Beruflich Dokumente
Kultur Dokumente
Annual Report
20132014
Annual Report
For the 52 weeks ended 30 March 2014
12
15
16
Board Members
Executive
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
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 nations 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
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.
John Makinson
Chairman
Nicholas Hytner
Director
Nick Starr
Executive Director
33
3,149
65%
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
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
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
The Repertoire
The NTs 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 Gorkys Children of the
Sun, in a new version by Andrew Upton; and
former NT Director Richard Eyre returned to
direct Pirandellos rarely performed and atypical
Liol, in a new version by Tanya Ronder. In the
Olivier, Rufus Norris directed James Baldwins
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 Marlowes Edward II, given
a contemporary take by Joe Hill-Gibbins
in his first production for the National.
Nicholas Hytners revelatory production of
Shakespeares 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 ONeills
epic masterpiece Strange Interlude, with director
Simon Godwin making his NT debut in the
Lyttelton; and Melly Still directed Adam Godley
10
653
new plays
UK Touring
Following its world premiere at the
Lyttelton, Alan Bennetts new play People,
directed by Nicholas Hytner, set off on
a 10-week tour with a cast led by Sin
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.
36
72
weeks of UK touring
TABLE
A new play by Tanya Ronder
STRANGE INTERLUDE
Eugene ONeill
THE HUSH
Created by Matthew Herbert with Ben Power
Lyttelton 4 June
MISSION DRIFT
Created by the TEAM
In collaboration with Heather
Christian and Sarah Gancher
OTHELLO
William Shakespeare
SEA WALL
Simon Stephens
LIOL
Luigi Pirandello
In a new version by Tanya Ronder
Olivier 11 June
Sponsored by Travelex
HOME
nut
THE ELEPHANTOM
KING LEAR
William Shakespeare
PEOPLE
UK tour, 3 September 16 November 2013
Olivier 23 January
EDWARD II
Christopher Marlowe
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
LIMITED EDITIONS
THE BULLET AND THE BASS
TROMBONE created by Sleepdogs
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
BLURRED LINES
Created by Nick Payne & Carrie Cracknell
Devised by the Company,
with poetry by Michaela Coel
Text Nick Payne
A TASTE OF HONEY
Shelagh Delaney
ANALOG.UE
Written and performed by Daniel Kitson
Lyttelton 25 February
RIVERRUN
Awards 201314
Temporary Project
Best Actor
Best Actor
TripAdvisor Certificate
of Excellence 2013
Royal National Theatre (awarded to
businesses that rank in the top 10%
worldwide for traveller feedback)
The Shed
Best Designer
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 Nationals 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%
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 NTs commitment to reaching and retaining
more audience members; and to generate revenue
to support the ongoing work of the NT.
Propstore, the caf-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 NTs 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
Natures life force
triumphs over
human tragedy.
Sam Marlowe, The Times
4.3m
89%
1,453,104
people saw War Horse in the UK, North
America, Australia & Berlin and via
NT Live
36
1,000
countries
600
400
7%
8%
200
2009-10
2010-11
2011-12
UK Audience (000)
2012-13
22%
2013-14
62%
0.5% 0.5%
UK
7%
North America
Europe
8%
UK
530
2,700,000+
North America
Europe
South Africa
venues in the UK
60,000
1.9m
Learning
National reach
The Nationals 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 Kellys
DNA, commissioned in 2007, is included in the
GCSE English syllabus. This years 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.
Learning
continued
5,000
240
young people from
26
88,000
6,472
570
300
NT Archive
The Archive played a key role in the NTs 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 Rosenthals
research for The National Theatre Story.
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 NTs 50th anniversary, are covered earlier
in this Report, but there was no shortage of
highlights during the rest of the year. Peter
Bobbys photographic exhibition High-rise,
presented as part of the London Festival of
Architecture, looked in a compelling and
imaginative way at the worlds developing love
affair with the skyscraper. The British Press
Photographers Association returned after a
years 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.
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 Speakers 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 NTs other publications,
add to the experience of seeing a play. Specially
commissioned articles providing background
to the Nationals 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
Marlowes Edward II; Pirandellos 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
24,500 197,777
8
21,000
attended platforms
programmes sold
free exhibitions
Reaching audiences not just on our stages but also through the work of the Learning department, and
through the Nationals 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.
NT Studio
1.9m
spent on research and
development at the NT
19
57
play readings
44
development workshops
for projects outside the
NT repertoire
National Theatre Annual Report 20132014 45
Leadership
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
programmes 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.
17%
18%
Sustainability
7%
11%
40%
7%
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 years funding, and represented
17% of income. Since 2010-11 the grant has
been cut by 2.1m a real term cumulative
17%
18%
Trading
7%
Fundraising
ACE grants
11%
7%
40%
Set outTrading
below is a summary statement of income and expenditure. It combines the Nationals 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
2013
m
18.3
18%
18.3
21%
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%
36.5
37%
36.0
43%
36.7
38%
27.7
33%
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%
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
Sustainability
continued
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
38
Other
16
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
2013/14
NT Attendance as % of capacity
Number of performances:
Olivier
339
339
357
343
384
Lyttelton
360
394
391
373
393
369
325
368
373
355
1,005
409
421
414
414
UK Touring
251
96
70
98
70
International Touring
727
476
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
Sustainability
continued
66,815kg
food waste composted
Environmental Sustainability
71%
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 Chairmans
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 NTs
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.
Supporters
Individual Giving
Annual Support April
2013 March 2014
Major Gifts
Alta Advisors
Arte 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
Supporters
continued
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
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
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
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
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 Bnard
Mr Michael Bennett
Phil & Lisa Bennett
The Bertie Black Foundation
Sam & Rosie Berwick
Dr Kate Best
Supporters
continued
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
Supporters
continued
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
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.
Performers 201314
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
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 Four
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
Lor 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
va Magyar
Katherine Manners
Simon Manyonda
David Mara
Lyndsey Marshal
Nadine Marshall
Nathaniel Martello-White
Abigail Matthews
Sinad 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 ODonnell
Kate OFlynn
Anna OGrady
Toby Oli
Rhiannon Oliver
Landi Oshinowo
Aisling OSullivan
Lloyd Owen
Alexis Owen Hobbs
Will Palmer
Johnny Panchaud
Demi Papaminas
Neil Paris
Alastair Parker
National Theatre Annual Report 20132014 65
Performers 201314
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
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
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
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
Zo Wanamaker
Associate Producer
Pdraig 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
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
Andr Ptaszynski
Tessa Ross
David Sabel
Nick Starr
National Theatre
Productions Overseas
Limited
Directors
Peter Bennett-Jones
Lisa Burger
Nick Starr
Peter Taylor
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
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
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
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
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 states 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 thats 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
Matthew Morris in
Just For Show, 2005
Photo Jiri Volek
11
Liz Kettle in Waves, 2006
Photo Stephen Cummiskey
20
Lesley Sharp and Kate OFlynn
in A Taste of Honey
Photo Marc Brenner
24
Nick Hendrix and Rosalie Craig
in The Light Princess
Photo Brinkhoff Mgenburg
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 Mans 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 Liol
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 Ins 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 Four 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.
Page 2 of 49
Financial Statements
FINANCIAL STATEMENTS
FOR THE 52 WEEKS ENDED 30 MARCH 2014
2
Strategic Report
21
23
Financial Statements
27
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
Page 4 of 49
Page 5 of 49
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 arms 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 Boards 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
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)
Page 9 of 49
UK Audience ('000)
International Audience ('000)
800
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 Nationals
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
ACE, 17%
Box Office at NT,
18%
Fundraising, 7%
Trading , 11%
NT Live,
7%
Box Office on
tour, West End
and
International,
40%
Page 13 of 49
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%
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
Page 15 of 49
Page 16 of 49
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
The co-production with the National Theatre of Scotland and Edinburgh International
Festival of Rona Munros The James Plays
Page 18 of 49
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:
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:
The trustees are responsible for the maintenance and integrity of the corporate and financial
information included on the charitable companys 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:
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 companys 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
give a true and fair view of the state of the groups and of the parent charitable companys affairs
as at 30 March 2014 and of the groups incoming resources and application of resources,
including its income and expenditure and the groups 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 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 groups and the parent charitable
companys 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
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.
Page 22 of 49
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
Restricted Funds
Long
Projects
Term
m
m
52
Weeks to
30 March
2014
18
18
2.6
19.5
0.2
25.2
47.5
41.5
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
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
Current assets
Stocks
13
0.5
0.1
0.8
0.2
14
1.3
0.6
1.1
1.1
Debtors
15
7.9
9.2
6.9
9.1
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)
14.6
14.6
14.4
14.4
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
NET ASSETS
17
Represented by:
Restricted funds
18/19
48.6
48.6
25.4
25.4
TOTAL FUNDS
18/19
68.2
68.2
47.5
47.5
John Makinson
Chair
Page 24 of 49
Howard Davies
Trustee
Group
Group
52 Weeks to
52 Weeks to
30 March
31 March
2014
2013
Note
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
2014
m
2013
m
20.7
6.0
4.2
(0.2)
4.0
(0.5)
24.7
9.5
0.3
(0.3)
(0.2)
(0.9)
(0.6)
(0.3)
(0.1)
(0.9)
23.8
7.4
Decrease in stock
Page 25 of 49
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
2013
m
9.2
(11)
(0.6)
(4.0)
(1.8)
(4.6)
21.8
26.4
20.0
21.8
Page 26 of 49
16
16
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
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 Nationals charitable objectives are analysed between:
Resources expended which form part of the Groups 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
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 Nationals own resources, namely the operations fund, to a building and equipment fund
(see note 18).
G
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
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 Nationals 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
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
Page 30 of 49
INCOMING RESOURCES
Unrestricted Funds
Restricted Funds
52 Weeks to
52 Weeks to
30 March
2014
31 March
2013
Operations
Designated
Projects
Long Term
Total
Total
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
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
Performances
TOTAL voluntary
income
2014
Total
2013
Total
Donations,
subscriptions
& legacies
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
2.2
19.6
25.8
47.6
34.3
Sponsorship
Page 31 of 49
NT Live
Touring England & Wales
Touring other countries
Other box office
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
RESOURCES EXPENDED
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
Depreciation
Asset disposals and other charges to
the buildings and equipment fund
Non recoverable VAT *
Unrestricted
Operations
Total
m
Unrestricted
Designated
2014
Total
2013
Total
Long term
m
Restricted
Project
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
Governance Costs
Page 33 of 49
0.2
Unrestricted
Operations
Total
m
Unrestricted
Designated
0.2
Restricted
Project
Long term
m
m
2014
Total
m
2013
Total
m
0.2
0.2
Page 34 of 49
2014
Total
2013
Total
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
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
National Theatre:
Capitalisation & running costs
Workshops & stages
Producing & direction
The Shed
TOTAL expenditure
2014
Total
2013
Total
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
2013
Total
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
7.1
0.2
7.3
5.1
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
1.5
NT Live
Inside Out (including Watch This Space)
Platforms & Foyer Music
Archive
Access
Digital & other initiatives
Page 36 of 49
Unrestricted
Operations
m
Restricted
Projects
Long Term
m
m
2014
Total
2013
Total
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
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
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 NTs
subsidiaries where relevant.
Page 37 of 49
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.
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.
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
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
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
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
INVESTMENTS
Group
2014
m
Company
2014
m
Group
2013
m
Company
2013
m
0.2
0.2
0.2
0.2
In 2008, the Charity invested 200,000 into a 20-year gilt in accordance with the terms of a donation received
from a long-term benefactor. At the end of the 20-year term, the capital sum (166,000) will become available
for use by the National Theatre. Interest on the gilt accrues to the Theatre on a received basis. The initial
premium on the gilt is amortised over the life of the gilt. The trustees believe that the carrying value of the
investments is supported by their underlying net assets.
See Note 23 for details of investments in subsidiary undertakings.
13
STOCKS
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
14
0.3
0.3
0.2
0.4
0.2
0.4
0.3
0.2
0.3
0.3
0.2
0.3
0.7
1.3
0.6
1.1
1.1
Page 40 of 49
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
17
Group
2014
m
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
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
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
0.1
0.1
0.2
0.2
1.4
1.4
0.2
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
25.2
26.1
1.0
(1.9)
48.4
25.4
27.5
2.4
(1.9)
48.6
47.5
124.1
103.4
68.2
UNRESTRICTED:
Operations fund *
TOTAL FUNDS
Page 42 of 49
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.
Page 43 of 49
Page 44 of 49
19
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
3.4
13.6
17.0
19.5
3.4
21.6
(5.4)
19.6
22.1
0.2
0.2
0.1
0.1
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
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 FUNDS
Page 45 of 49
2013
m
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
-
14.8
13.8
Page 46 of 49
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 NTs 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
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
0.3
0.2
0.2
Property lease commitments relate to lease contracts for the rental of properties at Kennington Park, London
SW9 and Malt Street, SE1.
23
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
2013
m
2013
m
1.1
0.8
0.1
(9.4)
(0.5)
(0.5)
(0.2)
0.8
0.6
0.3
0.8
0.8
0.6
1.6
(0.6)
Net Surplus
9.8
10.2
(10.0)
National Theatre
North America
LLC
2014
2013
2014
NTPL
Overseas
Limited
2014
2014
National
Theatre
Productions
Limited
Total**
Total**
2013
2014
2013
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
Turnover (11%)
1.2
1.2
Usage
0.5
0.5
Usage
0.1
0.2
Usage
1.8
1.9
Page 49 of 49