The National Theatre at night - photo by Philip Vile

The National Theatre is dedicated to making the very best theatre and sharing it with as many people as possible.

We stage up to 30 productions at our South Bank home each year, ranging from re-imagined classics – such as Greek tragedy and Shakespeare – to modern masterpieces and new work by contemporary writers and theatre-makers. The work we make strives to be as open, as diverse, as collaborative and as national as possible. Much of that new work is researched and developed at the NT Studio: we are committed to nurturing innovative work from new writers, directors, creative artists and performers. Equally, we are committed to education, with a wide-ranging Learning programme for all ages in our new Clore Learning Centre and in schools and communities across the UK.

The National’s work is also seen on tour throughout the UK and internationally, and in collaborations and co-productions with regional theatres. Popular shows transfer to the West End and occasionally to Broadway; and through the National Theatre Live programme, we broadcast live performances to 2,000 cinemas in 50 countries around the world. From September 2015, National Theatre: On Demand in Schools makes three acclaimed, curriculum-linked productions free to stream on demand in every secondary school in the country. Online, the NT offers a rich variety of innovative digital content on every aspect of theatre.

We do all we can to keep ticket prices affordable and to reach a wide audience, and use our public funding to maintain artistic risk-taking, accessibility and diversity.

John Makinson


National Theatre - Riverside Square - photo by Philip Vile

This review appears on the cusp of two leaderships, referring back towards the extraordinary tenure of Nicholas Hytner and Nick Starr, to whom I paid tribute in last year’s report, and looking forward to the creative and commercial opportunities already being captured by their successors Rufus Norris and Lisa Burger.

The review leads with a moving farewell from Nick Hytner and ends with an inspiring preview of 201516 by Rufus Norris. The words and the sentiments expressed by the two of them are quite different, reflecting their individual priorities and personalities, but there is a striking consistency in their commitment to the core values of the National Theatre. It is very early days but that delicate balance of change and continuity essential in any transition of creative leadership is so far being achieved with huge success, as is evident from both the critical response to our recent productions and the strength of our box office figures.

We are all aware, however, that the quality and breadth of the work on the NT’s stages are going from strength to strength despite formidable financial challenges. Arts Council England has been both an imaginative and a generous supporter of the National Theatre but it is working within the financial constraints imposed by the current public spending climate. The NT has been sheltered from the effect of recent spending cuts by the remarkable buoyancy of our commercial box office income in general, and by the War Horse phenomenon in particular. Yet this windfall will not sustain us forever. In September 2015 we celebrated the launch of a Mandarin production of War Horse in Beijing, to great public and critical acclaim, and we have also announced that Joey’s eight-year London run will come to a close in March 2016.

We will of course continue to do more with less, and to bolster other sources of revenue. NT Live, our groundbreaking live cinema initiative, is reaching an ever wider audience around the UK and internationally, contributing as much to our public purpose as to our coffers. Taking all of this activity on stages and screens together, the NT reached a paying audience of just over 4m people in the year under review, and nearly three quarters of that audience was in the UK.

A creative programme this big and bold would simply not be possible without the help of our supporters and benefactors. Their generosity allows the NT to take risks and engage with new audiences, and underwrites our commitment to education and learning. We will, without a doubt, depend even further on their support in the years ahead, and we are grateful to all of them.

This same support has in the past two years delivered a building on the South Bank that is fit for every purpose that we can envisage. The NT Future project, described in some detail elsewhere in this report, has exceeded all our expectations and we owe a huge debt of gratitude to the legions of people who have contributed in so many different ways to its success. I do, though, want to make special mention of Lisa Burger, our Executive Director, who led the project to fruition with skill and tenacity.

I would also like to express the Board’s sincere thanks to Tessa Ross, who agreed to join the NT as its Chief Executive, working in partnership with Rufus Norris, early in 2014. Sadly, Rufus and Tessa concluded early in 2015 that the envisaged structure would not work effectively for the National Theatre, and Tessa decided that she should stand down at that point. She made an important contribution to the NT, both as a board member and during her time as an executive, and we wish her every success in the future.

We have also said farewell over the past year to four board members – Susan Chinn, Aminatta Forna, Neil MacGregor and James Purnell – who have helped the National Theatre in such a variety of ways over a period of many years. I thank them all. Finally, we are delighted to welcome to the board Alan Rusbridger and Elizabeth Offord. They join an organization filled with people of quite exceptional ability that, despite all the visible challenge and change, feels confident in its performance and its purpose.

Nicholas Hytner

Director 2003–2015

Looking back on his time as Director at a Platform, And finally… Nicholas Hytner.

Eighteen months ago, I stood on the Olivier stage before the first preview of Emil and the Detectives, doing a St Crispin’s day number on around 100 child actors and their director – to tell them how well they were doing, and to wish them good luck.

I hadn’t properly introduced myself to them, so a small boy at the back whispered loudly to one of the stage managers: "Is that Laurence Olivier?"

"No," said the stage manager, "that’s Nick Hytner. He’s the director of the National Theatre. Which is what Laurence Olivier used to be."

The boy thought about that for a moment.

"Oh, I get it," he said. "Like Doctor Who."

Six months after my regeneration as Rufus Norris, the new series is confidently underway. I’m now the past, so, as the Tardis takes off and circles the theatre, I’ll gaze out of it and try to share an ex-Doctor’s perspective on these last 12 years.

But if I’m to be honest, my view from the Tardis puts me back to where I was before I even dared call myself a director, when I was a besotted fan. And this fan-boy, who only ever wanted to hang out with the cool actors and writers, got to be at the centre of a 12-year party – backstage, front of house, in the rehearsal room, most of the time completely blown away.

Imagine seeing in the rehearsal room a performance like Anne-Marie Duff’s in Shaw’s Saint Joan, the embodiment of courage in the face of a ruthless male establishment. Or a show like Alecky Blythe and Adam Cork’s London Road, the best first run-through I’ve ever seen, a shattered community reborn in their own words, set to music of piercing originality, and directed with total authority by Rufus Norris, whose body of amazing work for the National it has been a privilege to witness.

I remember all the first previews, none as exciting as The History Boys: the tsunami of laughter that engulfed the French lesson, the euphoria that stopped the show when Frances De La Tour remembered her first pizza, and the growing certainty that we were home free. I remember other first previews, which I won’t name, when the opposite happened, when you could smell the audience’s indifference – like a wet towel you forgot to put in the wash. But I knew what the rapt silence meant that greeted Richard Griffiths when he used Thomas Hardy’s poem Drummer Hodge to form a kind of communion of loneliness with the clever, gay kid; and with everyone in the audience who had ever felt unloved.

Alan Bennett has given me his plays for 25 years now. They’ve been part of the luck I’ve had, the undeserved good fortune that’s run through my career so far like a golden thread. His plays take you by surprise by thrusting you into a fellowship with the unlikeliest human outcasts. Who would have thought they would see themselves in a pathetic groper of a schoolmaster, in a mad and incontinent king, in a smelly old lady in a van, in a filthy old poet who pees in his kitchen sink?

But isn’t that what the theatre does? If it’s working, you’re never a passive spectator. You’re part of a conspiracy of the imagination – in a living relationship with actors who can remake reality for you, who can expand your sympathies, enrage you at the world’s injustices, paralyse you with laughter at its absurdities, knock you sideways with its grace.

Nobody gets this more than Marianne Elliott, whose productions over the years, culminating in War Horse and The Curious Incident of the Dog in the Night-Time, have redrawn the expressive boundaries of the theatre. I’ll never forget the first time I saw them.

But there is nothing, and no show, about which someone won’t write in to complain – my favourite correspondents being those who wrote to berate me for physically abusing the blameless member of the audience who volunteered to help in Richard Bean’s riotous One Man, Two Guvnors. (She was a plant.) And I’ll hear nothing against the National’s actors, and their miraculous synthesis of imagination, honesty and technique.

Occasionally you find life imitating art, imitating life. Something like that happened to David Hare’s scintillating play about the events that led to the Iraq War, Stuff Happens. Ten years on, it’s become perfectly clear that the playwright’s intuition was truer than the historical record, and a great deal cheaper and quicker than the Chilcot Report.

Nadia Fall’s play Home, in the Shed last year, was another verbatim piece, about a hostel for the young homeless. Half way through the run, the young people whose words Nadia had put on stage came to see the play – and it was overwhelming to watch them watch themselves, their lives transmuted into art – an art which demanded that the world’s most fortunate see the world from their point of view.

You come to the theatre and you reach out across the void and touch lives you seem to have led. And you come again and seem to live vanished lives, strange and alien lives. Whole worlds are captured not by the camera, and frozen; but live, by an act of collective imagination, that makes you part of them. Provincial Russia in 1901 – in Gorky’s Philistines; a Harlem storefront church in 1954 – in James Baldwin’s The Amen Corner; Homeric Greece; Philip Pullman’s parallel universes; Rona Munro’s medieval Scotland; Kwame Kwei-Armah’s London – all of them as alive and real as each other. I’ve been lucky to see them all take shape.

Not much remains but to say – from the bottom of my heart – thank you: to those I’ve worked with, my colleagues, and to our supporters, without whose help we couldn’t do half of what we want to do. The real truth is that the theatre was run by Nick Starr. We were a double act from day one, and I relied on him for everything that didn’t happen in the rehearsal room, and for quite a lot of what did.

So the Tardis is on the edge of whatever space/time vortex awaits ex-Directors of the National Theatre, but I’m allowed one more glimpse out of the window. And it’s of what I think was probably my favourite show of all – the Much Ado About Nothing I did with Zoë Wanamaker and Simon Russell Beale in 2007.

It ends with a double wedding, one of them – between Hero and Claudio – like so many of Shakespeare’s dodgy marriages, between two beautiful young people who have barely begun to see each other properly. The couple that matters is Beatrice and Benedick, miraculously in love after half a lifetime of mutual suspicion, marrying because they know the worst of each other as well as the best.

As the great stage revolved, Zoë and Simon were the centre of an amazing party, an eruption of ecstasy. But as the dancing got wilder and wilder, the two old lovers slipped away, and found a bench in the corner; and as the light faded on the dance, they got on with what made them happiest – laughing, gossiping, talking with each other.

I’ve been at the centre of this amazing party for 12 years, and now I’m going to sit it out for a while; but the music won’t end – Rufus and Lisa have it in hand – so the dance will go on for as long as there are friends to join it.

It’s been an absolute blast.

This is an edited version of a speech made by Nicholas Hytner at the National Theatre in March 2015.


performances in the UK and internationally

One Man, Two Guvnors - photo by Johan Persson
One Man, Two Guvnors
Photo by Johan Persson


productions on the South Bank including 13 new plays

Rules for Living - photo by Simon Annand
Rules for Living
Photo by Simon Annand


actors and musicians employed in the UK

Yellow Face - photo by Simon Annand
Yellow Face
Photo by Simon Annand


paying audience worldwide with 2.9m in the UK

Ballyturk - photo by Patrick Redmond
Photo by Patrick Redmond


of the NT’s total UK audience were outside London

War Horse schools audience in Edinburgh - photo by Aly Wight
War Horse schools audience in Edinburgh
Photo by Aly Wight


of income from box office receipts, with 90% capacity houses on the South Bank

Hotel - photo by Kwame Lestrade
Photo by Kwame Lestrade


of South Bank audiences were first-time bookers

John - photo by Laurent Philippe
Photo by Laurent Philippe


downloads and streams of free digital content

Lyttelton Lounge - photo by Tapestry
Lyttelton Lounge
Photo by Tapestry

Thirteen world premieres were given during Nicholas Hytner’s final year as Director of the National Theatre, including new plays by Tom Stoppard and David Hare. Rona Munro’s The James Plays marked the NT’s first co-production with the National Theatre of Scotland. Classic revivals included Euripides’ Medea with Helen McCrory in the title role, and Ralph Fiennes in Shaw’s Man and Superman. Eight of the thirteen new plays and adaptations produced by the NT in 201415 were written by women; 33% of the actors performing them were BAME.

Here we look back at some of the highlights:

The Silver Tassie

In a year commemorating the centenary of the outbreak of World War One, Sean O’Casey’s powerful, huge and rarely performed anti-war play – moving from Ireland to the trenches and back again – was directed by Howard Davies and designed by Vicki Mortimer, in a staging that gave full justice to its acrid wit, dark vaudeville humour and jagged madness.

‘In one of the most dazzling coups I’ve ever witnessed, the transition to the war zone is achieved through a visual and aural bombardment that shows how even the battlefront has echoes of the world left behind: a Dublin backdrop turns into a ruined monastery and a wounded soldier crouches on the remains of a tenement fireplace.’

Michael Billington, The Guardian


Helen McCrory played the title role in Euripides’ Medea, in a new version by Ben Power: remarkably, the first staging of the play in the NT’s history.

‘Helen McCrory ascends to greatness in the title role of Euripides’ Medea and Carrie Cracknell’s phenomenally wily production matches her at every step. Until she decides on her course of action, you only have to see the way McCrory paces wordlessly and how her hands flicker distractedly over her face to know she’s not insensible to her children. When she strides into the wilds, her Medea becomes an implacable monster out to hunt down her own darlings, but McCrory makes sure we’re totally attuned to her character’s internal nightmare… She seems able to make her dark eyes become ever-deeper whirlpools of emptiness.’

Maxie Szalwinska, The Sunday Times

Great Britain

‘The National Theatre will this Monday premiere a play inspired by the phone hacking scandal that it has been developing in secret for 18 months. [Richard Bean] created his ‘fast and furious anarchic satire’ in anger at the network of relationships between politicians, police and the Press at the top of society… Billie Piper plays Paige Britain, who is described as ‘the ambitious young news editor of The Free Press, a tabloid newspaper locked in a never-ending battle for more readers’. Nicholas Hytner, who is directing the production, said: “As satire always is, it is an exaggeration and gross distortion of current events. But I hope it throws a critical light on current events through a fictional treatment of them.” He said he was always clear that the play should not be unveiled until the court case was over. The project was “unprecedented” in its swift turn-round of only five days from announcement to first performance.’

Evening Standard (Louise Jury), 25 June 2014

The James Plays

James I: The Key Will Keep The Lock, James II: Day of the Innocents, and James III: The True Mirror – a new cycle of history plays by Rona Munro, directed by Laurie Sansom (Artistic Director of the National Theatre of Scotland) – were presented in a co-production by the National Theatre, the National Theatre of Scotland and the Edinburgh International Festival.

‘Rona Munro’s The James Plays bring three lost 15th-century monarchs vividly back to life in a way that is both historical lesson and contemporary document. Her towering achievement is to echo the histories of Shakespeare and others, while simultaneously fashioning something new and strange… Just eight days after the plays begin their London run, Scotland will vote on independence. Whatever the result, the trilogy will continue to resonate fiercely, because the debate about what it is to be a country runs like a river through it all.’

Sarah Crompton, Daily Telegraph

Here Lies Love

David Byrne and Fatboy Slim’s musical Here Lies Love opened the new Dorfman Theatre, transforming it into a pulsating club for an immersive theatrical event which combined heart-pounding beats with adrenaline-fuelled choreography and 360-degree staging. New York’s Public Theater production traced the journey of Imelda Marcos, First Lady of the Philippines, from her meteoric rise to power to descent into infamy and disgrace, and went on to win the Evening Standard’s Beyond Theatre Award.

‘David Byrne’s utterly winning Here Lies Love doesn’t so much tear up the musical theatre rulebook as exhibit an endearing obliviousness to the fact that it even exists… Byrne is an inventor, teaming with [director Alex] Timbers to marry the sweep of history to the rush of the nightclub.’

Andrzej Lukowski, Time Out

Behind the Beautiful Forevers

‘This is a glimpse into the future of the National Theatre. And a handshake with the past. Nicholas Hytner, in charge until April, programmed Behind the Beautiful Forevers. Incoming chief Rufus Norris directs. David Hare, who has provided so much of the political spine of the theatre, adapts Katherine Boo’s revelatory 2012 study of a Mumbai slum.

‘It is a leap for the National. The setting is out of Great Britain; the cast is huge (more than 30 actors).The stories are important.The inhabitants of Annawadi have scarcely been heard before now.They live in the shadow of the airport, overlooked by luxury hotels: “The ash from our cow dung drifts into their swimming pools.” For them, the global recession means going back to eating rats... Making a living from picking, sorting and selling the rubbish of the rich – ketchup packets, umbrellas, shoe laces – requires not only dexterity but high-grade ingenuity. Alan Sugar eat your heart out.’

Susannah Clapp, The Observer


Dara, adapted by Tanya Ronder from Shahid Nadeem’s play, originally performed by Ajoka Theatre, Pakistan, was directed by Nadia Fall.

‘The action of Dara never shifts from 17th-century India – evoked here in a visually ravishing production – but the problems it addresses could not be more contemporary. This epic, restless drama focuses on a rift in the imperial household: a conflict between two brothers, a fight for succession… In a passionate dispute over the teachings of Islam, Dara’s more liberal understanding of the religion comes up against his brother’s hardline reading. That confrontation and its outcome [the play suggests] pierce through the centuries into our own troubled world.’

Sarah Hemming, Financial Times

3 Winters

3 Winters, a new play by Tena Štivičić, directed by Howard Davies, was the portrait of an eclectic family set in a country in turmoil, from the remnants of monarchy to Communism, democracy, war and the EU.

‘Tena Štivičić’s new play is set against a background of decades of turbulence in Croatia. But the author’s real interest lay in chronicling one family in a single house in Zagreb – and its women in particular.

"I didn’t set out to give a history lesson about the place I grew up. My great grandmother was a barely literate working-class woman who had no voice in society to express whatever thoughts and desires she had. So I’m writing about what happened to female voices over a century. But this was also a place where the world was torn down and re-erected, then torn down again."’

Tena Štivičić quoted by Vincent Dowd, BBC News

The Hard Problem

The Hard Problem was Tom Stoppard’s first play for the stage since Rock ’n’ Roll (2006), and his first for the National since his trilogy, The Coast of Utopia, in 2002. It was directed by the National’s outgoing Director, Nicholas Hytner. Hilary, a young psychology researcher at a brainscience institute, is nursing a private sorrow and a troubling question at work, where psychology and biology meet. If there is nothing but matter, what is consciousness?

‘By the age of 77, Stoppard’s mentor Samuel Beckett and his friend Harold Pinter had both dwindled into fragments or silence. But even though The Hard Problem is the shortest of the 13 Stoppard full-length plays, it still runs to 11 meaty scenes across 100 minutes and displays intact the dramatist’s remarkable ability to synthesise complex knowledge into wittily metaphorical dialogue… Whether or not Stoppard ever writes a play about economics, this one has already illustrated a central dilemma of the discipline: demand for this brainy, funny and touching play will long outstrip supply.’

Mark Lawson, New Statesman

Man and Superman

Ralph Fiennes returned to the National as Jack Tanner in Simon Godwin’s reinvention of Bernard Shaw’s witty and provocative classic, Man and Superman.

‘Much is said about the responsibility of the National Theatre to find new writers. Quite right too. But the theatre has another obligation. To look at the idea of what is fashionable. And to prove fashion wrong. Simon Godwin does this triumphantly in his whirling, modern dress production of Man and Superman… Ralph Fiennes is towering as [the] hero. Trying to tell the truth, unbowed by convention, accusing all of hypocrisy, he ends up contradicting himself by his actions. He marvellously suggests both absolute confidence and potential unease. He rolls across the stage, slightly bent and swaying, apparently propelled by the fountain of his own words. He is something like Shaw and something like DH Lawrence. He is a man possessed, and yet each word is perfectly registered… Praise be to theatrical panache.’

Susannah Clapp, The Observer

In 201415, more people saw National Theatre shows on tour in the UK than on the South Bank. With three of the National’s ‘greatest hits’ – War Horse, One Man, Two Guvnors and The Curious Incident of the Dog in the Night-Time – on the road for 82 weeks, our UK touring audience reached a high watermark of 720,000. A further 775,000 people saw NT productions in theatres around the world. Connections and New Views engaged thousands of young people nationwide.

UK touring

Joey visits Broughton House, Salford - photo by Laurent Philippe
Joey visits Broughton House, Salford Photo by Laurent Philippe

War Horse completed its year-long tour (which had begun in September 2013) with 3 to 5-week runs in Dublin, Sunderland, Bradford, Cardiff, Stoke-on-Trent and Bristol, and a return engagement of nine weeks in Salford.

One Man, Two Guvnors at The Lowry, Salford - photo by Percy Dean
One Man, Two Guvnors at The Lowry, Salford Photo by Percy Dean

One Man, Two Guvnors embarked on a third UK tour to 37 cities between May 2014 and March 2015. After opening in Sheffield, the tour visited Birmingham, Southampton, Bristol, Woking, Hull, Glasgow, Plymouth, Bradford, Newcastle, Dartford, Aylesbury, Crawley, Stoke-on-Trent, Liverpool, Bath, Northampton, Canterbury, Leicester, Aberdeen, Truro, Leeds, Belfast, Dublin, Norwich, High Wycombe, Brighton, Salford, Sunderland, Nottingham, Bromley, Cardiff, Edinburgh, Oxford, Wimbledon, York and Wolverhampton.

The Curious Incident of the Dog in the Night-Time opened a 31-city UK tour in Salford in December 2014, followed by visits to Hull, York, Newcastle, Stoke-on-Trent, Wolverhampton, Plymouth, Aylesbury and Northampton. The tour continues throughout 2015.

West End and international tours and transfers

The Curious Incident of the Dog in the Night-Time< on Broadway - photo by Joan Marcus
The Curious Incident of the Dog in the Night-Time on Broadway
Photo by Joan Marcus

The Curious Incident of the Dog in the Night-Time resumed its West End run at the Gielgud Theatre in June 2014 and opened at the Barrymore Theatre on Broadway in October 2014, where it was greeted by rave reviews and crowned with five Tony Awards including Best Play.

Ben Power’s adaptation of Ross Collins’ The Elephantom played a summer season of daytime performances at the New London Theatre; and after a sell-out NT run, Richard Bean’s Great Britain transferred to the Theatre Royal, Haymarket in September for a limited run until January.

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War Horse on tour
Photo by Ellie Kurttz

War Horse will have its final performance at the New London Theatre on 12 March 2016. A ‘War Horse Prom’ explored the music and stories of the Great War during the 2014 Proms season at the Royal Albert Hall and was broadcast on BBC 2 on Boxing Day. The North American touring production ended in June 2014, after which it travelled to Tokyo to play from July to September. The German-language production played in Berlin until September 2014; a Dutch production opened in Amsterdam last June, followed by a tour of the Netherlands. Perhaps the highlight of the year was War Horse’s visit to South Africa, the home of Handspring Puppet Company, where it played to sell-out audiences in Johannesburg and Cape Town from October 2014 to January 2015. A Mandarin-language production opens in September 2015 in Beijing, followed by touring in China, as part of the NT’s ongoing skills exchange with the National Theatre of China.

Connections and New Views

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Connections Photo by Simon Annand

Connections, the National’s flagship youth programme, gives schools and youth theatres across the whole of the UK the chance to produce a newly commissioned play, perform it in their own home venue and transfer to one of 28 festivals held in leading regional theatres. 226 young companies participated in the 2014 Connections cycle, and 270 companies, involving 5,355 young people, in the 2015 cycle.

16x9 Image
New Views Photo by Nina Sologubenko

New Views encourages playwriting in schools across the UK, offering professional development, an online course, writer-visits to schools and the chance to enter a playwriting competition: the prize is a production of the winning play at the NT. 66 schools joined the programme in September, and New Views groups also met at Bristol Old Vic and the Curve Leicester. 286 short plays were submitted to the competition; nine were shortlisted and two produced in July 2015.

National Theatre Live

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A Small Family Business Photo by Johan Persson

The NT Live programme of cinema broadcasts reached an audience of 1.2m in 2014-15, 725,000 of whom were in the UK. In addition to the 600 screens across Britain, NT Live is shown globally from Australia and Thailand to Iceland and Chile. Productions from other British theatre companies again proved popular, including the West End production of David Hare’s Skylight with Bill Nighy and Carey Mulligan, and two productions from the Young Vic: A Streetcar Named Desire with Gillian Anderson and A View from the Bridge with Mark Strong. Screenings of the NT’s own productions ranged from King Lear with Simon Russell Beale and Medea with Helen McCrory to Alan Ayckbourn’s A Small Family Business, DV8’s John, David Hare’s Behind the Beautiful Forevers and Bryony Lavery’s adaptation of Treasure Island. Encore screenings of Frankenstein and Curious Incident were lapped up by those who missed them the first time around; and the NT’s first live capture of a Broadway production, Of Mice and Men, was screened internationally.

Broadcast and Digital

London Road - photo by Nicola Dove
London Road Photo by Nicola Dove

A feature film adaptation of London Road went into production for UK cinema release in June 2015. Reuniting the award-winning NT team, with script by Alecky Blythe and music by Adam Cork, directed by Rufus Norris, the Cuba Pictures / National Theatre production featured an ensemble cast including Olivia Colman, Anita Dobson and Tom Hardy alongside all the original members of the cast.

During the year there was a total of 2.6 million downloads and streams of free digital content across five online channels (YouTube, iTunes, iTunesU, SoundCloud and the NT website). 100 new films were added to the NT’s YouTube learning channel, which receives over 100,000 views a month. Digital exhibitions on Shakespeare, Greek Tragedy, Children’s Stories and Black Plays in the Google Cultural Institute, were viewed 50,000 times. NT content attracted 110,000 likes on Facebook; 229,000 people follow the NT on Twitter.

In January we announced a new free schools streaming service, On Demand. In Schools, offering NT Live titles Hamlet, Othello and Frankenstein from September 2015. In the first month 1200 secondary schools signed up for the service, giving us the potential to reach hundreds of thousands of students across the UK.

Supporting drama in schools

Othello Conference - photo by Mark Douet
Othello Conference Photo by Mark Douet

The NT supports high-quality theatre and drama provision in schools through its digital resources, professional development for teachers, and creative and practical activity for students. New initiatives this year included a conference welcoming 121 drama teachers from across the country for two days of inspiring practice with artists including Alecky Blythe, Tim Crouch, Melly Still and Lyndsey Turner. Activity for students varied from a masterclass with lighting designer Paule Constable to study days exploring Shakespeare, Frankenstein and Verbatim Theatre through the NT’s archive. Over the year we worked with 1,057 schools; and exceeded our target of working with 100 schools new to the NT during the Clore Learning Centre’s first year, reaching 129 new schools in the six months to March 2015.

First experiences of theatre

Theatre First - photo by Ludovic des Cognets
Theatre First Photo by Ludovic des Cognets

The NT works in primary schools across London, giving children access to high quality theatre and working with teachers to use drama as an integral part of their practice. Younger children took part in Theatre First, an introduction to theatre for Year 1. Children brought puppets and songs created in workshops to a story-telling performance at the NT, in which they were both spectators and performers. Older primary school children wrote their own short plays inspired by Treasure Island and saw them performed in the Temporary Theatre by the NT company.

Lifelong learning

Adult learning course - photo by Ellie Kurttz
Adult learning course Photo by Ellie Kurttz

With the opening of the Clore we have launched an entirely new adult learning programme, with practical and creative courses designed to open up the National’s work to new audiences. In-depth courses on scenic art, puppetry design, a costume course focused on corset-making, and prop-making attracted a high proportion of first-time bookers, while participants in our first playwriting course varied in age from 19 to 74. Other highlights of the programme included two six-part series on 100 Great Plays for Women and the Black Plays Archive, and study days on topics from the work of Tom Stoppard to representing India on stage and screen.


Space to Create - photo by Ludovic des Cognets
Space to Create Photo by Ludovic des Cognets

Community Partnerships underpin much of the work in the Clore Learning Centre. In December, members of the housing charity Crisis created an installation and performance inspired by Behind the Beautiful Forevers. The project was the culmination of a long-term partnership, one of several run during the year. Our 16 – 21 programme recruits through a developing network across London youth organisations. Bursaries ensure the Clore is open to a diverse group of young people. A course in Special Effects Make-up, for example, gave participants who had not previously visited the NT an insight into a possible career in theatre.

Lisa Burger

Executive Director

The hoardings finally came down on major elements of the NT Future redevelopment throughout the year, revealing new spaces that are already fulfilling our dream of making the NT more open and welcoming – allowing us to engage with audiences, young people and theatre-makers in new and deeper ways.

Our thanks are due not only to the Arts Council, the Heritage Lottery Fund, individuals, trusts and foundations, and the many members of our audience who have generously donated to the campaign; but to the dedicated workforce, contractors and NT staff who have brought the project to fruition, and to the extraordinary Steve Tompkins and Paddy Dillon of architects Haworth Tompkins, whose work on NT Future was recognised with a 2015 National Award from the Royal Institute of British Architects – who also recognised the NT as Client of the Year.

Dorfman Theatre - photo by Philip Vile

During 201415 a further £3.2m was pledged for NT Future, bringing the fundraising total to £79.5m towards our target of £80m.

Support from Trusts and Corporates grew with major gifts from American Express Foundation, Bank of America Merrill Lynch, the 29th May 1961 Charitable Trust, the Kirby Laing Foundation, the Bernard Sunley Charitable Foundation, and an additional gift from the Constance Travis Charitable Trust. Individual giving to the campaign also increased with major gifts from five new donors, including a gift of £1million from Mark Pigott.

A gala opening on Broadway of The Curious Incident of the Dog in the Night-Time hosted by the American Associates of the National Theatre (AANT) raised over £300,000; our Fast Forward gala at the National Theatre raised an additional £900,000.

In America, we completed the hugely successful Kovner Foundation Challenge Grant, having raised over $5 million in gifts which the Foundation are matching 1:1. Donations made to the AANT in support of NT Future have now exceeded $12 million.

Dorfman Theatre foyer - photo by Philip Vile

Following an application to an anonymous charitable Foundation, a challenge grant was pledged to help us close the campaign. Every donation made to NT Future from 24 March 2014 will be matched by the Foundation, up to the sum of £300,000.

The support shown by members of our audience towards NT Future has exceeded all expectations. Launched in January 2013 to encourage donations at all levels, the Audience Appeal had raised £2.83m by the end of 201415, with donations from 4,800 people as well as the 136,088 people who have chosen to make an additional 5% donation when booking tickets. The Supporters Mural was unveiled in February, displaying the names of 2,600 people who have donated £100 or more to NT Future. 400 people have donated paving stones and 145 people have donated seats during the course of the campaign.

Sherling High-Level Walkway - photo by Ludovic des Cognets

The opening productions in the Dorfman Theatre (formerly the Cottesloe) – from the immersive nightclub setting of Here Lies Love to Tom Stoppard’s The Hard Problem in end-stage and Sam Holcroft’s Rules for Living in traverse format – amply demonstrated the auditorium’s flexibility, and audiences are enjoying the comfortable seating and spacious new foyer. Visitors of all ages are fascinated by the views from the Sherling High-Level Walkway into the busy backstage workshops for set construction and assembly, scenic painting and prop-making. Artists, designers, theatre-makers and digital film-makers are taking full advantage of the new facilities offered by our new production building, the Max Rayne Centre. The work of the Clore Learning Centre, the NT’s first dedicated space for learning, is described earlier in this review.

Pigott Atrium - photo by Philip Vile

The welcome afforded to visitors and audiences has been transformed with the new Sackler Pavilion entrance. A riverfront café and bar – respectively Kitchen and The Understudy – offer all-day eating, both indoors and out, in place of the old service-yard; and the Weston and Bank of America Merrill Lynch Terraces are revitalised green spaces. House (formerly Mezzanine) restaurant has been elegantly refurbished. A new Bookshop has created a lively hub in the Lyttelton foyer, which is far less congested thanks to the relocation of the Long Bar.

Lyttelton Lounge - photo by Philip Vile

In the Lyttelton Lounge, visitors can browse exclusive digital content from the NT Archive and see related displays on past productions, while NT-related exhibitions can also be seen in the Wolfson Gallery. 1970s equipment and infrastructure have been renewed; and at the same time, NT Future will increase the NT’s net income by some £1m and markedly improve our environmental and financial sustainability.

The National achieved a net surplus of £1.3m for the year 201415, a position achieved due to strong ticket sales at the NT, in the West End and on tour and for NT Live, and further supported by the part settlement of an insurance claim relating to the partial ceiling collapse of the Apollo Theatre during a performance of Curious Incident in December 2013.

The Development department had a strong year, raising £8.3m for revenue activity from individual giving, corporate partnerships and commercial promotion, as well as the funds brought in for NT Future.

The funding received from the Arts Council is vitally important to maintain the innovation and accessibility of which the NT is proud. In 201415, Arts Council funding was held at the same level as the previous year, at £17.6m, representing 15% of the NT’s income. Since 2010-11 the grant has been cut by £2.1m: a real terms cumulative reduction of over 25%.

Over the last few years, income from commercial transfers has significantly increased to offset the impact of this real term cut and has been used in full to support activity at the NT. £7.5m of income from commercial transfers has been used to seed NT Future, with £1.7m devoted to building the Temporary Theatre and £1m funding the Inside Out festival of 2012. It is positive to report this success and diversification of income but it must be remembered that this income is far from guaranteed.

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.

Box Office - NT South Bank 18.6 16% 18.3 18%
Box Office - on tour in the UK & in the West End 40.8 35% 35.9 36%
Box Office - International 14.0 12% 3.8 4%
NT Live 6.1 5% 6.7 7%
Trading and other income 13.0 11% 11.2 11%
Fundraising 7.4 6% 6.5 7%
Arts Council England grants 17.8 15% 17.5 17%
117.7 100% 99.9 100%
Production costs - NT South Bank 36.3 32% 36.5 37%
Production costs - on tour in the UK & in the West End 39.3 34% 32.6 34%
Production costs - International 11.0 10% 4.1 4%
NT Learning, NT Live and Public Engagement 10.6 9% 9.1 9%
Research 1.9 2% 1.9 2%
Trading 11.9 10% 10.7 11%
Fundraising 1.8 2% 1.6 2%
Irrecoverable VAT 0.9 1% 0.8 1%
Governance 0.2 - 0.2 -
113.9 100% 97.5 100%
The NT makes an annual transfer to the Buildings and Equipment Fund of £2.5m to fund routine capital purchases.
Net result after transfers 1.3 -
Box Office - NT South Bank
2015 £18.6m 16%
2014 £18.3m 18%
Box Office - on tour in the UK & in the West End
2015 £40.8m 35%
2014 £35.9m 36%
Box Office - International
2015 £14.0m 12%
2014 £3.8m 4%
NT Live
2015 £6.1m 5%
2014 £6.7m 7%
Trading and other income
2015 £13.0m 11%
2014 £11.2m 11%
2015 £7.4m 6%
2014 £6.5m 7%
Arts Council England grants
2015 £17.8m 15%
2014 £17.5m 17%
2015 £117.7m 100%
2014 £99.9m 100%
Production costs - NT South Bank
2015 £36.3m 32%
2014 £36.5m 37%
Production costs - on tour in the UK & in the West End
2015 £39.3m 34%
2014 £32.6m 34%
Production costs - International
2015 £11.0m 10%
2014 £4.1m 4%
NT Learning, NT Live and Public Engagement
2015 £10.6m 9%
2014 £9.1m 9%
2015 £1.9m 2%
2014 £1.9m 2%
2015 £11.9m 10%
2014 £10.7m 11%
2015 £1.8m 2%
2014 £1.6m 2%
Irrecoverable VAT
2015 £0.9m 1%
2014 £0.8m 1%
2015 £0.2m -
2014 £0.2m -
2015 £113.9m 100%
2014 £97.5m 100%
The NT makes an annual transfer to the Buildings and Equipment Fund of £2.5m to fund routine capital purchases.
Net result after transfers
2015 £1.3m

Total income raised from Fundraising includes £7.4m reported above and £0.9m reported under the trading subsidiaries. In addition, £3.2m was pledged for NT Future.

Production expenditure at the National Theatre, in the West End and on tour represented 76% of total expenditure for the year which can be analysed as follows:

  • Performance Running
  • Actors and Musicians
  • Production Build
  • Planning and Direction
  • Writers, Directors and Designers

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

National Theatre paid attendances (thousands) 2014/15 2013/14 2012/13 2011/12 2010/11
Olivier 361 364 342 353 355
Lyttelton 250 269 314 286 285
Dorfman / Cottesloe 59 - 103 108 104
Temporary Theatre 28 75 - - -
West End 710 778 705 630 408
UK Touring 720 392 97 63 79
International Touring 775 869 770 - 2
Other 25 32 16 8 -
Total 2,928 2,779 2,347 1,448 1,233
NT, Touring & West End Attendance as % of capacity 86% 86% 90% 90% 92%
Number of performances 2014/15 2013/14 2012/13 2011/12 2010/11
Olivier 364 339 339 357 343
Lyttelton 311 360 394 391 373
Dorfman / Cottesloe 173 - 325 368 373
Temporary Theatre 139 369 - - -
West End 951 1,005 409 421 414
UK Touring 663 251 96 70 98
International Touring 725 727 476 - 2
Other 54 98 61 50 -
Total 3,380 3,149 2,100 1,657 1,603
National Theatre paid attendances (thousands)
2014/15 361
2013/14 364
2012/13 342
2011/12 353
2010/11 355
2014/15 250
2013/14 269
2012/13 314
2011/12 286
2010/11 285
2014/15 59
2013/14 -
2012/13 -
2011/12 -
2010/11 -
Temporary Theatre / Cottesloe
2014/15 28
2013/14 75
2012/13 103
2011/12 108
2010/11 104
West End
2014/15 710
2013/14 778
2012/13 705
2011/12 630
2010/11 408
UK Touring
2014/15 720
2013/14 392
2012/13 97
2011/12 63
2010/11 79
International Touring
2014/15 775
2013/14 869
2012/13 770
2011/12 -
2010/11 2
2014/15 25
2013/14 32
2012/13 16
2011/12 8
2010/11 -
2014/15 2,929
2013/14 2,779
2012/13 2,347
2011/12 1,448
2010/11 1,233
NT Attendance as % of capacity
2014/15 86%
2013/14 86%
2012/13 90%
2011/12 90%
2010/11 92%
Number of performances
2014/15 364
2013/14 339
2012/13 339
2011/12 357
2010/11 343
2014/15 311
2013/14 360
2012/13 394
2011/12 391
2010/11 373
2014/15 173
2013/14 -
2012/13 -
2011/12 -
2010/11 -
Temporary Theatre / Cottesloe
2014/15 139
2013/14 369
2012/13 325
2011/12 368
2010/11 373
West End
2014/15 951
2013/14 1,005
2012/13 409
2011/12 421
2010/11 414
UK Touring
2014/15 663
2013/14 251
2012/13 96
2011/12 70
2010/11 98
International Touring
2014/15 725
2013/14 727
2012/13 476
2011/12 -
2010/11 2
2014/15 54
2013/14 98
2012/13 61
2011/12 50
2010/11 -
2014/15 3,380
2013/14 3,149
2012/13 2,100
2011/12 1,657
2010/11 1,603

A full Financial Review and Financial Statements (Annual Report) for 201415 is available to download.

Here Lies Love - photo by Tristram Kenton


In 201415, the support given for NT core activities by individual donors, companies, trusts and foundations amounted to £8.3m, an increase of £1.8m on last year (this sum is in addition to the funds raised for NT Future which are detailed separately). We are immensely grateful for their commitment and for the many ways in which they enable and enrich our work.


Romeo and Juliet - photo by Ludovic des Cognets

Individual giving has continued to increase each year over the past five years, as the number of supporters at all levels of the Individual membership ladder grows – ranging from 11,116 Priority Members to the 113 Olivier and Chairman’s Circle members. Funds received in 201415 reached £4.1m. We held our first Young Patrons’ Gala, which raised £150,000 and helped to promote the scheme, which now numbers 307 members. Gifts in support of the London Road film also contributed to our achievement this year; and once again, the Board of the American Associates of the National Theatre was able to make a very substantial grant.


Man and Superman - photo by Johan Persson

A significant growth of in-kind support contributed to increased revenue from Companies of £3.6m. Cisco provided equipment for an overhaul of the wi-fi for company and public use, and Nimble have supported our data infrastructure project. After 12 years, Travelex continues to support the National’s low-cost ticket seasons. Our Preferred Card Partnership with American Express has been confirmed for a further three years and includes NT shows in the West End. We are working with Northern Trust and American Express as our partners for Curious Incident on Broadway. Goldman Sachs continued to support the National Theatre’s Learning department by sponsoring our Fast Forward Gala. Vodafone became a new partner and sponsored ‘Entry Pass’ enabling teenagers to experience theatre for the first time.

We deepened our relationship with Neptune Investment Management who, as well as being our partner for the Dorfman Theatre, continued to support NT learning activity with schools in Hammersmith and Fulham. We marked our fourth year as one of the J.P. Morgan Signature Series Partners. Our production costs were eased thanks to our flight partner, American Airlines; our contemporary clothing partner, Hugo Boss; our hotel partner, Radisson Blu; and Jaguar Land Rover, who supplied a classic car for Man and Superman. Our photographic images partner, Corbis, continued to ease costs for many departments. We welcomed Royal Bank of Canada as the headline sponsor of our family show, Treasure Island, and secured support from Sony, who became the National Theatre’s broadcast partner, capturing NT Live recordings through ultra high definition 4K technology. Our events were enhanced by our new Pouring Partner, Nyetimber.

Trusts and Foundations

Joey at Iddersleigh, Devon - photo by Rosie Anderson

Over £560,000 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; from the John Lyon’s Charity for a new secondary schools project; and from the Stavros Niarchos Foundation and Sidney E Frank Foundation to support the Digital Schools Channel. The Leverhulme Trust has continued its support of the NT Studio by supporting emerging artists across a range of art-forms, as has The Dorset Foundation towards our learning work around War Horse on tour in the UK. Our apprenticeships scheme received support from The Eranda Foundation and The Harold Hyam Wingate Trust towards our Events and Lighting Apprentices, respectively.

From America we received the support of the Laura Pels International Foundation for Theater for our productions of Medea and Rules for Living, and from the Edgerton Foundation for Behind the Beautiful Forevers.

We would like to express our gratitude for their invaluable support to the very many people and organisations who have helped us, by recognising them here.

NT Future capital campaign

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

The Mark Pigott KBE Family

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

Business Leadership Circle

Sir Trevor & Lady Chinn

Roscoe Crabbe

The Dorset Foundation

Glenn & Phyllida Earle

Lydia & Manfred Gorvy

The Hintze Family Charitable Foundation

John Makinson & Nandana Sen

Susie & Stelio Stefanou

Leila & Mickey Straus

Sir Siegmund Warburg’s Voluntary Settlement

Jacqueline & Richard Worswick

and 1 anonymous donor

American Express Foundation

Penny & Bill Bardel

Alex Beard & Emma Vernetti

Tony & Gisela Bloom

Neil & Sarah Brener

Russ & Linda Carr

Dominic & Nancy Casserley

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


Francesca Robinson

Mr & Mrs Richard J Schwartz

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

Blavatnik Family Foundation

The Broughton Family Charitable Trust

Russell & Monkey Chambers

CHK Charities Limited

The City Bridge Trust

Tim & Caroline Clark

Peter Dubens

David & Rose Heyman Foundation

Baroness Denise Kingsmill CBE

The Mark Krueger Charitable Trust

The Kirby Laing Foundation

29th May 1961 Charitable Trust

Stephanie & Carter McClelland

Dominic & Sarah Murphy

Jeff & Liz Peek

Michael & Melanie Sherwood

The Bernard Sunley Charitable Foundation

Anna Yang & Joseph Schull

and 1 anonymous donor

Pauline Avigès-Graham Foundation

The Band Trust

The Black Family

Edward & Victoria Bonham Carter

Julia Brodie

Columbia Foundation

Rocco & Debby Landesman

Michael Rose & Roz Rosenblatt

Robert Sansom & Edith Eligator

Constance Travis Charitable Trust

Sir Robert & Lady Wilson

and 1 anonymous donor

Heritage Lottery Fund - lottery funded - Supported using public funding by Arts Council England

Individual Giving
Annual Support April 2014 – March 2015


Alta Advisers

Areté Foundation/Betsy & Ed Cohen

Graham & Joanna Barker

Ginny & Humphrey Battcock

Keith & Helen Bolderson

Neil & Sarah Brener

Sir Trevor & Lady Chinn

Myoung-Cheul Chung

Ian & Caroline Cormack

Liz & Simon Dingemans

Sir Harry & Lady Djanogly

Beth & Gary Glynn

Leila Maw Straus

Ian & Beth Mill

Malcolm & Elizabeth Offord

Clive & Sally Sherling

Edgar & Judith Wallner

Guy & Charlotte Weston

Jacqueline & Richard Worswick

and 1 anonymous donor


Eric Abraham & Sigrid Rausing

Jack & Ian Archer Watters

Celia & Edward Atkin CBE

Tom & Sara Attwood

Susan Baker & Michael Lynch

Penny & Bill Bardel

Alex Beard & Emma Vernetti

Tony & Gisela Bloom

Simon & Sally Borrows

James & Debby Brice

Barbara Broccoli OBE

Mr & Mrs L L Browning, Jr

Julia Brodie

Mr John Burbank & Ms Jordan Cook

Russ & Linda Carr

Dominic & Nancy Casserley

Terri & Timothy Childs

The Cielinski Family

Michael & Susan Clasper

Edward E & Betsy Z Cohen

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

Hani Farsi

Lawton W Fitt & James I McLaren Foundation

Barry & Penny Francis

Kate & Jason Gatenby

Robin Geffen

Richard & Kara Gnodde

Anna & Ralph Goldenberg

Lydia & Manfred Gorvy

Kate Groes

Susan Harbour

Susan & Richard Hayden

Ms Frances Hellman & Mr Warren Breslau

Tommy & Dee Hilfiger

Linda & Tony Hill

Madeleine Hodgkin

Cathy MacNeil Hollinger & Mark Hollinger

Clare & Bernard Horn

Sue Howes & Greg Dyke

Mrs Luce Julien

Mr & Mrs Jack Keenan

Michael Kors

Bruce & Suzie Kovner

Rocco & Debby Landesman

John & Bridget Macaskill

Dr Sarah McGinty

John Makinson & Nandana Sen

Selina & David Marks

Mirisch and Lebenheim Charitable Foundation

Laura Pels

Sara & Paul Phillips

The David & Elaine Potter Foundation

Francesca Robinson

Michael Rose & Roz Rosenblatt

Sir Robin & Lady Saxby

Jon & NoraLee Sedmak

Mrs Carol Sellars

David & Sophie Shalit

Richard Sharp

Miss Dasha Shenkman

Michael & Melanie Sherwood

David & Alison Slade

Peter & Esther Smedvig

Mr George Soros

Susie & Stelio Stefanou

Jay & Deanie Stein

Max & Joy Ulfane

Steven & Bonnie Ward

Charlotte & Simon Warshaw

Ian & Victoria Watson

Marcia B Whitaker

George & Patricia White

Maxine White

Anna Wintour

George & Moira Yip

Kathleen J Yoh

and 4 anonymous donors


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

Jose & David Dent

Sir Harry & Lady Djanogly

Edward Dolan-Abrahams

Justin & Emma Dowley

James & Elizabeth Downing

John Drummond

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

David R Graham

Evelyn & David Green

Gabrielle, Lady Greenbury

Jill Hackel & Andrzej Zarzycki

Katherine Hallgarten

Dr Martin Halusa

The Philip & Pauline Harris Charitable Trust

Susan & Richard Hayden

Morven & Michael Heller

The Hintze Family Charitable Foundation

David Hobbs

Dr & Mrs Alan J Horan

Clare & Bernard Horn

Nita Jackson

Lord & Lady Jacobs

Joseph & Jill Karaviotis

Mr & Mrs Jack Keenan

Mathilda & Terence Kennedy Charitable Trust

Gillian & Vimal Khosla

Mark J & Elizabeth L Kogan Charitable Fund

Bruce & Suzie Kovner

The Mark Krueger Charitable Fund

Jon & Mary Leadbetter

Kenneth & Melissa Leet

Mr A Lenson

Lady Lever

Sir Stuart & Lady Lipton

Thomas Lynch

Edward McKinley & Kathleen Lavidge

Justin & Jill Manson

Selina & David Marks

Judy Marshall

Patrick Mears

Mirisch & Lebenheim Charitable Foundation

Carol Mitchell

Mr Miles Morland

Debbie Morris

Mr & Mrs George Newell

Mr & Mrs Jim Nicol

Robert & Jane Norbury

The O’Grady Foundation

Georgia Oetker

Gregory & Susan Palm

Simon & Carolyn Parker Bowles

Barrie & Catherine Pearson

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 17 anonymous donors


Helen & Bob Appel

R Derek & Bonnie Bandeen

Linda Beecham

Peter & Ali Bennett-Jones

Norman S Benzaquen & Judy Francis Zankel

Cathie Black & Tom Harvey

Tania & Keith Black

Mr Philip Bowman

Léon & Sylvie Bressler

Lord Browne of Madingley

Sandra Carlisle & Angus Carlill

Michael Carpenter

Louis & Bonnie Cohen

Marty & Michele Cohen

The Peter Cundill Foundation

Guy & Lucy Davison

Alyce Faye Eichelberger-Cleese

Barbara G Fleischman

Emily & Alex Fletcher

William Gilpin

Emma Goltz

Mr & Mrs Edward Greene

Uri & Angela Greenwood

Mrs Themy Hamilton

Mrs Caroline Hoare

Maxine Isaacs

Lucie Jay

Philip & Joan Kingsley

Roger & Jane Kirby

Paul & Nicolette Kirkby

Calvin Klein

Stephanie & Carter McClelland

Ian & Carolyn MacKenzie

Margie Markwick

Tim & Juliet Medforth

Mrs Mary M Miner

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

David Smalley

Mr & Mrs Paul Sonabend

Joan Steinberg

Gwen Thornley

N’Gunu Tiny

Miklos Toth

Mrs Diana Venison

Gerry Wakelin

Peter Williams & Heather Acton

James D Zirin

and 1 anonymous donor


Mr Stephen Allcock

Mr Jeremy Asher

Attias Family Foundation

Sir John & Lady Baker

Bruce & Susan Barnet

Mrs Gwendoline Baxter

Henry C Beck, Jr Charitable Lead Trust

Cynthia & Ronald Beck

Sir David & Lady Bell

William Benjamin & Jill Kowal

Mr & Mrs Michael Bienes

Peter Blake-Turner

Susan Bloomberg

Edward & Victoria Bonham Carter

Sarah Britton

Simon Burgess

Sir Andrew Cahn

Sir Peter & Lady Cazalet

Gill & Garf Collins

Mr & Mrs Leigh Collins

Mr & Mrs Paul Collins

Douglas S Cramer

Dr Neil Cross

Mr & Mrs Cullman

Sir Howard Davies

John & Catherine Debs

Martin & Marian Denny

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

Roy Furman

Andrew Galloway

Peter & Barbara Georgescu

James Gleick

Bruce Golden & Michelle Mercer

Lady Shauna Gosling

Jamie & Marritje Greene

Mrs Kate Grimond

Byron Grote & Susan Miller

Charles & Kaaren Hale

Richard H Harding

Pamela, Lady Harlech

The Lady Heseltine

Angela Howard & Lucy Smouha

Chris & Carolyn Hughes

Melvyn & Diane Hughes

Liz & Peter Huhne

Al & Denise Hurley Family Fund of the Greater St Louis Foundation

William & Weslie Janeway

Mr James Libson & Ms Anne Joseph

Douglas Kennedy

Ms Nicola J Kerr

John Kinder

Rupert & Alice King

The Kowitz Family Foundation

Herbert Kretzmer OBE

Steven Larcombe & Sonya Leydecker

Mark Lee

Ms Jolana Leinson

Jacqueline & Marc Leland

Mrs Sahra T Lese

Sara Levene

Fred M Levin & Nancy Livingston

Mark & Sophie Lewisohn

Jane E Livesey

Graham & Eileen Lockwood

Rachel Lomax

Gill Macleod

Donald Main

Dr John H Makin & Ms Gwendolyn van Paasschen

Ms Claudine B Malone

Audrey Mandela & Sean Phelan

Ian & Serrie Meakins

Brenda Meldrum

Gabriela Mendoza

Sandy & Ed Meyer

John & Susan Michaelson

Simon Millson

Mr & Mrs A Mosawi

Peter & Susan Nitze

Luke & Kate Nunneley

Vincent O’Brien

Emma O’Donoghue

Maria O’Donoghue

Mark & Amanda Otway

Midge & Simon Palley

Michael & Mary Parkinson

Carolyn & David Pascall CBE

Cosima Pavoncelli

Oliver & Emma Pawle

Ms Judy Peck

Anne & Barry Pinson

Peggy & John Pirovano

The Porter Foundation Switzerland

Jack & Noreen Poulson

Gail, Robert & Ian Reichert

Greg & Karen Reid

Mrs Clare Rich

Mr Robert Rooney

Ellen & David Ross

The Ruddock Foundation for the Arts

Sharon Ruwart & Tom Melcher

Betsy & Jack Ryan

Dr Joseph Sassoon

Phil Scaturro

Sir David & Lady Scholey

Mr Robert A Silver

Mrs Kate Sloane

Helen & Anthony Spiro

Mike Staunton

Judy & Michael Steinhardt

Oliver & Sally Stocken

Sue & Stuart Stradling

Anne Sweetbaum

Lady Juliet Tadgell

Laura & Barry Townsley

Melissa Ulfane

Lady Patricia Varney

Ed & Carol Victor

Mary Wallach

Michael & Leah Weisberg

Dr White Williams & Mr Williams

and 3 anonymous donors


Brian Abbs

Acacia Charitable Trust

Dame Jennifer Abramsky

Meg Addison & Irwin Charles Ferry

Mr Harry Allan

Mr & Mrs Richard Allan

Tim Allan & Carey Scott

Roger & Angela Allen

Joan & Robin Alvarez

Peter Arengo Jones

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 Barakat & Tracy Lafond Barakat

John Barker

Mr & Mrs John Barkshire

Mr Keith Barnett

Ray Barrell & Ursula van Almsick

Anne J Barsh

Stephen Bartlett

Peter Bazalgette & Hilary Newiss

Mrs Arlene Beare

Mr Ernest G Beaumont

James & Caroline Beery

Sarah Bell

Ian & Wendelien Bellinger

J & A Bénard

Mr Michael Bennett

Elizabeth & Rodney Berens

The Bertie Black Foundation

Sam & Rosie Berwick

Dr Kate Best

Robin & Veronica Bidwell

Mr & Mrs Wiktor Bielski

Mrs Wendy Birkby

Martin Blackburn

Mrs Judith Bollinger

Mr & Mrs Charlie Bott

John & Jean Botts

Mark & Susan Bradley

Mr Thomas Brezina

Elisabeth Bristow

Lord & Lady Brown of Eaton-under-Heywood

John & Ruth Bullock

John & Susan Burns

Joan Burstein CBE

Helena Butler

Keith & Pamela Butler-Wheelhouse

Martin Byman & Margaret Samson

Georgia Byng

Andrew Cameron

Miss Sarah Caplin

Ms Susan Carpenter

Sir Roger & Lady Carr

Douglas & Joan Carter

Jason & Belinda Chaffer

Tim & Caroline Clark

Adam Cleal

Thea Cleminshaw

Daniel & Cornelia Clifford

James & Maggie Cochrane

The Denise Cohen Charitable Trust

Alan & Betsy Cohn

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

Liz Cratchley OBE

Ms Elizabeth Crosoer

Mr T A R Curran

Deborah David & Norman A Kurland

Mr & Mrs Jonathan Davie

Mr & Mrs Ian Hay Davison

Andrew & Gill Dawson

Sir Roger & Lady De Haan

The de Laszlo Foundation

Mrs Anne De Pinna

Mrs Josephine Dean

Peter & Marian Dell

Mr & Mrs R DeScherer

Mrs Yvonne Destribats

Dr & Mrs C J Dilloway

Kitty Dinshaw & James Segan

Du Parcq (Jersey) Ltd

Leslie Dubow

Annabel Duncan-Smith

Stephen Dunn

Ann & Henry Ebner

Arnold & Greta Edward

Jeremy Edwards

Frederick & Diana Elghanayan

Stacey & Tessa Ellis

Peter & Barbara Elliston

Don Ellwood & Sandra Johnigan

Sarah & Louis Elson

Mr Stuart Errington

Davide Erro

John & Tawna Farmer

Susan Farmer

David Fein

Lord Feldman

Dorothy Field

Mrs Hilary Finer

Denys & Victoria Firth

Claire Fisher

Tony 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 & Les Garfield

Ms Lucy Garrett

Jacqueline & Jonathan Gestetner

North Street Trust

Piers & Melanie Gibson

Hon William & Lori Gibson

The Gillespie Family

Jon Gilmartin

John & Indrani Gleave

Stuart & Lynn Glyn

Daniel Godfrey

Mrs M C Godwin

Mrs Carolyn Goldbart

Ramy & Smadar Goldstein

Emma Gomme

Val Gooding & Crawford Macdonald

Paul & Kay Goswell

Sarah Gough

Lorna Gradden

Dr Zoe Graham

Carolyn Gray

Lesley Gregory

John & Ann Grieves

Richard & Odile Grogan

Karen Groos

Clifford & Sooozee Gundle

Robert & Diana Guy

Jan & Michelle Hagemeier

Ros & Alan Haigh

Mark & Moira Hamlin

Griselda & Nigel Hamway

Sarah Handelman

Caroline Hansberry

The David & Claudia Harding Foundation

Neil Harris

Sir Michael & Lady Harrison

Maureen & Derek Harte

Mrs Dorothy G Harza

Mr Samuel A Haubold

Dr Gordon Hay

Marc Hayton

Mark Heappey & Anne Markland

Lane Heard

Helen Lee Henderson

Alan Herdman

Malcolm Herring

Mrs Coreen R Hester

John Higham

Tim & Pippa Hincks

Soo & Jonathan Hitchin

Andrew Hochhauser

Derek Hollis

Sara Holmes Woodhead

Rodney & Zmira Hornstein

Mrs Sophia Hughes

Jane Hurt

Graham Hutton

John D Hyatt

Robin & Inge Hyman

Richard & Rosie Hytner

Roda Infield

Penny Jackson

Simon & Sally Jackson

Barbara Johnson

Mary Ellen Johnson & Richard Goeltz

Alan Jones

Nicholas & Cherry Jones

Paul Kafka

Ralph & Patricia Kanter

Susanne Kapoor

David Kaskel & Christopher Teano

Donovan Kelly & Ann Wood

John & Jenny Kelly

Mrs Helene Kessler

Victor & Gail Khosla

David Killick

Peter King

Mrs Frances Kirsh

James Klosty

Bill & Stephanie Knight

David Knox

Latifa Kosta

Mr & Mrs T Krumland

Elizabeth Lack

David & Linda Lakhdhir

Mr David Lanch

Martha Lane Fox

Mrs Rosanna Laurence

Peter Lawrence

Neil & Tracy Lawson-May

Nicola Leach

Sir Terry & Lady Leahy

Joanna Le Grice

Alan Leibowitz & Barbara Weiss

Sarah Le May

J Leon Charity Fund

Paul Leonard

Mr & Mrs B Lesslie

Dr Mark Levesley

Troels Levring

Colette & Peter Levy

Sarah & Marc Lewell

Mrs Lynn Lewis

Sir Gavin & Dr Naomi Lightman

Terry & Bob Lindsay

Sir Sydney Lipworth QC & Lady Lipworth CBE

Mrs Georgina Liverpool

Lady Lloyd of Berwick

John Lockyer & Jane Creasey

Angela & Michael Lynch

Mrs Lesley Jane Lynn

Mrs Felicity Lyons

John Stuart Macara

Ginny Macbeth

Hugh MacDougald

David McGibney

Alistair Mackinnon-Musson

Greg & Jane MacLeod

Ian McVeigh

Charles & Nicola Manby

Dr Anna Mann

The Maplescombe Trust

Paul & Paula Marber

Mr & Mrs Jonathan Marks

Lady Medina Marks

Julian & Camilla Mash

Victoria Mather

Richard & Lara Max

David & Wendy Meller

Mrs Kathryn Michael

Costas Michaelides & John Soderquist

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

Dr & Mrs Julian Muir

Randi Glass Murray

Roger & Anthea Murray

Mr & Mrs Peter Murray-Smith

The Lord Myners CBE & Lady Myners

Dr Ann Naylor

Elisabeth Newell

Stanley Newman & Dr Brian Rosenthal

Andrew & Sue Nichols

Sarah Nichols

Philip Noel

Robert Norris

Sir Charles & Lady Nunneley

David C Olstein

Sandy & Caroline Orr

Crispin Osborne

Mrs Kathrine Palmer

Lord & Lady Pannick

Jackie Parker

Tim Parker

Dalip & Chandrika Pathak

Mr R H C Pattison

Kristin M Paulus

Gareth & Ginny Pearce

Gordon & Marian Pell

Christina & Ben Perry

Roger & Virginia Phillimore

Sir Stephen & Lady Phillips

William Pidduck

Mr David Pike

Andrew Pitt

Pat & John Porter

The Countess of Portsmouth

William Powar

Andrew Powrie

Mr & Mrs Michael Pragnell

Mrs Marie Prutton

Trevor Pugh

David & Hilmary Quarmby

Tony Randall Theatrical Fund

Anthony & Ann Regan

Bonnie & Richard Reiss

Christopher Marek Rencki

Joyce Reuben

His Honour Michael Rich QC

Philip & Sarah Richards

Peter Rigg

Dennis Robins

Mrs Lesley Robins

Caroline Roboh

Mr David Rocklin

Mr & Mrs Kenneth Rokison

Sir John & Lady Rose

Tim Rosenberg

Mr & Mrs Harvey Rosenblatt

Sue & Tony Rosner

Mr P M Roth

Mr David Royds

William & Hillary Russell

William & Julie Ryan

John & Jeremy Sacher Charitable Trust

Pushpinder Saini

Richard & Virginia Salter

Anthony & Sally Salz

Ruth & Brian Sandelson

Michael Sayers QC

Michael & Beth Schneider

Catherine Schreiber

Philippa Seal & Philip Jones QC

Eileen Serbutt

Mr & Mrs Mark Shanker

Ellen & Dan Shapiro

Andrea Sinclair & Serge Kremer

Harry & Laura Slatkin

The Mike & Janet Slosberg Foundation

Francis & Jenny 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

Ms Francesca Stanfill Nye

Alan & Ruth Stein

Kathryn Steinberg

Marjorie & Michael Stern

George & Elizabeth Stevens

Gill Stewart

Judy & David Stewart

Olive & Michael Stone

Siân Stonehill

Maria & Julian Sturdy-Morton

Andrew & Laura Sukawaty

Sir John & Lady Sunderland

Mrs Ann Susman

Robert & Patricia Swannell

Kathleen Synnott

Esther & Romie Tager QC

Bernard & Nadine Taylor

Eileen J Taylor

Ms Chantal Thompson

Tony & Valerie Thompson

Sara & Nigel Tozzi

Mr & Mrs John C Tucker

Christopher & Julia Tugendhat

Mrs Margaret K B Turner

Marina Vaizey

Debra Valentine

Peter Ventress

Domenico Veronese

Mr & Mrs Eric Vezie

Frank & Emily Vogl

Gary von Lehmden

Tim & Nadine Waddell

Mr & Mrs Jeffrey Walker

Sally Warner

Stephen & Sophie Warshaw

Denie & Frank Weil

Mr Nicholas Wells

Geoff Westmore

Ailsa White

Graham & Sue White

Mr & Mrs Brian M Wides

Susan J Wilen

Mary Willett

Ann Williams

Anne-Marie Williams

Marilyn & Geoffrey Wilson

Mr & Mrs Michael Wilson

Henry & Louise Windeler Cohen

Jody Wolfe

Richard & Susan Wolff

David & Vivienne Woolf

David Wormsley

Ms Cynthia Wu

Mrs C A Wyse

Jonathan Young

David & Barbara Zalaznick

Mr & Mrs Keith Zerdin

Stephen & Laura Zimmerman

and 34 anonymous donors


Emine Basak

Nicola Blake

Mr Matthew Boyle & Mr James Turner

Kate Buckley

Mr Matthew R Cavanagh

Douglas Davis

Joshua Davis

Saul Doctor

Charles Dorfman

Jenniffer Emanuel

Dr Johann Franke

Virginia Garcia Esteban

Elizabeth Glyn

Dr Ben Graham

Matthew Hayday

Janet Hitchen

Bruce Langlands

Grant Lipton

Simon & Gemma Lyons

Sheryl Needham

Sinead Ni Mhuircheartaigh

Lisa Orban

Dr Scott Rice

Veronica Rivera & Will Sherling

Aliceson Robinson

Wendy Sigle Rushton

Andrew Smith

Danielle Summers

Ian Tollett

Lisa Valk

Josh Varney

and 3 anonymous donors

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

April 2014 – March 2015

Margaret Cottier

Barbara Dearnley

Peggy Hadfield

David T Little

Audrey Meenan

Colin Shaw

George Young

Douglas Wight

Peter Woon

Corporate Support April 2014 – March 2015



American Airlines

American Express

Bank of America Merrill Lynch

Hugo Boss

J.P. Morgan

Neptune Investment Management

Nimble Storage

Northern Trust



Radisson Blu Edwardian London

Royal Bank of Canada

Sony Digital Cinema


National Theatre Education is supported by Goldman Sachs

Premium Members


Linklaters LLP


Platinum Members

American Airlines

Bloomberg LP

BNP Paribas


Corbis Images

Daily Mail and General Trust plc

Delta Airlines



Goldman Sachs

Prudential plc


Smiths Group plc

Gold Members

Arthur J. Gallagher


Bartle Bogle Hegarty



Carey Group plc

Clifford Chance LLP


DAC Beachcroft

Equity Invest

Finsbury Ltd

Forsters LLP



Lubbock Fine

Macfarlanes LLP

Markson Pianos

Moore Stephens LLP

Nyman Libson Paul

Penningtons Manches Solicitors LLP

Pentland Group plc


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 & Foundations – Annual Revenue Support April 2014 – March 2015

Major Trusts & Foundations

The Behrens Foundation

Cockayne – Grants for the Arts and The London Community Foundation

The Dorset Foundation

Edgerton Foundation

The Eranda Foundation

Sidney E Frank Foundation

Paul Hamlyn Foundation

The Ingram Trust

The Leverhulme Trust

John Lyon’s Charity

Mulberry Trust

Stavros Niarchos Foundation

The Laura Pels International Foundation for Theater

Quercus Trust

The Rose Foundation

The Royal National Theatre Foundation

Archie Sherman Charitable Trust

Trusts & Foundations

Andor Charitable Trust

The E Dennis Armstrong Trust

The Chapman Charitable Trust

The D’Oyly Carte Charitable Trust

The Gilbert and Eileen Edgar Foundation

Mohamed S Farsi Foundation

The Golden Bottle Trust

The Goldsmiths’ Company Charity

The Golsoncott Foundation

Milton Grundy Foundation

The Harold Hyam Wingate Foundation

Heritage of London Trust

Jill & David Leuw

The London Cultural Attaché for European Commission

Newcomen Collett Foundation

St Olave’s Foundation Fund

Old Possum’s Practical Trust

The Austin & Hope Pilkington Trust

Rosetrees Trust

The Royal Victoria Hall Foundation

Saddlers’ Company Charitable Fund

The Sampimon Trust

The Sobell Foundation

The John Thaw Foundation

The Topinambour Trust

and 1 anonymous donor

American Associates of the NT

AANT Board

Leila Maw Straus (Chair)

William G Bardel

Peter Brown

Terri Childs

Shawn M. Donnelley

Alyce Faye Eichelberger-Cleese

Lawton W Fitt

Barbara Fleischman

Maxine Isaacs

Suzie Kovner

Debby Landesman

Jeanne Linnes

Lady Lyall Grant

Carolyn MacDonald

Stephanie McClelland

Jeffrey Peek

Laura Pels

David Smalley

Jay Stein

Joan Steinberg

Monica Wambold

Lady Westmacott

Honorary Council

Timothy Childs

Suzanne Elson

Richard Harding

Elliott F Kulick

John Makinson

Stafford Matthews

Sir Deryck Maughn

Lady Sheinwald

Susan Wilen

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

Preview 201516

Rufus Norris looks forward

Director (from April 2015)