Sidi
Alisdair Simpson
Malcolm Sinclair
Cherrelle Skeete
Claire Skinner
Nicola Sloane
Maggie Smith
Nathaniel Smith
Kyle Soller
Gay Soper
Sophie Stanton
Joseph Stembridge-King
Max Stephens
Lisa Stevenson
Paul Stocker
Julian Stolzenberg
Hannah Stokely
Geoffrey Streatfeild
Phoebe Street
David Summer
Michael Taibi
Matt Tait
Rebecca Tanwen
Jack Tarlton
James Alexander Taylor
Michelle Terry
Sarah Thom
Antonia Thomas
Ben Thompson
Zoe Thorne
Emma Thornett
Paul Thornley
Jason Thorpe
Dominic Thorburn
Chris Towner-Jones
Stanley Townsend
Luke Treadaway
Tilly Tremayne
John Trindle
Sam Troughton
Shamira Turner
Tim Van Eyken
Ben Vardy
Olivia Vinall
Emily Wachter
Ross Waiton
Cathy Walker
Josie Walker
Brendan Wall
Sue Wallace
Daniel Walsh
Eileen Walsh
Everal A Walsh
Daniel Ward
Howard Ward
Patrick Warner
Jason Watkins
Tilly Webber
Anthony Welsh
Toby Wharton
Sharlene Whyte
66 National Theatre Annual Report 2013–2014
Russell Wilcox
Joseph Wilkins
Heather Williams
Kelly Williams
Shen Williams
Aimee Wilmot
Sam Wilmott
Stephen Wilson
Penelope Wilton
Thomas Wilton
Karren Winchester
Claire Winsper
Dan Winter
Duncan Wisbey
Susannah Wise
Simon Wolfe
Edith Woolley
Sophie Wu
Angela Wynter
Thomas Yarrow
Bob Yates Tily
Miles Yekinni
Daniel York
Eben Young
Sion Young
Supernumeraries
Saif Al-Warith, Jon Alagoa,
Waj Ali, Natham Ampofo,
Paul Anthoney, James S Barnes,
Mat Betteridge, Navinder
Bhatti, Jonathan Blakeley, Karl
Brown, Sebastian Canciglia,
Matthew Darcy, Amit Dhut,
Noor Dillan-Knight, Dexter
Jermaine Flanders, Matt
Gardner, Cameron Harris,
John Hastings, James Inkson,
Kojo Kamara, Owen Lindsay,
Rebecca Meyer, Shane Noone,
Joseph Ogeleka, Gary Phoenix,
Javier Rasero, Anthony Steele,
Andrew Thompson, Maxwell
Tyler, Grace Willis
Foley Artists
Barnaby Smyth, Ruth Sullivan
The Show Musicians
Leonie Adams
Simon Allen
Robert Ames
Kevin Amos
Neyire Ashworth
Lois Au
John Barclay
Angenita Blackwood
Mark Bousie
Annette Bowen
Tom Brady
Martin Briggs
Ben Brooker
Clive Brown
Lisa Bucknell
Sam Cable
Andrew Callard
Gordon Campbell
Toby Coles
Richard Coughlan
Allan Cox
Jay Craig
Sarah Crisp
Geneta Crooke
Andrew Crowley
Jonathan Eddie
Rachel Elliott
Paul Englishby
Andy Findon
Chris Fish
John Francis
Monica George
Tom Green
Matthew Gunner
George Hadjineophytou
Nicola Hands
Cliff Hardie
Kimberly Jill Harrenstein
Douglas Harrison
Richie Hart
James Hastings
David Holt
Joe Hood
Elena Hull
Jeremy Isaac
Mark Kavuma
Jenny la Touche
Ennis Langdon
Martin Lowe
Lydia Lowndes-Northcott
Peter McCarthy
Marcia McEachron
Howard McGill
Gavin Mallet
Melanie Marshall
Joan Martinez
Neresa Maye
Gaelle-Anne Michel
John Mills
Laura Moody
Jeff Moore
Louise Morgan
Nick Moss
Grant Olding
Stephanie Oyerinde
Lena Palmer
John Parricelli
Adam Pleeth
Nick Powell
Stuart Matthew Price
Verity Quade
Colin Rae
Nerys Richards
Don Richardson
Joseph Roberts
Martin Robertson
Katherine Rockhill
Kelyon Ross
Lawrence Rowe
Matt Senior
Oliver Seymour Marsh
Ross Sharkey
Caroline Sheen
David Shrubsole
Bryan Smith
Steve Smith
Barnaby Smyth
Josh Sneesby
Anna Stokes
Billy Stookes
Chris Storr
Ruth Sullivan
Tim Sutton
Seila Tammisola
Fraser Tannock
Becky Thomas
Sarah Thurlow
Marcus Tilt
Helen Tunstall
Rutledge Turnlund
Gareth Valentine
Andy Vinter
Bozidar Vukotic
ByronWallen
Philip Murray Warson
Sarah Willson
Ben Woodgate
Michael Xavier
Mari Yamamoto
Barbara Zdziarska
‘How can I create this
panaroma of character?
It is not just about
charting the years.
These people have
extraordinary colours
that you are trying to find
every day in rehearsal.’
Anne-Marie Duff quoted in The Observer
National Theatre Annual Report 2012–2013 67
NT Associates, Committee Membership
NT Associates
Alison Chitty
Bob Crowley
Declan Donnellan
Jonathan Dove
Edward Hall
Mark Henderson
Alex Jennings
Kwame Kwei-Armah
Adrian Lester
Phyllida Lloyd
Patrick Marber
Helen Mirren
Tom Morris
Mark Ravenhill
Simon Russell Beale
Zoë Wanamaker
Associate Producer
Pádraig Cusack
Committee Membership
at 30 March 2014
Development Council
Susan Chinn, Chair
Clive Sherling, Vice Chair
Graham Barker
Royce Bell
Dr Neil Brener
Sarah Brener
Russ Carr
Tim Clark
Simon Dingemans
Charles Dorfman
David Hall
Caroline Hoare
Madeline Hodgkin
Rosie Hytner
Elizabeth Offord
Oliver Pawle
Charlotte Warshaw
Charlotte Weston
Finance & Audit Committee
Howard Davies, Chair
Dame Ursula Brennan DCB
Tim Clark
Lloyd Dorfman CBE
Ros Haigh
John Makinson
NT Future Fundraising
Committee
Clive Sherling, Chair
Graham Barker
Lisa Burger
Susan Chinn
Tim Clark
Glenn Earle
David Hall
John Makinson
John Rodgers
Nick Starr
NT Future Project
Committee
Glenn Earle, Chair
Lisa Burger
Dominic Casserley
Tim Clark
Lloyd Dorfman CBE
Ros Haigh
Alan Leibowitz
John Makinson
Clive Sherling
Nick Starr
Nominations Committee
Tim Clark, Chair
Peter Bennett-Jones
James Purnell
Remuneration Committee
Howard Davies, Chair
Dame Ursula Brennan DCB
Tim Clark
Lloyd Dorfman CBE
Ros Haigh
John Makinson
National Theatre
Productions Limited
Directors
Peter Bennett-Jones, Chair
Lisa Burger
Tim Clark
Chris Harper
André Ptaszynski
Tessa Ross
David Sabel
Nick Starr
National Theatre
Productions Overseas
Limited
Directors
Peter Bennett-Jones
Lisa Burger
Nick Starr
Peter Taylor
National Theatre North
America LLC
Directors
Peter Bennett-Jones
Lisa Burger
Tim Clark
Nick Starr
Peter Taylor
Royal National Theatre
Enterprises Limited
Directors
Ros Haigh, Chair
Alex Bayley
Lisa Burger
Farah Ramzan Golant CBE
Patrick Harrison
Mark Hix
Karen Jones
John Langley
Geoffrey Matthews
Kate Mosse
Nick Starr
Honorary Council
Sir David Bell
Tony Bloom
Dr David Cohen CBE
Justin Dowley
David Dutton
Michael Gee
Michael Grade CBE
Robert Norbury
Oliver Prenn
Lois Sieff OBE
Max Ulfane
Edgar Wallner
Board and Committee
Secretary
Donna Parker
NT Heads of Department
Artistic Administration
Robin Hawkes
Broadcast & Digital
David Sabel
Casting
Wendy Spon
Commercial Operations
Patrick Harrison
Development
John Rodgers
Engineering
Kieron Lillis
External Relationships & Partnerships
John Langley
Finance
Kate Barraball
Lindsay Morgan
General Counsel
Peter Taylor
Human Resources
Tony Peers
Information Technology
Joe McFadden
Learning
Alice King-Farlow
Marketing
Alex Bayley
Music
Matthew Scott
NT Studio
Laura Collier
Sarah Jane Murray
Planning
Jo Hornsby
Platforms & WTS
Angus MacKechnie
Press
Lucinda Morrison
Print & Publications
Lyn Haill
Technical & Production
Mark Dakin
Mark Davies
Sacha Milroy
Technical Producer
Katrina Gilroy
Voice
Jeannette Nelson
NT Productions
Chris Harper
Steve Rebbeck
NT America
Tim Levy
68 National Theatre Annual Report 2013–2014
‘…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.
Photo captions
3
John Heffernan and Kyle Soller
in Edward II
Photo Johan Persson
4
National Theatre staff on its
50th Anniversary
Photo Ellie Kurttz
7
Sharon D. Clarke and Marianne JeanBaptiste in The Amen Corner
Photo Richard Hubert Smith
‘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.’
9
Olivia Williams in Happy Now?, 2008
Photo Stephen Cummiskey
Rory Kinnear as Hamlet, 2010
Photo Johan Persson
Lesley Sharp and Susan Brown
in Harper Regan, 2008
Photo Kevin Cummins
Preface (1904) to A National Theatre: Scheme and Estimates
by William Archer and Harley Granville Barker, London 1907
Dominic Cooper and Helen
Mirren in Phèdre, 2009
Photo Catherine Ashmore
Alex Jennings and Simon Russell
Beale in Collaborators, 2011
Photo Johan Persson
‘The particular genius of the place stems from the fact that
on the one hand, it was founded in conscious imitation of
the great European state theatres, with classical repertoires
of high seriousness, dedicated to the guardianship of the
sacred flame of each individual state’s theatrical tradition.
On the other hand, it was made by people who were not
part of that tradition at all. Those seasons which Olivier
and his contemporaries presented at the Old Vic and
in the West End were part of a theatre scene which for
400 years had never recognised a rigid divide between
high art and entertainment.
‘And that’s what I think has made the National special.
We have never felt it to be impossible to be challenging
and entertaining at the same time.’
Nicholas Hytner, Daily Telegraph, October 2013
Vincent Franklin, Philip Glenister
and Lauren O’Neil in This House,
2012
Photo Johan Persson
Anne-Marie Duff in Saint Joan, 2007
Photo Kevin Cummins
10
Nancy Carroll and Benedict
Cumberbatch in After The Dance,
2010
Photo Johan Persson
Deanna Dunagan in August, Osage
County, 2008
Photo Michael Brosilow
Anna Maxwell Martin and Dominic
Cooper in His Dark Materials, 2003
Photo Ivan Kyncl
Lesley Manville and Jemima Rooper
in Her Naked Skin, 2008
Photo Catherine Ashmore
Adrian Lester in Henry V, 2003
Photo Ivan Kyncl
London Assurance, 2010
Photo Catherine Ashmore
Michael Brandon in Jerry
Springer The Opera, 2003
Photo Catherine Ashmore
The Royal National Theatre,
Upper Ground,
London.
SE1 9PX
+ 44 (0)20 7452 3333
Matthew Morris in
Just For Show, 2005
Photo Jiri Volek
Company registration number
749504.
Registered charity number
224223.
Registered in England.
11
Liz Kettle in Waves, 2006
Photo Stephen Cummiskey
London Road, 2011
Photo Vikki Peter
Jeremy Irons in Never So Good, 2008
Photo Catherine Ashmore
2 National Theatre Annual Report 2010–2011
NT Live broadcast: Julie Walters
and Rory Kinnear in The Last of the
Haussmans, 2012
Photo Ludovic Des Cognets
20
Lesley Sharp and Kate O’Flynn
in A Taste of Honey
Photo Marc Brenner
Martina Laird and Jade Anouka in
Moon on a Rainbow Shawl, 2012
Photo Jonathan Keenan
24
Nick Hendrix and Rosalie Craig
in The Light Princess
Photo Brinkhoff Mögenburg
Simon Russell Beale and
Zoë Wanamaker in Much Ado About
Nothing, 2007
Photo Catherine Ashmore
James Corden in One Man, Two
Guvnors, 2011
Photo Johan Persson
Double Feature in the
Paintframe, 2011
Photo Johan Persson
Jonny Lee Miller and Benedict
Cumberbatch in Frankenstein, 2011
Photo Catherine Ashmore
Rafta, Rafta, 2007
Photo Catherine Ashmore
Lesley Manville and Marion Bailey in
Grief, 2011
Photo John Haynes
13
Jamie Ballard in War Horse, 2007
Photo Simon Annand
Billie Piper and Jonjo O’Neill
in The Effect, 2012
Photo Ellie Kurttz
Conleth Hill and Roger Allam in
Democracy, 2003
Photo Conrad Blakemore
The Curious Incident of the Dog in the
Night-Time, 2012
Photo Brinkhoff Mögenburg
The History Boys, 2004
Photo Ivan Kyncl
Conleth Hill and Justine Mitchell in
The White Guard, 2010
Photo Catherine Ashmore
The Pitmen Painters, 2008
Photo Keith Pattison
Alex Jennings in Stuff Happens, 2004
Photo Ivan Kyncl
26
The National Theatre at 50
with The Shed
Photo Philip Vile
27
HM The Queen greeted by Nicholas
Hytner and Nick Starr
Photo Ellie Kurttz
Derek Jacobi and Michael Gambon in
No Man’s Land for National Theatre:
50 Years on Stage
Photo Catherine Ashmore
28
Above: HM The Queen tours the
Props workshop
Photo Ellie Kurttz
Below: Judi Dench, Derek Jacobi,
Penelope Wilton, Maggie Smith,
Charles Kay and Roger Allam at the
curtain call for National Theatre:
50 Years on Stage
Photo Catherine Ashmore
29
Clockwise from left:
Judi Dench as Cleopatra for National
Theatre: 50 Years on Stage
Photo Catherine Ashmore
Backstage staff at the curtain call for
National Theatre: 50 Years on Stage
Photo Catherine Ashmore
Nicholas Le Prevost and Penelope
Wilton in Bedroom Farce for National
Theatre: 50 Years on Stage
Photo Catherine Ashmore
Dominic Cooper, Sacha Dhawan,
James Corden and Philip Correia in
The History Boys for National Theatre:
50 Years on Stage
Photo Catherine Ashmore
14
Daniel Patten in Emil
and the Detectives
Photo Marc Brenner
31
Above: Rory Keenan and Carla
Langley in Liolà
Photo Catherine Ashmore
Below: National Theatre honey
Photo Tom Dykes
17
Simon Russell Beale in King Lear
Photo Mark Douet
32
Rory Kinnear and Adrian Lester in
Othello
Photo Johan Persson
18
Mike Noble in The Curious Incident of
the Dog in the Night-Time at Stratford
Town Hall
Photo Ellie Kurttz
39
Tendayi Jembere and Natalie Dew in
Romeo and Juliet
Photo Ludovic des Cognets
19
War Horse at the Technology
Investors Forum in Qingdao,
China 2014
Photo courtesy of UK Trade
and Investment
40
Ana Inés Jabares Pita, winner of the
2013 Linbury Prize
Photo Sheila Burnett
43
Above: Max Rayne Centre under
construction
Middle: New Props workshop
Below: Dorfman Theatre under
refurbishment
Photos Ludovic Des Cognets
45
Avye Leventis, David Emmings and
Audrey Brisson in The Elephantom
Photo Lena Zimmer
47
Michaela Coel in Chewing Gum
Dreams
Photo Oliver Prout
48
Antonia Thomas in Home
Photo Ellie Kurttz
51
Adam Godley and members of
the company in From Morning To
Midnight
Photo Johan Persson
52
Left: Ian Lassiter and Amber Gray in
Mission Drift
Photo Robert Day
Right: Nadine Marshall in nut
Photo Stephen Cummiskey
53
Above: Riot
Photo Chris Collier
Left: Daniel York in The World of
Extreme Happiness
Photo Richard Hubert Smith
Right: Tobias Menzies in The Hush
Photo Simon Kane
54
Rosalie Craig and Michael Shaeffer
in Table
Photo Richard Hubert Smith
57
Above: Emma Lowndes, Geoffrey
Streatfeild and Lucy Black in Children
of the Sun
Photo Richard Hubert Smith
Below: Susannah Wise, Michaela
Coel, Sinead Matthews and Lorna
Brown in Blurred Lines
Photo Simon Kane
61
Above left: Rhys Ifans in Protest Song
Photo Kwame Lestrade
Below left: Olwen Fouéré in riverrun
Photo Colm Hogan
Right: Rob Drummond
in Bullet Catch
Photo Niall Walker
65
Above: Andrew Scott in Sea Wall
Photo Simon Annand
Below: Bristol Old Vic Young
Company in The Grandfathers
Photo Simon Annand
67
Anne-Marie Duff in Strange Interlude
Photo Johan Persson
Financial
Statements
2013-2014
National
Theatre
Page 1 of 49
National
Theatre
Public Benefit Statement
The Royal National Theatre is a
company limited by guarantee,
and a registered charity. The
liability of members is limited to
£1. It was established in 1963 for
the advancement of education
and, in particular, to procure and
increase the appreciation and
understanding of the dramatic art
in all its forms as a memorial to
William Shakespeare.
These objects are set out in the
governing document, which is its
Memorandum and Articles of
Association, and have been
developed into a set of aims and
objectives as described in the
Annual Report document on
pages 4-5 and 15-68.
In developing the objectives for the year,
and in planning activities, the Trustees
have considered the Charity Commission’s
general guidance on public benefit
including the guidance on public benefit
and fee charging. The repertoire is
planned so that across a full year it will
cover a wide range of theatre, appealing to
a broad audience. Particular regard is
given to ticket-pricing, affordability, access
and audience development, both through
the Travelex season and more generally in
the provision of lower price tickets for all
performances. Geographical reach is
achieved through touring and NT Live
broadcasts to cinemas in the UK and
overseas. The NT also seeks to develop
new audiences and deepen engagement
through its NT Learning programme and
other activities, both on-site and via the
website.
The Annual Report and Financial Statements are available to download at
www.nationaltheatre.org.uk/annualreport
If you would like to receive it in large print, or you are visually impaired and would like
a member of staff to talk through the publication with you, please contact the Board
Secretary at the National Theatre.
The Royal National Theatre,
Upper Ground,
London.
SE1 9PX
+44 (0)20 7452 3333
Company registration number 749504.
Registered charity number 224223.
Registered in England.
Page 2 of 49
Financial Statements
FINANCIAL STATEMENTS
FOR THE 52 WEEKS ENDED 30 MARCH 2014
2
Public Benefit Statement
4
Reference and Administrative Details of the Charity, Trustees and
Advisors
5
Structure, Governance and Management
8
Strategic Report
21
Independent Auditors’ Report
23
Financial Statements
27
Notes to the Financial Statements
In this document The Royal National Theatre is referred to as “the NT”, “the National”, and “the
National Theatre”.
The Trustees’ Report comprises those items on pages 2-20 of the Financial Statements and
pages 1-5 and 15-68 of the Annual Report.
Page 3 of 49
REFERENCE AND ADMINISTRATIVE DETAILS OF THE CHARITY, TRUSTEES AND
ADVISORS
Board Members
John Makinson (Chairman)
Kate Mosse OBE (Deputy Chair)
Peter Bennett-Jones
Dame Ursula Brennan DCB
Dominic Casserley
Susan Chinn CBE
Tim Clark
Howard Davies
Lloyd Dorfman CBE
Glenn Earle
Aminatta Forna
Farah Ramzan Golant CBE
Ros Haigh
Neil MacGregor
James Purnell
Tessa Ross (resigned 24 February 2014)
Clive Sherling
Executive
Director* Nicholas Hytner
Executive Director Nick Starr CBE
Chief Operating Officer Lisa Burger
Deputy Executive Director Kate Horton (resigned September 2013)
Chief Executive Designate Tessa Ross (Chief Executive from April 2015)
Director Designate Rufus Norris (Director from April 2015)
Associate Directors
Sebastian Born
Howard Davies
Marianne Elliott
Rufus Norris
Ben Power
Bijan Sheibani
Bankers
Coutts & Co
440 Strand, London WC2R 0QS
Auditors
PricewaterhouseCoopers LLP
7 More London Riverside
London SE1 2RT
*The term “Director” is a traditional title used at the National.
Neither the Director, the Associate Directors, nor other members of the Executive are directors under the Companies
Act, 2006
Page 4 of 49
STRUCTURE, GOVERNANCE AND MANAGEMENT
Management of the National Theatre
The Board
The Board is the non-executive and unpaid governing body of the National. Board members are
both directors of the company and charity trustees and under company and charity law are
responsible for policy, administration and general control. The Board works with the Executive
to ensure that the National’s remit is fulfilled, its work remains of the highest quality, and it is
managed efficiently and cost effectively. The Board delegates to the Director the selection and
staging of all productions and does not interfere in repertoire decisions. Following its normal
practice an annual review of the year’s artistic output was held in June 2013 with the Director, to
reflect on the effectiveness of the artistic programme as against the National’s remit. During
2013-14 the Board met seven times, with the Executive present, to ensure it was maintaining
effective control over strategic, financial, organisational and compliance issues. The Board
received and considered regular reports from its Committees and subsidiary companies.
The Executive
The Director*, Nicholas Hytner, is formally responsible for furthering the artistic reputation of the
National and ensuring its efficient and effective management. He works closely with the
Executive Director Nick Starr and Chief Operating Officer Lisa Burger. Deputy Executive
Director, Kate Horton, left the NT in November 2013. The Board appoints the Director and is
directly involved in the appointment of the Executive.
During the prior year Nicholas Hytner announced he would leave the National Theatre in March
2015, and Nick Starr announced he would be leaving in October 2014. The Board formed a
Succession Committee to manage the appointment of the new Director and Rufus Norris was
appointed Director Designate in November 2013 and Tessa Ross appointed as Chief Executive
Designate in April 2014 to work alongside Rufus Norris from November 2014.
Associate Directors* and NT Associates
Nicholas Hytner is supported in making repertoire decisions by the National’s Associate
Directors (listed on page 4), and NT Associates comprising actors, directors, designers, writers
and producers (listed on page 68 of the Annual Report).
*The term “Director” is a traditional title used at the National. Neither the Director, the Associate
Directors nor other members of the Executive, are directors under the Companies Act 2006.
Board Membership
The Board is chaired by John Makinson and a list of Board members at the date of this Report
is listed on page 4. Board members are appointed for an initial term of four years. Members
may be appointed for a second term of up to four years which is extended only in exceptional
circumstances.
Board Committees and Subsidiary Companies
The membership of the Committees is listed on page 68 of the Annual Report and details of the
subsidiaries are set out in Note 23 to the financial statements
Finance and Audit Committee
Members of the Finance and Audit Committee are appointed by and from the Board. Key
responsibilities are for Finance and Control, Audit and Risk. The Committee met five times
during the year and also met as the Remuneration Committee to set the remuneration of the
Executive.
Page 5 of 49
NT Future Fundraising and NT Future Project Committees
The Committees have responsibility for fundraising for the NT Future project and delivery of the
building works. The Committees comprise members of the Board, co-opted external members
with particular expertise, the Executive and members of Senior Management.
The Nominations Committee
The Nominations Committee is appointed by and from the Board and reviews the structure, size
and composition of the Board and, in the light of that review, makes recommendations to the
Board with regard to the appointment of new members.
Development Council
The Development Council assists in fundraising for the National. Its members, who are mainly
co-opted onto the Council, are appointed by the Board for a specified term. It meets at least
three times a year and reports regularly to the Board through its Chair who is a member of the
main Board.
Royal National Theatre Enterprises Limited (“RNTE”)
RNTE is a wholly owned trading subsidiary responsible for the National’s trading activities. The
National’s Board appoints the directors of RNTE which comprise Board members, external
experts and senior members of staff responsible for the trading areas.
National Theatre Productions Limited (“NTP”)
NTPL is a wholly owned trading subsidiary of the National Theatre whose primary remit is
responsibility for the commercial exploitation of NT productions and the exploitation of rights in
any production via digital, broadcast or other media. The National’s Board appoints the directors
of NTP which comprise Board members, external experts, and senior members of staff. The
commercial activities have necessitated the creation of two additional subsidiaries National
Theatre North America LLC (formerly named War Horse US LLC) which was active during the
year, and National Theatre Productions Overseas Limited which was active in 2012/13 but is
now dormant.
Connected Charities
Details of Connected Charities are set out in Note 21 to the Financial Statements.
Executive Management at the National
The review of activities shows that the National has many facets. Each area has a Head of
Department who reports to a member of the Executive who in turn report to the Board. In
addition to a weekly meeting of the Executive and all the Heads of Department, efficient crossdepartmental working is managed through a series of groups meeting on a regular basis. The
key decision-making groups include repertoire planning, capital projects, digital and IT projects,
NT Future, Enterprises and Health and Safety.
Communication is key and the National aims to engage all its employees and others working at
the National in its activities and achievements. All staff are invited to a weekly company meeting
led by Nicholas Hytner and information from these meetings and other new developments and
policies are available on the National’s intranet.
The National has a diversity action plan. All staff are required to cooperate with the National’s
policies and procedures to promote inclusivity and diversity but particular focus has been given
to understanding why the National’s workforce is not better representative of the UK population,
what barriers if any there might be and what measures might be taken to improve diversity. The
Health and Safety team is closely involved in the key risk areas of the organisation and advises
and assists with health and safety aspects of productions, special events, accident
investigations and training.
Page 6 of 49
Other Matters
Trustees’ Transactions
The trustees are not remunerated for their work as Trustees of the National Theatre. From time
to time, members of the Board or persons connected with them enter into transactions with the
National in the normal course of business of both parties. Such transactions are conducted on
an arm’s length basis, on normal commercial terms, and are in accordance with the specific
provisions of clause 5 of the Memorandum of Association. It is the Board’s policy that they
should be disclosed to and approved by the Board and disclosed in the financial statements.
Page 7 of 49
STRATEGIC REPORT
A. ACHIEVEMENTS AND PERFORMANCE
i. Introduction
2013-14 saw the National Theatre mark its 50th anniversary with a celebration of the work of
artists across the last fifty years whilst looking forward to the next chapter in its history. This
event, which was also broadcast on BBC2, was seen by over one million people, and across the
year, the National hit a new landmark reaching total paying audiences of 4.3m worldwide. In
the financial year, incoming resources were £124.1m with £103.4m of expenditure. Net assets
at 30 March 2014 were £68.2m
ii. Review
The National achieved a break even result for the year reflecting strong ticket sales at the NT, in
the West End and on tour and for NT Live but offset by the abrupt closure of the production of
The Curious Incident of the Dog in the Night-time following the collapse of the ceiling at the
Apollo Theatre. The production had been running at 100% capacity and were it not for the
closure, the National would have delivered a surplus of £1.3m.
The NT Future building works which started in July 2012 have continued throughout the year.
Pledged funding towards the £80m fundraising target reached £76m by 30 March 2014 and
£23m was received during the year, with £23.1m being spent on project expenditure.
Performances have continued as normal throughout the year with the temporary performance
space, The Shed replacing the Cottesloe during its refurbishment. The building works have
however inevitably impacted on operating costs and trading income.
The funding received from the Arts Council is vitally important to maintain the innovation and
accessibility of which the NT is proud. This income is also multiplied several times over in order
to vastly expand the reach of the NT beyond the South Bank. Arts Council funding was held at
the same level as the prior year, at £17.5m. This represents 17% of the income received by the
NT with the remainder coming from Box Office, Commercial Transfers, Fundraising and
Trading.
Income from commercial transfers has significantly increased to offset the impact of the real
term cut (25% since 2010-11) in Arts Council funding and delivered £5.5m net earnings in
2013/14 which were used in full to support activity at the NT. Over the last few years £7.5m of
income from commercial transfers has been used to seed fund NT Future, with £1.7m being
used to finance the Shed and £1m funding the Inside Out Festival.
The Trustees have reviewed the financial outlook and, whilst acknowledging the risk
surrounding box office income and earnings from commercial transfers, consider the recent
financial performance and level of reserves to indicate that the National will be able to sustain
current activity levels.
Page 8 of 49
iii Performance
The table below shows the five year trend of attendances.
National Theatre paid attendances
(thousands)
2013/14
2012/13
2011/12
2010/11
2009/10
364
269
75
778
392
869
32
2,779
342
314
103
705
97
770
16
2,347
353
286
108
630
63
8
1,448
355
285
104
408
79
2
1,233
364
322
98
398
56
38
1,276
86%
90%
90%
92%
2013/14
2012/13
2011/12
2010/11
2009/10
339
360
369
1,005
251
727
98
3,149
339
394
325
409
96
476
61
2,100
357
391
368
421
70
50
1,657
343
373
373
414
98
2
1,603
384
393
355
414
70
15
1,631
Olivier
Lyttelton
The Shed / Cottesloe
West End
UK Touring
International Touring
Other
Total
NT Attendance as % of capacity
Number of performances:
Olivier
Lyttelton
The Shed / Cottesloe
West End
UK Touring
International Touring
Other
Total
90%
33% of all attendees to the NT at the South Bank were first time bookers, and a total of 156,000
under-18s and college groups attended performances at the NT and in the West End.
Half-price tickets for under-18s continued to be available for all productions outside the Travelex
season and the tickets sold represented a discount of £2.2m against average ticket price.
Membership of the Entry Pass scheme providing discounted tickets for under-25s grew by 11%
to 47,062 people.
The major access initiative continued to be the Travelex scheme.
available for all productions at the NT during the year
Number of productions
(new in brackets):
Olivier
Lyttelton
Shed / Cottesloe
2013/14
2012/13
2011/12
£12 tickets were made
2010/11
2009/10
8
8
17
(6)
(6)
(12)
9
10
7
(6)
(7)
(5)
8
11
8
(7)
(9)
(7)
7
9
9
(6)
(6)
(9)
7
10
9
(5)
(8)
(7)
33
(24)
26
(18)
27
(23)
25
(21)
26
(20)
There were 33 productions in repertoire at the National during the year.
In addition to the 24 new productions built and staged at the National there were productions of
War Horse at the New London and on tour in North America, a production of One Man, Two
Guvnors at the Haymarket and Curious Incident at the Apollo.
Page 9 of 49
NT Live and touring
The NT continued to reach wider audiences who cannot come to the theatre in London through
live broadcast into cinemas, touring and its overseas productions. There were seven NT Live
broadcasts during the year including the NT 50th Anniversary performance, to audiences of
0.8m in the UK and 0.6m overseas.
National Theatre Live Audiences
1600
1400
1200
1000
UK Audience ('000)
International Audience ('000)
800
Total Audience ('000)
600
400
200
2009-10
2010-11
2011-12
2012-13
2013-14
Audiences watching NT productions on tour in the UK have grown from 35,000 in 2008-09 to
0.4m in 2013-14 and the total number of UK and International touring weeks increased from 23
to 132. This brings total paying audiences for NT productions to 4.3m people (compared to
3.6m in 2012-13).
Page 10 of 49
Touring Trends
1,400
1,200
Tickets sold ('000)
1,000
No of performances
800
No of touring weeks
600
400
200
2010-11
Page 11 of 49
2011-12
2012-13
2013-14
B. FINANCIAL REVIEW
Set out below is a summary statement of income and expenditure. It combines the National’s
unrestricted income and expenditure with short term project expenditure funded by earmarked
donations (restricted funds) and the element of the regular ACE grant which has been restricted
to capital expenditure (£1.9m). It excludes NT Future income and expenditure which is treated
as a long term project, as well as movements in any other long term restricted funds.
2014
£m
Income
Box Office at NT
Box Office on tour, in the West End and Internationally
NT Live
Trading and other income
Fundraising
ACE grants
Expenditure
Production costs – NT South Bank
Production costs – Touring, West End, and International
NT Learning, NT Live and Public Engagement
Research
Trading
Fundraising
Irrecoverable VAT
Governance
2013
£m
18.3
39.7
6.7
11.2
6.5
17.5
99.9
18%
40%
7%
11%
7%
17%
100%
18.3
30.8
2.4
11.1
7.0
17.5
87.1
21%
35%
3%
13%
8%
20%
100%
36.5
36.7
9.1
1.9
10.7
1.6
0.8
0.2
97.5
37%
38%
9%
2%
11%
2%
1%
100%
36.1
25.5
6.7
1.7
11.6
1.5
1.0
0.2
84.2
43%
30%
8%
2%
14%
2%
1%
100%
The NT makes an annual transfer to the Buildings and Equipment Fund of £2.5m to fund routine capital
purchases. In 2012-13 (prior year), an additional £1.7m was designated to this fund for The Shed.
Net result after transfers
Page 12 of 49
-
-
PRINCIPAL FUNDING SOURCES
The National maintains a balance between self generated income – box office, fundraising,
exploitation of National Theatre productions in UK and internationally, catering and front of
house trading – and public subsidy from Arts Council England (ACE).
ACE, 17%
Box Office at NT,
18%
Fundraising, 7%
Trading , 11%
NT Live,
7%
Box Office on
tour, West End
and
International,
40%
Box Office Income
Box office income at the National, on tour and from the run of War Horse at the New London
Theatre, One Man, Two Guvnors at the Theatre Royal Haymarket and The Curious Incident of
the Dog in the Night Time at the Apollo, as well as other UK transfers represented 57% of the
National’s total income. An additional 1% was generated by War Horse internationally.
Arts Council England Funding
The core revenue grant for 2013-14 was £15.1m and in addition £1.9m of core grant was
received in the form of a capital grant for regular major building maintenance. This element was
therefore restricted as long term income and has been fully utilised for capital expenditure in the
year. An additional £0.5m was received in Lottery funding for Touring.
The total grant of £17.5m is in line with the amount received in the previous year. However
since 2010-11 the grant has been cut by £2.1m a real terms reduction of 25%.
During the year, the NT was awarded a further £2.5m from the Arts Council’s Capital Lottery
Fund towards NT Future building works taking the total received during the year to £7.7m
bringing the total grant to £20m.
Fundraising
The development department had a strong year raising £16.4m for NT Future as well as £6.5m
for revenue activity, of which £0.6m was in relation to commercial promotion and is recorded
within RNTE.
Page 13 of 49
Trading and Other Income
Trading operations, including catering, bookshop, programmes, car park, costume hire and
commercial promotion, are conducted through the National’s wholly owned subsidiary Royal
National Theatre Enterprises Limited. The car park is operated under a franchise but the other
businesses are operated directly by the National.
Trading was affected this year by continuing NT Future works and as a result the total profit
before the management charge payable to the National was £1.2m, in line with last year.
Other income included bank interest receivable and income from education activities.
The National Theatre continues to benefit from its culturally exempt VAT status, which means
that there is no VAT on ticket income at the National Theatre but that a proportion of VAT on
expenditure is irrecoverable.
REVENUE EXPENDITURE
Production Costs
Production expenditure at the National Theatre and on tour represented 39% of total
expenditure for the year which can be analysed as follows:
Writers,
Directors and
Designers, 9%
Touring,
6%
Performance
Running, 29%
Planning and
Direction, 13%
Production
Build, 21%
Actors and
Musicians,
22%
A further 36% of expenditure was for UK and international commercial productions.
NT Learning and Public Engagement
Total spend for the year for the NT Learning (Education) programme was £1.8m. £0.3m was
covered by fundraising, £0.3m generated through ticket and fee income and the remainder
covered by core funding.
Spend for other public engagement activities was £7.3m. This included £6.2m for NT Live and
£0.5m for Digital Projects.
Page 14 of 49
Research and Development
Expenditure on research and development totalled £1.9m, including £1.1m expenditure in the
NT Studio.
Support Costs
Support costs cover expenditure on front of house staff responsible for contact with the
audience; marketing, box office and press; management and maintenance of the building
including insurance and energy costs; and finance, HR and IT. These costs are allocated
against the activities listed above. Costs increased by £0.5m to £15.5m in the year primarily
due to increased IT costs and increased utility costs as a result of the building works.
Capital Expenditure
Total capital expenditure for the year (excluding NT Future) was £3.4m. This spend includes
several major projects, including refurbishment of the Drum revolve (£0.8m) as well as
improvements to the IT infrastructure, the new Dorfman dimmer system and upgrades to the
Lyttelton sound infrastructure.
Capital expenditure in relation to NT Future totalled £21.6m in 2013-14 (2012-13 £12.3m) with
both Phase A and Phase B fully underway. In addition works in relation to the Technical and
Environmental Master Plans continued (£0.5m expenditure in the year). Pledged donations and
grant awards of £8.6m were made in 2013-14 and brought total pledges to £76.3m. Of these
£44.1m has been received to date including £23m in 2013-14 and reflected as restricted or
designated income.
The annual transfer from the operations fund to the designated funds for capital and NT Future
was £2.5m compared with £2.7m in 2012-13. Irrecoverable VAT capitalised in the year was
£0.9m (2012-13 £0.8m).
Page 15 of 49
RESERVES AND OTHER FINANCIAL POLICIES
Unrestricted Operations Fund
The policy for budgeting annual income and expenditure is, taking account of the level of grant
receivable from the Arts Council, to seek each year to match income and expenditure, and to
avoid accumulating a deficit, so that the National is able to continue successfully its present
level and quality of activity.
The unrestricted reserves target is held at £2.8m to reflect the impact from cuts in public funding
on the National’s sources of income. £1.8m is held to recognise the volatility in box office
revenue between budget and actual out-turn. A further £0.5m reflects the knock-on impact of a
reduction in box office attendance on catering profits and £0.5m for the effect on fundraising.
Buildings and Equipment Designated Fund
The policy is to ensure that sufficient money is set aside in the reserve so that over a three-year
period the National is able to maintain and renew the building in accordance with its rolling
capital plan. Expenditure planned beyond 2013-14 is in excess of the sum which could be
reasonably anticipated to be covered from recurring surpluses and fundraising sources;
however this is being addressed within NT Future.
NT Future Designated Fund
In addition to the new building and refurbishment works, the NT Future project includes two
strands to address the essential technical and infrastructure works to be completed in the next
five years - the Technical Master Plan and Environmental and Engineering Master Plan.
NT Future capital project work will generate irrecoverable VAT which will be covered by the VAT
repayments received in 2010-11 and designated to offset this cost.
The Shed Designated Fund
£1.7m was designated in 2012-13 to provide funds for The Shed. £1.6m was spent during 201213, leaving a balance of £0.1m in the fund which will be held for closure costs.
Restricted Funds
These are funds which have been earmarked by the donor for specific purposes within the
overall aims of the organisation. The funds are analysed between long-term and short-term –
long-term being mostly for capital purposes, including NT Future, and short-term for project
activity, as set out in note 18 of the accounts. Short term funds will be spent in full in the next 18
months. The balance on the long-term capital funds represents funds received from donors to
purchase fixed assets less the depreciation charged on an annual basis. Over time these
reserves will reduce to zero as the assets are fully depreciated.
Investment Policy
The policy is to hold investments in liquid funds so they are available to meet predicted cashflow needs. In selecting suitable cash deposits the policy is to maximise the return and maintain
low transaction costs whilst ensuring high levels of capital security by minimising credit risk, and
minimising interest rate risk. The policy was reviewed by the Finance and Audit Committee on
31 May 2013 and deposits and interest rates are reviewed each time the Finance and Audit
Committee meets. At 30 March 2014 the cash deposits were spread between five major
clearing banks and CCLA. The bank interest earned for the year was £0.2m (2012-13 £0.5m).
Creditor Payment Policy
It is the National’s policy to pay creditors in accordance with terms of payment agreed at the
start of business with each supplier.
Page 16 of 49
C. PRINCIPAL RISKS AND UNCERTAINTIES
Financial Risk Management
The following statements summarise the Board’s policy in managing identified forms of financial
risk.
Price risk: Payments to employees or individuals represent 48% of total expenditure at the
National and higher levels of inflation represent a risk as 20% of the National’s income, which
comes from the Arts Council, has fallen for the past three years and is not expected to reach
2010-11 levels in the next two years. The National has freedom over its ticket pricing, and ticket
income represents 63% of revenue. However the aim is to limit ticket price increases to no more
than inflation and hold the lowest ticket price at an accessible level as this has been found to be
the best way of maximising revenue and increasing access.
Credit risk: Risk on amounts owed to the charity by its customers is low as payment for ticket
sales and operations through the trading subsidiary are mostly settled at point of purchase.
Liquidity risk: The National has no long-term borrowings.
Interest rate cash flow risks: The National places surplus funds on short-term deposit split
between five major clearing banks and CCLA. Interest rates available on longer term deposits
are kept under review but longer term deposits will only be made for specific major project funds
where the term of the deposit matches the anticipated cash flow requirement.
Property Interests
The National has a lease of its building on the South Bank site from Arts Council England for a
term expiring in March 2138. The Building is Grade 2* listed. The freehold of the Old Vic
Annexe (the Studio), The Cut, London SE1 is owned by the National and this building was listed
in March 2006. The Studio building has been provided as security in the form of a 30 year legal
mortgage in relation to a grant for refurbishment of the Studio.
In 2012 a fixed and floating charge lasting 30 years was provided as security for the potential
repayment obligations under a grant of £17.5m from Arts Council England for the NT Future
project. In addition in 2013 a fixed and floating charge lasting 25 years will be provided as
security for the potential repayment obligations under a grant of £2.5m from Heritage Lottery
Fund for the NT Future project.
Page 17 of 49
D. FUTURE PLANS
The National Theatre strives to be a national centre of theatre arts, with education and public
engagement being the founding principles that are central to the vision for the future. To this
end, the NT sets specific objectives for the following financial year, to be worked on alongside
the core objectives for the organisation. These core objectives can be found on page 4 of the
Annual Report, and progress against the 2013-14 objectives is reviewed throughout the Annual
Report.
2014-15 Objectives
The following objectives have been set for the 2014-15 financial year

The completion of NT Future building works and the opening of the Dorfman Theatre,
Clore Learning Centre and Max Rayne Centre

The smooth transition of leadership from Nicholas Hytner and Nick Starr to Rufus Norris
and Tessa Ross

Further expansion of UK touring and National Theatre Live

The co-production with the National Theatre of Scotland and Edinburgh International
Festival of Rona Munro’s The James Plays
Page 18 of 49
STATEMENT OF TRUSTEES’ RESPONSIBILITIES IN RESPECT OF THE ANNUAL REPORT
AND THE FINANCIAL STATEMENTS
The trustees (who are also directors of Royal National Theatre for the purposes of company
law) are responsible for preparing the Trustees’ Annual Report (including the Strategic Report)
and the financial statements in accordance with applicable law and United Kingdom Accounting
Standards (United Kingdom Generally Accepted Accounting Practice).
Company law requires the trustees to prepare financial statements for each financial year which
give a true and fair view of the state of affairs of the charitable company and the group and of
the incoming resources and application of resources, including the income and expenditure, of
the charitable group for that period. In preparing these financial statements, the trustees are
required to:





select suitable accounting policies and then apply them consistently;
observe the methods and principles in the Charities SORP;
make judgments and estimates that are reasonable and prudent;
state whether applicable UK Accounting Standards have been followed, subject to any
material departures disclosed and explained in the financial statements; and
prepare the financial statements on the going concern basis unless it is inappropriate to
presume that the charitable company will continue in business.
The trustees are responsible for keeping proper accounting records that disclose with
reasonable accuracy at any time the financial position of the charitable company and enable
them to ensure that the financial statements comply with the Companies Act 2006. They are
also responsible for safeguarding the assets of the charitable company and the group and
hence for taking reasonable steps for the prevention and detection of fraud and other
irregularities.
In so far as the trustees are aware:


there is no relevant audit information of which the charitable company’s auditor is
unaware; and
the trustees have taken all steps that they ought to have taken to make themselves
aware of any relevant audit information and to establish that the auditor is aware of that
information.
The trustees are responsible for the maintenance and integrity of the corporate and financial
information included on the charitable company’s website. Legislation in the United Kingdom
governing the preparation and dissemination of financial statements may differ from legislation
in other jurisdictions.
Trustees Indemnities
As permitted by the Articles of Association, the Trustees have the benefit of an indemnity which
is a qualifying third party indemnity provision as defined by Section 234 of the Companies Act
2006. The indemnity was in force throughout the last financial year and is currently in force.
The Company also purchased and maintained throughout the financial year Trustees’ and
Officers’ liability insurance in respect of itself and its Trustees.
Statement on disclosure of information to the auditors
In so far as the trustees are aware:

there is no relevant audit information of which the charitable company’s auditor is
unaware; and
Page 19 of 49

the trustees have taken all steps that they ought to have taken to make themselves
aware of any relevant audit information and to establish that the auditor is aware of that
information.
The trustees are responsible for the maintenance and integrity of the corporate and financial
information included on the charitable company’s website. Legislation in the United Kingdom
governing the preparation and dissemination of financial statements may differ from legislation
in other jurisdictions.
Auditors
PricewaterhouseCoopers LLP will continue in office as auditors of the Charity for the next
financial year.
The Trustees’ report (comprising pages 2 to 20 of these Financial Statements and pages 1-4
and 15-68 of the Annual Report) including the Strategic Report (pages 8 to 20) was approved
by the Board of Directors and authorised for issue on 29 September 2014 and signed on its
behalf by
John Makinson
Chairman
29 September 2014
Page 20 of 49
INDEPENDENT AUDITORS’ REPORT TO THE MEMBERS AND TRUSTEES OF THE ROYAL
NATIONAL THEATRE
Report on the financial statements
Our opinion
In our opinion the financial statements, defined below:



give a true and fair view of the state of the group’s and of the parent charitable company’s affairs
as at 30 March 2014 and of the group’s incoming resources and application of resources,
including its income and expenditure and the group’s cash flows for the year then ended;
have been properly prepared in accordance with United Kingdom Generally Accepted Accounting
Practice; and
have been prepared in accordance with the requirements of the Companies Act 2006.
This opinion is to be read in the context of what we say in the remainder of this report.
What we have audited
The group financial statements and parent company financial statements (the “financial statements”),
which are prepared by The Royal National Theatre Group, comprise:




the Group and Company Balance Sheets as at 30 March 2014;
the Group Statement of Financial Activities (Including an Income and Expenditure account) for
the year then ended;
the Group Cash flow statement for the year then ended; and
the notes to the financial statements, which include a summary of significant accounting policies
and other explanatory information.
The financial reporting framework that has been applied in their preparation is applicable law and United
Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).
In applying the financial reporting framework, the trustees have made a number of subjective judgements,
for example in respect of significant accounting estimates. In making such estimates, they have made
assumptions and considered future events.
What an audit of financial statements involves
We conducted our audit in accordance with International Standards on Auditing (UK and Ireland) (“ISAs
(UK & Ireland)”). An audit involves obtaining evidence about the amounts and disclosures in the financial
statements sufficient to give reasonable assurance that the financial statements are free from material
misstatement, whether caused by fraud or error. This includes an assessment of:



whether the accounting policies are appropriate to the group’s and the parent charitable
company’s circumstances and have been consistently applied and adequately disclosed;
the reasonableness of significant accounting estimates made by the trustees; and
the overall presentation of the financial statements.
In addition, we read all the financial and non-financial information in the Annual Report and Financial
Review (incorporating the Strategic Report) to identify material inconsistencies with the audited financial
statements and to identify any information that is apparently materially incorrect based on, or materially
inconsistent with, the knowledge acquired by us in the course of performing the audit. If we become
aware of any apparent material misstatements or inconsistencies we consider the implications for our
report.
Opinion on other matter prescribed by the Companies Act 2006
In our opinion the information given in the Strategic Report, the Annual Report and the Financial Review
for the financial year for which the financial statements are prepared is consistent with the financial
statements.
Page 21 of 49
Other matters on which we are required to report by exception
Adequacy of accounting records and information and explanations received
Under the Companies Act 2006 we are required to report to you if, in our opinion:



we have not received all the information and explanations we require for our audit; or
adequate accounting records have not been kept by the parent company, or returns adequate for
our audit have not been received from branches not visited by us; or
the parent company financial statements are not in agreement with the accounting records and
returns.
We have no exceptions to report arising from this responsibility.
Trustees’ remuneration
Under the Companies Act 2006 we are required to report to you if, in our opinion, certain disclosures of
trustees’ remuneration specified by law are not made. We have no exceptions to report arising from this
responsibility.
Responsibilities for the financial statements and the audit
Our responsibilities and those of the trustees
As explained more fully in the Statement of Trustees’ Responsibilities, the trustees are responsible for the
preparation of the financial statements and for being satisfied that they give a true and fair view.
Our responsibility is to audit and express an opinion on the financial statements in accordance with
applicable law and ISAs (UK & Ireland). Those standards require us to comply with the Auditing Practices
Board’s Ethical Standards for Auditors.
This report, including the opinions, has been prepared for and only for the charity’s members and trustees
as a body in accordance with Chapter 3 of Part 16 of the Companies Act 2006 and for no other purpose.
We do not, in giving these opinions, accept or assume responsibility for any other purpose or to any other
person to whom this report is shown or into whose hands it may come save where expressly agreed by
our prior consent in writing.
Jill Halford (Senior Statutory Auditor)
for and on behalf of PricewaterhouseCoopers LLP
Chartered Accountants and Statutory Auditors
London
th
29 September 2014
Page 22 of 49
GROUP STATEMENT OF FINANCIAL ACTIVITIES (INCLUDING AN INCOME AND
EXPENDITURE ACCOUNT)
for the 52 weeks ended 30 March 2014
Unrestricted Funds
Incoming resources
Incoming resources from
generated funds:
Voluntary income
Activities for generating funds
Investment income
Incoming resources from
charitable activities
TOTAL incoming resources
Resources expended
Costs of generating funds:
Costs of generating voluntary
income
Costs of commercial activities
Charitable activities
Governance costs
TOTAL resources expended
52
Weeks to
31 March
2013
Total
£m
Total
£m
Operations
£m
Designated
£m
2(a)/(b)
23
20.1
11.3
0.2
-
1.4
-
26.1
-
47.6
11.3
0.2
34.3
12.7
0.5
2(c)
65.0
-
-
-
65.0
50.1
18
96.6
-
1.4
26.1
124.1
97.6
23
3(a)
3(b)
(1.6)
(10.7)
(83.5)
(0.2)
(5.0)
-
(1.4)
-
(1.0)
-
(1.6)
(10.7)
(90.9)
(0.2)
(1.5)
(11.6)
(78.3)
(0.2)
18
(96.0)
(5.0)
(1.4)
(1.0)
(103.4)
(91.6)
0.6
(5.0)
-
25.1
20.7
6.0
(0.6)
2.5
-
(1.9)
-
-
-
(2.5)
-
23.2
20.7
6.0
Note
Net incoming / (outgoing)
resources before transfers
Transfers
Restricted Funds
Long
Projects
Term
£m
£m
52
Weeks to
30 March
2014
18
Net movement in funds
Reconciliation of funds
Fund balances brought forward
at 1 April
18
2.6
19.5
0.2
25.2
47.5
41.5
Fund balances carried
forward at 30 March
18
2.6
17.0
0.2
48.4
68.2
47.5
All incoming resources and resources expended are derived from continuing activities.
A Statement of Total Recognised Gains and Losses is not required as all gains and losses are included in the Statement of Financial
Activities.
There is no difference between the net income for the period and its historical cost equivalent. Accordingly no separate income and
expenditure statement has been presented.
Page 23 of 49
BALANCE SHEETS
Company Registration Number: 749504
Group
as at 30
March
Company
as at 30
March
Group
as at 31
March
Company
as at 31
March
2014
2014
2013
2013
Note
£m
£m
£m
£m
Tangible fixed assets
11
53.4
53.4
32.9
32.9
Investments
12
0.2
0.2
0.2
0.2
53.6
53.6
33.1
33.1
Fixed assets
Total fixed assets
Current assets
Stocks
13
0.5
0.1
0.8
0.2
Cost of productions not yet opened
14
1.3
0.6
1.1
1.1
Debtors
15
7.9
9.2
6.9
9.1
Cash at bank and in hand
16
20.0
18.9
21.8
19.7
29.7
28.8
30.6
30.1
(15.1)
(14.2)
(16.2)
(15.7)
Net current assets
14.6
14.6
14.4
14.4
Total assets less current liabilities
68.2
68.2
47.5
47.5
18/19
68.2
68.2
47.5
47.5
Operations fund
18/19
2.6
2.6
2.6
2.6
Designated funds
18/19
17.0
17.0
19.5
19.5
19.6
19.6
22.1
22.1
Total current assets
Creditors: amounts falling due
within one year
NET ASSETS
17
Represented by:
Total unrestricted funds
Restricted funds
18/19
48.6
48.6
25.4
25.4
TOTAL FUNDS
18/19
68.2
68.2
47.5
47.5
The Notes on pages 27 to 49 constitute part of the financial statements.
The financial statements were approved by the Board of Trustees on 29 September 2014 and signed on its
behalf by:
John Makinson
Chair
Page 24 of 49
Howard Davies
Trustee
GROUP CASH FLOW STATEMENT
Net cash inflow from operating activities
Group
Group
52 Weeks to
52 Weeks to
30 March
31 March
2014
2013
Note
£m
£m
i
23.8
7.4
0.3
0.6
11
(25.9)
(12.6)
16
11.0
4.0
ii
9.2
(0.6)
Returns on investments
Interest received
Capital expenditure and financial investment
Purchase of tangible fixed assets
Management of liquid resources
Decrease /(increase) in short term deposits
Increase in cash in the period
i NET CASH INFLOW FROM OPERATING ACTIVITIES
Net incoming resources before transfers
Depreciation and amortisation charge
Investment income
Net operating income
2014
£m
2013
£m
20.7
6.0
4.2
(0.2)
4.0
(0.5)
24.7
9.5
0.3
(0.3)
Increase in work in progress
Increase in debtors
(0.2)
(0.9)
(0.6)
(0.3)
Decrease in creditors (less capital accruals)
(0.1)
(0.9)
23.8
7.4
Decrease in stock
Net cash inflow from operating activities
Page 25 of 49
GROUP CASH FLOW STATEMENT
ii ANALYSIS OF NET CASH RESOURCES
Cash
Short term deposits
16
16
TOTAL
As at 31
March 2013
£m
Cashflow
£m
As at 30
March 2014
£m
8.8
13.0
9.2
(11)
18.0
2.0
21.8
(1.8)
20.0
iii RECONCILIATION OF NET CASHFLOW TO MOVEMENT IN NET FUNDS
2014
£m
2013
£m
9.2
(11)
(0.6)
(4.0)
Movement in net funds in the period
(1.8)
(4.6)
Net funds at 31 March 2013
21.8
26.4
Net funds at 30 March 2014
20.0
21.8
Decrease in cash in the period
Cash (outflow)/ inflow from increase in liquid resources
Page 26 of 49
16
16
Notes to the Financial Statements
1
PRINCIPAL ACCOUNTING POLICIES
The following accounting policies have been applied consistently in dealing with items which are
considered material in relation to the financial statements.
A
BASIS OF PREPARATION
The financial statements have been prepared on the going concern basis, under the historical cost
convention and in accordance with applicable United Kingdom accounting standards, the Companies Act
2006, the Charities Act 2011, and the recommendations of the Statement of Recommended Practice
"Accounting and Reporting by Charities" (“the SORP”) issued in March 2005. The Charity has adapted the
Companies Act formats to reflect the Charities SORP and the special nature of its activities.
A separate statement of financial activities and income and expenditure account are not presented for the
Charity itself as permitted by Section 408 of the Companies Act 2006 and paragraph 397 of SORP 2005. The
net income of the company for the period was £19.3m (2013: £4.1m).
The principal accounting policies adopted in the preparation of the financial statements are set out below.
B
BASIS OF CONSOLIDATION
The Group financial statements consolidate those of The Royal National Theatre (“the National” or “the NT”)
and its wholly owned non-charitable subsidiaries (as set out in note 23) on a line by line basis in accordance
with FRS 2. The results of Royal National Theatre Enterprises Limited, National Theatre Productions Limited,
National Theatre Productions Overseas Ltd and National Theatre North America LLC (formally War Horse US
LLC) have been included in the group statement of financial activities throughout the period.
Transactions and balances outstanding between the entities are eliminated on consolidation.
The National Theatre has taken advantage of the exemption given by Financial Reporting Standard 8,
Related Party Disclosures, from disclosing transactions with its wholly owned subsidiaries.
C
FUND ACCOUNTING
Unrestricted funds are those funds which can be used for any charitable purpose at the discretion of the
trustees; designated funds are those funds which have been set aside by the trustees for particular purposes;
restricted funds may only be used in accordance with the specific wishes of donors.
The expendable endowment fund is held in long term restricted funds. Under the terms of donation this will
be converted at the trustees’ discretion into expendable income at the end of the 20 year term.
D
INCOMING RESOURCES
All incoming resources are included in the Statement of Financial Activities when the Charity has legal
entitlement, there is reasonable certainty over receipt and the amount of income can be quantified with
reasonable accuracy.
Voluntary Income
Voluntary income comprises all incoming resources from sponsorships, donations, legacies, grants,
membership subscriptions. Voluntary income is recognised in the appropriate fund on a receivable basis and
when any conditions for receipt are met. Income in respect to the NT Future project is recognised on a cash
basis. Any income from connected charities is recognised at the point at which the amount payable is
confirmed.
Where the donor imposed conditions require that the resource is expended in a future accounting period,
income is recorded as deferred income at the balance sheet date.
Income from individual membership schemes eligible for Gift Aid is recognised in full on receipt. Corporate
and Advance Membership income is apportioned over the period of the subscription and the element relating
to a future period is recorded as deferred income at the balance sheet date.
Page 27 of 49
Notes to the Financial Statements
Gift Aid is included in the financial statements based on amounts recoverable at the balance sheet date.
Goods and services received in kind, where material, are included within ‘Voluntary Income’ and under the
appropriate expenditure heading, depending on the nature of goods and services provided. These are
recognised at an estimated value to the charity at the time of receipt.
Activities for Generating Funds
Activities for generating funds comprise:
 income generated by Royal National Theatre Enterprises Limited from trading activities
 royalty and profit share income generated by other National Theatre subsidiaries from the commercial
exploitation of the NT’s productions overseas
Income is recognised on a receivable basis.
Incoming Resources from Charitable Activities
Incoming resources from charitable activities comprises:
Box office income:
 income from performances at the South Bank
 income from touring activities (excluding grants)
 ticket sales for productions which have transferred to the West End under direct NT management
All other income:
 income from NT Learning performances, NT Live ticket income, events and workshops
 exploitations and rights, advance members subscription and other sundry income
Box office income and income generated by NT Learning projects and NT Live is recognised in the
Statement of Financial Activities on maturity of the performance or event. Advance bookings comprise ticket
sales for future performances.
Income from exploitations and rights, and other income, is recognised on a receivable basis. Income from
advance members is recognised on a straight line basis over the period of subscription.
Investment Income
Investment income comprises interest receivable on cash balances and short-term deposits.
E
RESOURCES EXPENDED
All expenditure is accounted for on an accruals basis and is classified under the relevant activity within the
Statement of Financial Activities.
Resources expended which relate directly to the National’s charitable objectives are analysed between:




performances at the South Bank or elsewhere under direct management
performances on tour
NT Learning (education and participation work) and Public Engagement (including Archive, NT Live,
Inside Out, Platforms, Foyer Music and Digital)
research and development (including the NT Studio and commissioning costs)
Resources expended which form part of the Group’s trading activities and commercial exploitations are
separately disclosed as costs of commercial activities.
The costs of generating voluntary income represent the costs of securing sponsorship and donations
including the costs of providing membership benefits.
Governance costs include the costs of the Legal Counsel and their support, board expenses, internal audit
and external audit fees.
Support costs relating to a single activity are allocated directly to that activity. Where support costs relate to
several activities, they have been apportioned as set out in note 3(c). Staff canteen costs are shown net of
contributions.
Page 28 of 49
Notes to the Financial Statements
Provision has been made, where appropriate, for expenses where a present obligation exists at the balance
sheet date in accordance with the requirements of FRS 12.
F
LEASE OF THE NATIONAL
The National holds a lease on its building from its freeholder, Arts Council England, at a peppercorn rent.
This lease expires in 2138. Under the terms of the lease, the National is responsible for maintaining the fabric
of the building and its mechanical and electrical equipment. In order to meet this obligation, funds are
transferred from the National’s own resources, namely the operations fund, to a building and equipment fund
(see note 18).
G
FIXED ASSETS AND DEPRECIATION
Fixed assets are held at cost less accumulated depreciation within the relevant fund. Only assets over £2,000
are capitalised.
Depreciation is provided on a straight line basis to write off the assets over their anticipated useful economic
lives and is charged to the relevant fund as follows:
Freehold land & buildings
Leasehold improvements
Equipment
50 years (excluding land, which is not depreciated)
10 years
3 years and 10 years
The carrying values of tangible fixed assets are reviewed for impairment when events or changes in
circumstances indicate the carrying value may not be recoverable.
Assets within work in progress are not depreciated until they are brought into use.
H
STOCKS
Stocks held by the National’s trading subsidiary comprises catering, bookshop and programme supplies for
resale. Other stock (“production stock”) comprises consumables for use in the making of sets and costumes.
All stock is valued at the lower of cost and net realisable value. Cost is based on the latest purchase price for
catering, bookshop and programme stock, and on actual cost for production stock.
I
COSTS OF NEW PRODUCTIONS NOT YET OPENED
The cost of materials for new productions and associated creative team fees are carried forward on the
balance sheet until they are expensed on the date of the press night performance. Internal labour and
rehearsal costs are expensed as incurred.
J
OPERATING LEASES
Rentals payable under operating leases are charged to the Statement of Financial Activities on a straight line
basis over the term of the lease.
K
PENSIONS
The National offers a stakeholder scheme to its employees and contributes to defined contribution schemes
for certain of its other employees (see note 9). These costs are expensed in the Statement of Financial
Activities as they become payable.
L
TAXATION
The National is a culturally exempt organisation under Schedule 9 of the VAT Act 1994 and during the period
VAT returns have been submitted on a culturally exempt basis. Irrecoverable VAT is charged against the
cost of charitable activities, where it is incurred. Irrecoverable VAT on capital expenditure has been
capitalised and will be written off over the life of the assets. The National is a registered charity and therefore
Page 29 of 49
Notes to the Financial Statements
is not liable to income tax and corporation tax on income and gains derived from its charitable activities as it
falls within the various exemptions available to registered charities.
The National’s UK subsidiaries pay any taxable profits to the charity under Gift Aid.
National Theatre North America LLC pays a profit distribution to the Charity. The National is awaiting
confirmation for the relevant dispensations in the US that the profit distributions received by National
Theatre North America LLC can be paid to the NT without being liable to income tax and corporation tax.
Management believe that such dispensations will be granted and no provision for tax has been made.
M FOREIGN CURRENCIES
Transactions in foreign currencies undertaken during the period have been translated at the prevailing rate of
exchange at the date of the transaction. Non-monetary assets are recorded at the prevailing rate of exchange
at the date of the original transaction. Monetary assets and liabilities in foreign currencies are translated at
rates of exchange prevailing at the balance sheet date.
Foreign exchange differences incurred in respect of overseas operations are recorded in the Statement of
Financial Activities within the charitable activity income or expenditure for the period in which they are
incurred.
The results of foreign operations consolidated within the Group financial statements are translated using the
temporal method described above. Any exchange gains or losses are accounted for in the Statement of
Financial Activities.
Page 30 of 49
Notes to the Financial Statements
2
INCOMING RESOURCES
(a) Voluntary income – analysis by fund type
Unrestricted Funds
Restricted Funds
52 Weeks to
52 Weeks to
30 March
2014
31 March
2013
Operations
Designated
Projects
Long Term
Total
Total
£m
£m
£m
£m
£m
£m
15.0
-
-
-
15.0
15.6
-
-
0.5
9.7
10.2
3.8
15.0
-
0.5
9.7
25.2
19.4
0.6
-
0.2
-
0.8
0.8
NT Learning
-
-
0.3
-
0.3
0.4
Public Engagement
-
-
0.3
-
0.3
0.4
Research & development
-
-
0.1
-
0.1
0.1
NT Future
-
-
-
16.4
16.4
8.6
General activity
4.5
-
-
-
4.5
4.6
Total other
5.1
-
0.9
16.4
22.4
14.9
20.1
-
1.4
26.1
47.6
34.3
Arts Council England:
Revenue grant
Capital and other grants
(including Lottery)
Total Arts Council
Performances
TOTAL voluntary
income
(b) Voluntary income – analysis by income type
Grants
2014
Total
2013
Total
£m
Donations,
subscriptions
& legacies
£m
£m
£m
£m
-
-
25.2
25.2
19.4
Performances
NT Learning
Public Engagement
Research & development
NT Future
General activity
0.7
0.2
1.3
16.4
3.2
0.1
0.3
0.1
0.1
-
0.8
0.3
0.3
0.1
16.4
4.5
0.8
0.4
0.4
0.1
8.6
4.6
TOTAL other
2.2
19.6
0.6
22.4
14.9
TOTAL voluntary income
2.2
19.6
25.8
47.6
34.3
Sponsorship
Arts Council England
Page 31 of 49
Notes to the Financial Statements
Income of £0.6m (2013: £0.8m) in relation to commercial promotion is recognised in Activities for Generating
Funds. In total, the fundraising department raised £6.0m in annual giving and £16.4m for NT Future.
(c) Total incoming resources from charitable activities
National Theatre box office
Olivier
Lyttelton
The Shed / Cottesloe
War Horse - New London
War Horse – UK Tour
One Man Two Guvnors - Theatre Royal Haymarket
Curious Incident of the Dog in the Night Time – Apollo Theatre
Other Commercial Transfers
NT Live
Touring – England & Wales
Touring – other countries
Other box office
War Horse International
One Man Two Guvnors International
NT Learning
Exploitation and rights
Other income
TOTAL incoming resources from charitable activities
All income from charitable activities is unrestricted.
Touring income includes co-production and touring fees where appropriate.
Page 32 of 49
2014
Total
£m
2013
Total
£m
10.2
6.5
1.1
13.1
9.3
6.4
6.8
0.7
7.8
8.4
2.1
15.1
0.0
9.2
0.6
0.3
54.1
43.5
7.1
0.9
1.0
0.1
2.3
1.1
0.7
0.1
9.1
4.2
0.6
0.4
0.1
0.7
1.0
0.2
0.3
0.1
0.8
1.8
2.4
65.0
50.1
Notes to the Financial Statements
3
RESOURCES EXPENDED
(a) Costs of charitable activities
Unrestricted
Operations
Direct Support
£m
£m
Performances:
National Theatre
War Horse - New London
War Horse - International
War Horse – UK Tour
One Man Two Guvnors – Theatre
Royal Haymarket and
International
The Curious Incident of the Dog
in the Night Time - Apollo
Other Commercial Transfers
Touring
NT Learning & Public Engagement
NT Future
Research & development
Depreciation
Asset disposals and other charges to
the buildings and equipment fund
Non recoverable VAT *
TOTAL costs of charitable
activities
Unrestricted
Operations
Total
£m
Unrestricted
Designated
2014
Total
2013
Total
Long term
£m
£m
£m
Restricted
Project
£m
26.7
11.2
1.1
6.8
9.5
1.2
(0.1)
0.6
36.2
12.4
1.0
7.4
-
0.2
-
-
36.4
12.4
1.0
7.4
35.4
13.9
1.6
-
6.6
0.6
7.2
-
-
-
7.2
8.3
5.8
0.7
1.2
0.3
0.1
0.1
6.1
0.8
1.3
-
0.5
-
6.1
0.8
1.8
1.5
0.2
2.2
60.1
12.3
72.4
-
0.7
-
73.1
63.1
7.4
1.3
1.2
0.4
8.6
1.7
1.6
-
0.5
0.2
-
9.1
1.6
1.9
6.8
0.9
1.6
68.8
13.9
82.7
1.6
1.4
-
85.7
72.4
-
-
-
3.2
-
1.0
4.2
4.0
0.8
-
0.8
0.2
-
-
-
0.2
0.8
0.9
1.0
0.8
-
0.8
3.4
-
1.0
5.2
5.9
69.6
13.9
83.5
5.0
1.4
1.0
90.9
78.3
Further analysis of expenditure by fund type is given in Notes 4, 5 and 6.
* Under cultural exemption, the National is not able to fully recover input VAT.
(b) Governance costs
Unrestricted
Operations
Direct Support
£m
£m
Governance Costs
Page 33 of 49
0.2
-
Unrestricted
Operations
Total
£m
Unrestricted
Designated
0.2
-
£m
Restricted
Project
Long term
£m
£m
-
-
2014
Total
£m
2013
Total
£m
0.2
0.2
Notes to the Financial Statements
Included within Governance costs are the auditors’ remuneration which consists of the group audit fee
£48,000 (2013: £51,000) and tax and other fees due to PricewaterhouseCoopers of £8,000 (2013:
£11,000).
Page 34 of 49
Notes to the Financial Statements
(c) Analysis of support costs
2014
Total
2013
Total
£m
£m
1.0
1.6
1.9
5.0
-
2.5
0.7
0.4
9.6
1.2
(0.1)
0.6
9.1
1.4
0.1
0.3
-
0.3
0.6
0.8
0.3
0.1
0.5
0.2
0.3
0.1
0.4
0.1
0.3
0.1
1.2
0.4
0.2
0.1
1.1
0.3
3.4
5.7
4.8
13.9
13.1
3.4
6.3
5.8
15.5
15.0
Promotion
Trading operations
Charitable activities:
Performances:
National Theatre
War Horse New London
War Horse International
War Horse UK Tour
One Man Two Guvnors – Theatre Royal Haymarket
and International
The Curious Incident of the Dog in the Night Time –
Apollo
Touring
NT Learning & Public Engagement
Research & development
Total support costs
£m
Theatre
operations
£m
Support
services
£m
-
0.6
2.1
0.5
(0.1)
0.2
Promotion comprises Marketing and Press. Theatre Operations comprises Front of House, Building
Services, Insurance, Cleaning and Security. Support Services comprises Finance, IT, HR, Pensions, and
Staff Canteen net of cost recoveries of £0.6m (2013: £0.6m).
Support costs relating to trading activities are included in costs of trading operations (Note 23).
Support costs are allocated using the following bases:
For Marketing, Front of House, Finance, and IT – Management review of estimated usage
Human Resources – Headcount
Building Services – Management review of estimated space usage
Page 35 of 49
Notes to the Financial Statements
4
ANALYSIS OF EXPENDITURE ON PERFORMANCES BY FUND TYPE
National Theatre:
Capitalisation & running costs
Workshops & stages
Producing & direction
The Shed
War Horse New London
War Horse International
War Horse UK Tour
One Man Two Guvnors – Theatre Royal
Haymarket and International
The Curious Incident of the Dog in the Night
Time – Apollo
Other Commercial Transfers
Touring - England & Wales
Touring - other countries
TOTAL expenditure
5
2014
Total
2013
Total
£m
£m
0.2
-
17.1
12.5
6.8
-
14.8
12.6
6.4
1.6
-
0.2
36.4
35.4
12.4
1.0
7.4
-
-
12.4
1.0
7.4
13.9
1.6
7.2
-
-
7.2
8.3
6.1
0.8
0.3
1.0
-
0.5
-
6.1
0.8
0.8
1.0
1.5
0.2
1.4
0.8
36.2
-
0.5
36.7
27.7
72.4
-
0.7
73.1
63.1
Unrestricted
Operations
£m
Designated
Direct Costs
£m
Restricted
Projects
£m
16.9
12.5
6.8
-
-
36.2
ANALYSIS OF EXPENDITURE ON NT LEARNING AND PUBLIC ENGAGEMENT BY FUND TYPE
2014
Total
2013
Total
£m
£m
0.1
0.2
0.4
0.3
0.2
0.1
0.8
0.5
0.2
0.2
0.1
0.7
-
0.3
1.8
1.7
6.2
0.2
0.2
0.1
0.4
-
0.1
0.1
6.2
0.1
0.2
0.2
0.1
0.5
2.3
1.8
0.3
0.1
0.1
0.5
TOTAL Public Engagement
7.1
-
0.2
7.3
5.1
TOTAL NT Learning & Public Engagement
expenditure
8.6
-
0.5
9.1
6.8
Unrestricted
Operations
£m
Designated
Direct Costs
£m
Restricted
Projects
£m
Connections
Primary education & early years
Secondary & further education
Training & development
Digital & other (including department costs)
0.4
0.2
0.2
0.1
0.6
-
TOTAL NT Learning expenditure
1.5
NT Live
Inside Out (including Watch This Space)
Platforms & Foyer Music
Archive
Access
Digital & other initiatives
Page 36 of 49
Notes to the Financial Statements
6
ANALYSIS OF EXPENDITURE ON RESEARCH AND DEVELOPMENT BY FUND TYPE
Unrestricted
Operations
£m
Restricted
Projects
Long Term
£m
£m
2014
Total
2013
Total
£m
£m
NT Studio
Commissioning new scripts
Associates and other
0.9
0.5
0.3
0.2
-
-
1.1
0.5
0.3
1.0
0.4
0.2
TOTAL expenditure
1.7
0.2
-
1.9
1.6
Group
2014
£m
2013
£m
Wages and salaries
Social security costs
Other pension costs
41.5
4.2
1.2
37.3
3.8
0.9
46.9
42.0
2014
Number
2013
Number
236
441
225
42
63
71
25
31
221
377
250
40
58
58
24
28
1,134
1,056
7
STAFF COSTS AND NUMBERS
Average monthly full time equivalents employed in the period: *
Artistic
Technical and production
Trading and front of house
Education, touring, NT Studio and other projects
Marketing and box office
Support services
Engineering
Fundraising
* All staff are employed by the National Theatre and the cost of their employment is recharged to the NT’s
subsidiaries where relevant.
Page 37 of 49
Notes to the Financial Statements
7
STAFF COSTS AND NUMBERS (cont’d)
The number of employees with emoluments greater than £60,000 was as follows:
£60,000-£70,000
£70,001-£80,000
£80,001-£90,000
£90,001-£100,000
£100,001-£110,000
£110,001-£120,000
£120,001-£130,000
£130,001-£140,000
£140,001-£150,000
£150,001-£160,000
£160,001-£170,000
£170,001-£180,000
2014
Number
2013
Number
23
7
3
1
1
1
1
1
1
24
3
5
1
1
1
1
1
39
37
Pension contributions of £0.2m (2013: £0.1m) were made to defined contribution schemes for the above
members of staff during the period.
8
TRUSTEES’ EMOLUMENTS
No trustees of the company received any remuneration during the period or in the previous period. Expenses
for travel and entertainment totalling £401 (2013: £152) were incurred by two trustees wholly and necessarily
on the National's business and were reimbursed during the period. Trustees are offered two tickets for each
production to enable them to carry out their duties.
9
PENSION CONTRIBUTIONS
The National makes payments to defined contribution schemes which are available to all permanent
employees on completion of their probationary period. The charge for the period was £1.2m (2013: £0.9m)
with £0.1m (2013: £0.1m) payable at the balance sheet date.
10
TAXATION
The National's charitable activities fall within the exemptions afforded by Part 11 Corporation Taxes Act 2010.
The trading and commercial subsidiaries, RNTE, NTPL and NTPL Overseas, passes profits on which tax
would be payable to the National under a Gift Aid arrangement. Accordingly, there is no corporation tax
charge in these financial statements. Similarly, because of the Gift Aid, there is no difference in the net
movement in funds for the National and the Group as a whole.
National Theatre North America LLC pays a profit distribution to the National. The National is awaiting the
relevant dispensations in the US to be treated as a charity. Management believe such dispensations will be
granted and as such, there is no corporation tax charge on the distribution.
Page 38 of 49
Notes to the Financial Statements
11
TANGIBLE FIXED ASSETS
Group and Company
Equipment
(3 years)
£m
Work in
Progress
(NT
Future)
£m
Work in
Progress
(Other)
£m
Total
£m
-
32.5
19.3
0.7
94.4
-
-
0.1
21.5
3.3
24.9
-
(1.0)
-
(0.2)
-
-
(1.2)
-
0.5
0.2
2.4
(0.3)
(2.8)
-
6.6
34.8
0.2
34.8
40.5
1.2
118.1
As at 31 March 2013
0.7
33.3
-
27.5
-
-
61.5
Charge for period
0.1
0.4
3.7
-
-
4.2
-
(0.8)
(0.2)
-
-
(1.0)
As at 30 March 2014
0.8
32.9
-
31.0
-
-
64.7
Net book value
As at 30 March 2014
5.8
1.9
0.2
3.8
40.5
1.2
53.4
As at 31 March 2013
5.9
2.0
-
5.0
19.3
0.7
32.9
Freehold
Land &
Buildings
£m
Leasehold
Improvements
£m
Equipment
(10 years)
£m
6.6
35.3
Additions
-
Disposals
Transfers from work
in progress
Cost
As at 31 March 2013
As at 30 March 2014
Accumulated
Depreciation
Disposals
-
Freehold land and buildings include NT Studio land at a cost of £0.7m (2013: £0.7m) and the NT Studio
building refurbishment at a cost of £5.7m (2013: £5.7m). The Studio building has been provided as security in
the form of a 30 year legal mortgage in relation to a grant for refurbishment of the Studio, of £0.9m from Arts
Council England in 2010. The mortgage is 14% of the cost of the NT Studio land and building (excluding the
NT Studio car park land).
In 2012 a fixed and floating charge lasting 30 years was provided as security for the potential repayment
obligations under a grant of £17.5m from Arts Council England for the NT Future project.
Page 39 of 49
Notes to the Financial Statements
12
INVESTMENTS
Group
2014
£m
Company
2014
£m
Group
2013
£m
Company
2013
£m
0.2
0.2
0.2
0.2
Expendable endowment (20-year gilt)
In 2008, the Charity invested £200,000 into a 20-year gilt in accordance with the terms of a donation received
from a long-term benefactor. At the end of the 20-year term, the capital sum (£166,000) will become available
for use by the National Theatre. Interest on the gilt accrues to the Theatre on a received basis. The initial
premium on the gilt is amortised over the life of the gilt. The trustees believe that the carrying value of the
investments is supported by their underlying net assets.
See Note 23 for details of investments in subsidiary undertakings.
13
STOCKS
Group
2014
£m
Company
2014
£m
Group
2013
£m
Company
2013
£m
0.4
0.1
0.1
0.6
0.2
0.2
0.5
0.1
0.8
0.2
Group
2014
£m
Company
2014
£m
Group
2013
£m
Company
2013
£m
Goods for resale
Consumable items
14
COST OF PRODUCTIONS NOT YET OPENED
War Horse – UK Tour
-
-
0.3
0.3
War Horse – International
Other Commercial Transfers
National Theatre
0.2
0.4
0.2
0.4
0.3
0.2
0.3
0.3
0.2
0.3
London Road (film)
0.7
-
-
-
1.3
0.6
1.1
1.1
Page 40 of 49
Notes to the Financial Statements
15
DEBTORS
Trade debtors
Amounts owed by group undertakings
Other debtors
Prepayments and accrued income
16
Company
2014
£m
Group
2013
£m
Company
2013
£m
2.4
0.7
4.8
2.4
1.8
0.6
4.4
1.9
0.8
4.2
1.8
2.9
0.8
3.6
7.9
9.2
6.9
9.1
Group
2014
£m
Company
2014
£m
Group
2013
£m
Company
2013
£m
18.0
2.0
16.9
2.0
8.8
13.0
6.7
13.0
20.0
18.9
21.8
19.7
CASH AT BANK AND IN HAND
Cash and bank balances
Short-term deposit
17
Group
2014
£m
CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR
Trade creditors
Taxation and social security
Advance bookings
Other creditors and accruals
Deferred income – all utilised in the year
Provisions
Page 41 of 49
Group
2014
£m
Company
2014
£m
Group
2013
£m
Company
2013
£m
0.6
1.1
2.8
9.1
1.4
0.1
0.5
1.1
2.8
8.8
0.9
0.1
2.0
1.4
2.4
8.5
1.9
-
1.7
1.4
2.4
8.4
1.8
-
15.1
14.2
16.2
15.7
Notes to the Financial Statements
18
FUNDS
Balance as
at 31 March
2013
£m
Income
£m
Expenditure
£m
Transfers
£m
Balance as
at 30 March
2014
£m
2.6
96.6
96.0
(0.6)
2.6
Designated:
NT Future
Building and equipment fund
Front of house capital fund
The Shed
TOTAL Designated funds
11.5
7.8
0.1
0.1
19.5
-
1.6
3.3
0.1
5.0
2.5
2.5
9.9
7.0
0.1
17
TOTAL Unrestricted funds
22.1
96.6
101
1.9
19.6
-
0.1
0.2
0.1
0.2
-
-
0.1
0.2
0.1
0.1
0.1
-
0.1
0.1
-
0.2
0.5
0.2
0.5
-
-
RESEARCH & DEVELOPMENT
Studio projects
0.1
0.1
0.2
-
-
TOTAL Project funds
0.2
1.4
1.4
-
0.2
RESTRICTED: Long term funds
NT Future fund
ACE NT Future fund
ACE Lottery fund
ACE Capital fund
Studio refurbishment fund
Expendable endowment
16.5
1.9
1.6
5.0
0.2
16.4
7.8
1.9
-
0.6
0.3
0.1
-
(1.9)
-
32.3
9.7
1.3
4.9
0.2
TOTAL Long term funds
25.2
26.1
1.0
(1.9)
48.4
TOTAL Restricted funds
25.4
27.5
2.4
(1.9)
48.6
47.5
124.1
103.4
-
68.2
UNRESTRICTED:
Operations fund *
RESTRICTED: Project funds
NT LEARNING
Connections
Primary & Early Years
Secondary & Further Education
Other
PUBLIC ENGAGEMENT
Inside Out
Other
PERFORMANCE
Productions
Touring
TOTAL FUNDS
Page 42 of 49
Notes to the Financial Statements
£m
* Analysis of unrestricted funds held between parent and subsidiaries:
Unrestricted retained surplus held by the Charity
Unrestricted retained surplus/deficit held by trading subsidiaries
Group unrestricted operations fund
2.6
2.6
DESIGNATED FUNDS
NT Future Fund
Expenditure against this fund in the year was costs associated with the NT Future project which were not
capitalised, primarily decant costs and staff salaries.
£nil (2013: £nil) was transferred from the operations fund for the development of the NT Future project.
Buildings and Equipment Fund
The buildings and equipment fund is a designated fund set aside by the Board in order to enable monies to
be made available over a three year period for the renewal and maintenance of the National's buildings and
mechanical and electrical equipment in accordance with its lease and obligations under Lottery funding.
£0.6m (2013: £1.3m) was transferred from the operations fund and £1.9m (2013: £1.4m) was transferred
from the ACE Capital Fund into the buildings and equipment fund during the period. The expenditure for the
current period represents depreciation on assets acquired through this fund and spend on refurbishment of
the Drum Revolve, the Pillinger pump and Dorfman Theatre dimmers.
Front of House Capital Fund
The expenditure in the period represents depreciation on assets acquired through this fund.
The Shed
The Shed opened in March 2012 and was originally planned to operate whilst the Cottesloe Theatre was
closed. Planning permission has now been extended with The Temporary Theatre remaining open until 2017.
£nil (2013: £1.7m) was transferred from the operations fund during the year and no expenditure was incurred
during the year. The balance on the fund remains to fund costs associated with the closure of the Theatre.
RESTRICTED FUNDS: PROJECT FUNDS
These represent funds made available for projects generally completed within two years or activities funded
on an annual basis.
NT Learning and Public Engagement Projects
The NT Learning and Public Engagement Project Fund represents restricted funding and related expenditure,
for participation projects and training initiatives, along with funds received in support of activities in the
external public spaces at the NT and various access, archive and digital initiatives.
NT Studio Projects
The NT Studio projects fund represents restricted funding for activity at the NT Studio, including new writing
and directing initiatives.
Page 43 of 49
Notes to the Financial Statements
RESTRICTED FUNDS: LONG-TERM FUNDS:
Long-term funds represent funds used for capital or where there is an expectation that the fund will be used
over the longer term.
NT Future Fund
£16.4m was received in the year as grants and donations for the NT Future project. Expenditure was £0.6m
and represents depreciation on NT Future assets.
ACE NT Future Fund
£7.8m was received in the year from Arts Council England for the NT Future project.
ACE Lottery Fund
The expenditure in the period represents depreciation on assets acquired through this fund.
ACE Capital Fund
A £1.9m (2013: £1.4m) grant was received in the period for capital expenditure from Arts Council England.
This was fully spent during the period on fixed assets which have an unrestricted use and as such is
transferred to the Buildings and Equipment Fund.
Studio Refurbishment Fund
This fund was created to support a major refurbishment of the NT Studio, completed in 2008. The balance
reflects future depreciation on the assets acquired through this fund.
Page 44 of 49
Notes to the Financial Statements
19
ANALYSIS OF NET ASSETS BETWEEN FUNDS
Cash
£m
Other net
assets /
(liabilities)
£m
Total net
assets at
30 March
2014
£m
Total net
assets at
31 March
2013
£m
-
8.0
(5.4)
2.6
2.6
Designated:
NT Future
Building and equipment fund
Front of house capital fund
The Shed
3.4
-
9.9
3.6
0.1
-
9.9
7.0
0.1
11.5
7.8
0.1
0.1
TOTAL Designated funds
3.4
13.6
-
17.0
19.5
3.4
21.6
(5.4)
19.6
22.1
NT LEARNING & PUBLIC
ENGAGEMENT
Connections
Other NT Learning & Public Engagement
-
0.2
-
0.2
0.1
RESEARCH & DEVELOPMENT
Studio projects
-
-
-
-
0.1
TOTAL Project funds
-
0.2
-
0.2
0.2
NT Future fund
ACE NT Future fund
ACE Lottery fund
Studio refurbishment fund
Expendable endowment
34.2
9.7
1.2
4.9
-
(1.9)
0.1
-
0.2
32.3
9.7
1.3
4.9
0.2
16.5
1.9
1.6
5.0
0.2
TOTAL Long term funds
50.0
(1.8)
0.2
48.4
25.2
50.0
(1.6)
0.2
48.6
25.4
53.4
20.0
(5.2)
68.2
47.5
Tangible
fixed
assets
£m
UNRESTRICTED:
Operations fund
TOTAL Unrestricted funds
RESTRICTED: Project funds
RESTRICTED: Long term funds
TOTAL Restricted funds
TOTAL FUNDS
Page 45 of 49
Notes to the Financial Statements
20
CAPITAL COMMITMENTS: GROUP AND COMPANY
2014
£m
2013
£m
NT Future related commitments:
Fitting out
Mechanical and Electrical services
Building work
Cladding
Steelwork
Roofing work
Logistics
Metalwork
External Works
Other NT Future
Olivier Fly System
1.4
4.6
2.1
0.7
0.2
0.2
0.6
0.1
2.9
0.4
0.2
3.8
3.7
1.5
1.4
0.7
0.6
0.5
0.5
0.9
-
Other commitments:
Cooling Tower safe access
LAN improvement
Drum works
Other commitments (<100k)
0.8
0.6
0.1
0.1
-
Approved and contracted
14.8
13.8
The amount payable within one year is £14.8m (2013: £13.8m).
Page 46 of 49
Notes to the Financial Statements
21
CONNECTED CHARITIES AND OTHER RELATED PARTY TRANSACTIONS
Connected Charities
Royal National Theatre Foundation
The Royal National Theatre Foundation has objects related to those of the National and makes grants to
the NT from time to time. The foundation has 11 trustees, three of whom have a direct connection to the
NT.
The National Theatre entered into a joint arrangement in March 2012 to create a new Education
endowment fund within the Royal National Theatre Foundation to further the NT’s national remit in terms of
education. A legacy campaign has been launched by the NT and all unrestricted legacies directed to the
NT will in future go to the Royal National Theatre Foundation. The Foundation is structured so that a
regular income will come to the NT to finance both its Education work and programmes for the
development of the profession for example bursaries, apprenticeships and training. During the period, the
NT received legacy income of £25,000 (2013: £11,000) which will be paid to the Royal National Theatre
Foundation.
A pledge of £2m was made in 2011 for the NT Future project. £2.1m was received during this financial
year which included an additional grant of £100,000. The Foundation also made benevolent grants to
members and former members of the staff and company.
American Associates of the Royal National Theatre
The American Associates of the Royal National Theatre is an independent s.501c3 not-for-profit charity
registered in New York. In the period, $2.6m (2013: $2.6m) was due to the NT.
Other Related Party Transactions
Lloyd Dorfman is a trustee of the Dorfman Foundation and a trustee of the National Theatre. In 2010/11,
the Foundation pledged a leadership gift of £10m for the NT Future project. During the period £2.9m
(2013: £2.7m) was paid to the National Theatre. Lloyd Dorfman is also the Founder, Chairman and a major
shareholder of Travelex, sponsors of the National Theatre £12 Travelex season.
The National has a limited power to enter into transactions with its Trustees. This power is in its governing
document, the Memorandum of Association, and it is limited by conditions which protect the interests of the
National as a charity.
See Note 23 for details of transactions with subsidiaries.
Page 47 of 49
Notes to the Financial Statements
22
OPERATING LEASE COMMITMENTS: GROUP AND COMPANY
At 30 March 2014 the National was committed under non-cancellable operating leases to make the following
payments during the next period:
2014
£m
2013
£m
Property leases which expire within one to two years
0.3
0.2
Property leases which expire within two to five years
-
0.2
Property lease commitments relate to lease contracts for the rental of properties at Kennington Park, London
SW9 and Malt Street, SE1.
23
SUBSIDIARIES & JOINT ARRANGEMENTS
All subsidiaries have coterminous period ends with the parent company.
As at 30 March 2014, The National had an interest in the following subsidiary undertakings and joint
arrangements:
Organisation
Name
Country of
Incorporation
Royal National
Theatre
Enterprise
Limited
UK
National
Theatre
Productions
Limited
Nature of
Business
Class of
share capital
held
Issued
Share
Capital
Parent
company
interest
Consolidation
Method
Trading
activities
Ordinary
2 x £1 Ord
Shares
100%
Yes
(Line-by-line)
UK
Commercial
exploitation of
productions
Ordinary
2 x £1 Ord
Shares
100%
Yes
(Line-by-line)
NTPL
Overseas
Limited+
UK
Commercial
exploitation of
productions
Ordinary
1 x £1 Ord
Share
100%
(Indirect
holding)
Yes
(Line-by-line)
National
Theatre North
America LLC*
US
Commercial
exploitation of
productions
Ordinary
2 x $1 Ord
Shares
100%
Yes
(Line-by-line)
NT War Horse
LP*
US
Commercial
exploitation of
productions
N/A
N/A
55.35%
(Indirect
holding)
Yes
(Proportionate)
+NTPL Overseas Limited (incorporated on 16 December 2011) is a 100% owned subsidiary of National Theatre Productions Limited.
The company was dormant in 2013-14 and no further activity is anticipated.
* The National Theatre is the sole Managing Member of National Theatre North America LLC. National Theatre North America LLC is the
sole General Partner for NT War Horse LP which represents a joint arrangement between National Theatre North America LLC and
National Angels.
Page 48 of 49
Notes to the Financial Statements
23
SUBSIDIARIES & JOINT ARRANGEMENTS (cont’d)
The financial results for the period were:
Royal
National
Theatre
Enterprises
Limited
2013
£m
£m
2013
£m
£m
1.1
0.8
-
0.1
(9.4)
(0.5)
(0.5)
-
(0.2)
0.8
0.6
0.3
Add back consolidation
adjustments
0.8
0.8
-
Net Surplus for the period
0.6
1.6
(0.6)
Retained in the subsidiary
Net Assets / (Liabilities)
Net Surplus
Gift aid/Profit distribution due
to parent company
£m
£m
£m
9.8
10.2
(10.0)
National Theatre
North America
LLC
2014
Cost of trading operations+
2013
2014
NTPL
Overseas
Limited
2014
Activities for generating
funds: Trading operations
2014
National
Theatre
Productions
Limited
Total**
Total**
2013
2014
2013
£m
£m
£m
0.4
1.6
11.3
12.7
-
(0.2)
(1.7)
(10.7)
(11.6)
-
0.1
0.2
(0.1)
0.6
1.1
-
-
-
-
-
0.8
0.8
0.6
0.3
-
0.1
0.2
(0.1)
1.4
1.9
(1.6)
(0.6)
(0.3)
-
(0.1)
(0.2)
-
(1.4)
(2.0)
-
-
-
-
-
-
-
(0.1)
-
(0.1)
-
-
-
-
-
-
-
-
-
-
** The financial results for NT War Horse LP are immaterial and have therefore not been detailed above.
+Include in cost of trading operations are administration expenses charged by the National Theatre as follows:
Entity
Basis
Payments to National Theatre
2014 (£m)
2013 (£m)
Turnover (11%)
1.2
1.2
National Theatre Productions Limited
Usage
0.5
0.5
National Theatre North America LLC
Usage
0.1
0.2
NTPL Overseas Ltd
Usage
-
-
1.8
1.9
Royal National Theatre Enterprises Limited
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