2014 Annual Review

Page 1

2014 shakespeare’s globe

Annual review


contents Our Vision Page 4 Welcome

Page 5

Theatre: The Sam Wanamaker Playhouse

Page 6

Theatre: The Globe Page 13 Beyond the Globe Page 16 Globe Education Page 22 Supporting Ourselves Page 34 Widening Engagement Page 38 New Spaces Page 40 Summary of Financial Statement Page 42 Looking Forward Page 46 Our Supporters Page 50 Who’s Who Page 54 Auditor’s Statement Page 59

2

3


WELCOME 2014, the 450th anniversary of Shakespeare’s birth, was a year of amazing variety at Shakespeare’s Globe. We tested our beautiful indoor Playhouse for the first time – a theatre and concert venue at once new-minted and radically old, warmly welcoming and darkly exciting; a space for play and for learning; a space that has been quickly embraced by actors, musicians, students and, most importantly, audiences alike. In the Globe, we presented one of our most varied and ambitious seasons of Shakespeare – from Julius Caesar to The Comedy of Errors to the revival of our unforgettable Titus Andronicus. New writing, too, never looked stronger or more various here, with two world premieres of plays by David Eldridge and Howard Brenton and co-productions of two brilliant new plays by Simon Armitage and Richard Bean. In 2014, the Globe truly went to the Globe. We greatly increased our presence online, on screen and on television; we appeared on large stages in Russia and China, on small stages travelling throughout the UK and Europe – and on another small, truly amazing stage that took Hamlet to 62 countries, from the headquarters of the United Nations in New York to a Community College in St Vincent and the Grenadines, from Astana to Zagreb. This was a year of national and international achievement in education too. We went to China to work with Shenyang University on a Beijing Opera-style Othello. We worked with the UK Government on cultural exchanges with other countries and on initiatives such as the GREAT campaign. We actively participated in political debate about the future of arts in the curriculum and we influenced teaching practice. In many areas of our work we played an active part as UK cultural ambassadors. Shakespeare’s Globe, as has often been said before, is a truly remarkable extended family. I would like to thank the staff, volunteers and that large body of loyal and active supporters – our Friends, corporate partners, trusts, foundations and boards in the US and New Zealand – whose passionate commitment allows us to function and grow. In January 2015 we were placed seventh in The Stage’s annual Top 100 list of most influential people in theatre.

Our Vision Shakespeare’s Globe aims to be recognised internationally as the first point of reference for the study and appreciation of Shakespeare in performance.

4

I hope you will enjoy catching a few of the highlights of the last year and get a flavour of our ambitious plans for the years ahead – which, when complete, will add even more opportunity to explore what we offer. Neil Constable Chief Executive

5


theatre the sam wanamaker playhouse Last year we celebrated the redesign of our main foyer and the completion of the Sam Wanamaker Playhouse on time and on budget and we closed a highly successful £7.5 million fundraising campaign. This year we presented our first season in the Playhouse, realising our founder’s vision of a yearround theatre operation, with two theatres – one outdoor, one indoor – presenting work throughout the summer and winter. The Playhouse won the Commercial and Public Access category at the 2014 Wood Awards, was shortlisted in the ‘Civic, Culture and Sport’ category of The New London Awards 2014 and was shortlisted for Theatre Building of the Year in The Stage Awards 2015.

6

7


what they said

Audience of

36,000

attend plays in our first season

110

performances

92% capacity

The Inaugural Season

The Inaugural Season

The Sam Wanamaker Playhouse presented its first public performance in January 2014. The season that followed served up a rich and varied feast of Jacobean drama, including some of the greatest work written for the English stage, under deeply atmospheric conditions that are as close as we are likely to get to those which prevailed in the indoor theatres of the early 17th century.

‘ The extraordinary thing about the new indoor Jacobean theatre that is part of Shakespeare’s Globe, is that it feels as if it’s always been there and was just waiting to be uncovered.’

The Duchess of Malfi, John Webster’s dark and glittering tragedy, directed by Dominic Dromgoole, opened the Playhouse on 9 January. This was followed by, in complete contrast, The Knight of the Burning Pestle, Francis Beaumont’s comic masterpiece of madcap meta-theatre directed by Adele Thomas. Then came an exquisite staging of Francesco Cavalli’s 1644 opera L’Ormindo, a co-production with the Royal Opera House, directed by Kasper Holten. Between them, these three productions ran the gamut of the new building’s theatrical and acoustic resources.

‘ This candlelit venue offers extraordinary opportunities for dramatic intimacy.’

Our first season concluded with John Marston’s bitingly satirical The Malcontent, the first production by the Globe Young Players, a new company of talented 12 to 16-year-olds who were selected and trained by the Globe’s resident experts in the performance of early modern drama. The production explored some of the playing styles of the 16th and 17th-century children’s companies. An audience of 36,000 (an overall capacity of 92%) enjoyed our opening season of 110 performances over a period of three-and-a-half-months. The second season opens Shortly before the close of the financial year we launched our second season in the Playhouse with an audacious, highly acclaimed production of John Ford’s controversial masterpiece ‘Tis Pity She’s a Whore, directed by Michael Longhurst.

Michael Billington, The Guardian

Dominic Maxwell, The Times

‘ A candlelit theatre is one thing. A theatre when those candles are so close you could lean in and blow them out, where a good line sets them flickering in gusts of audience laughter is quite another. We’ve been spoilt by the Globe for almost 20 years now, and the novelty of its open-air theatre still feels fresh. With the new, Jacobean-inspired Sam Wanamaker Playhouse (capacity just 340), they have done it again.’ Alexandra Coghlan, The Arts Desk

‘ The first of several pleasurable surprises is the smallness and intimacy of the Globe’s new indoor Jacobean theatre. You feel as if you are sitting in an exquisite little jewel box or doll’s house.’ Paul Taylor, The Independent

The Duchess of Malfi ‘ The physical dimensions of the Sam Wanamaker Playhouse – which the programme calls ‘a reimagining of an archetypal Jacobean playhouse’ – ensure that the process of stripping the Duchess of her power, her family and finally her life is played out in painful close-up.’ Liz Schafer, Times Higher Education

‘ The success of the evening lies in the fact that Webster’s play and this exciting new space make a perfect fit.’ Michael Billington, The Guardian

‘ We’re playing with them (the audience) not at them, and they have a role to play in the play, depending on the energy of each different audience on each different night…What’s interesting about this production in this space is that the candlelight and everything about the room feeds the play.’ James Garnon on playing the Cardinal in The Duchess of Malfi

The Knight of the Burning Pestle ‘ The anarchic action spills all over the intimate, candlelit playhouse.’ Paul Taylor, The Independent

‘ The Knight of the Burning Pestle proves that the candlelit venue can accommodate knockabout theatrics just as fully as it can sotto voce villainy.’ Matt Wolf, The Arts Desk

‘ The Knight of the Burning Pestle is the perfect play to put on in the first season because it allows us to test drive the theatre itself… it revels in the theatre architecture.’ Adele Thomas, on directing The Knight of the Burning Pestle

‘ In 2014 I was lucky enough to be part of the Knight of the Burning Pestle show. Performing in the Sam Wanamaker Playhouse was very inspiring and it was lovely to experience playing in a venue lit mainly with candlelight. It made me think a lot about how theatre musicians worked in Shakespeare’s time. A great experience!’ Emily Askew, on performing in The Knight of the Burning Pestle

’Tis Pity She’s a Whore ‘ Electrifying... if ever a play was made for the stage of the Sam Wanamaker Playhouse – this intimate, candlelit enclave of Shakespeare’s Globe – it has to be Ford’s dark and dangerous masterpiece.’ Sunday Telegraph

‘ The cast of 16 is terrific ... This space, which opened in January, is used to its best effect yet ... I have never seen the play done better.’ The Times

8

9


what they said

138

performers

57

performances

87%

capacity

Special events and concerts

Ellen Terry with Eileen Atkins

Music for a Jacobean Court

In addition to 17th-century drama and opera, the new Playhouse has quickly established itself as a superb venue for special events and concerts. Its first season included Ellen Terry with Eileen Atkins, in which Eileen Atkins brilliantly reincarnated Ellen Terry reincarnating Shakespeare’s women, and (in stark contrast) punk comedy from the Rubberbandits. In April, complementing the Globe Young Players’ production of The Malcontent, Globe Education hosted a production of John Lyly’s touchingly androgenous play Galatea, directed by Perry Mills and performed by Edward’s Boys from King Edward VI Grammar School, Stratfordupon-Avon. Other events included performances of the Nobel Laureate Derek Walcott’s epic poem Omeros and (shortly after the close of the year), a recital by Simon Armitage of his verse translation of Sir Gawain and the Green Knight.

‘ Atkins makes familiar lines seem fresh-minted as she brings Shakespeare’s women to spellbinding life.’

‘ The intimacy between performers and audience is so exceptional and the candlelit ambience so ideal for the music of this period.’

Equally exciting has been discovering the potential of the Playhouse as an intimate and wonderfully atmospheric concert venue, which feels custom-made for performances of chamber music. The bar was set high from the outset, with concerts from a range of stellar performers, including John Williams, Trevor Pinnock and the English Concert, and I Fagiolini in the inaugural season and continuing throughout the summer and autumn with (to name but a few) Jordi Savall, Andreas Scholl, Anoushka Shankar and a specially commissioned work celebrating the life and music of Thomas Tallis, written by Jessica Swale and featuring members of The Sixteen. Shakespeare’s Globe is now one of the premier venues for the performance of chamber music in the UK and is in huge demand with professional musicians, who have quickly discovered there is nowhere else like it. 138 performers presented 57 performances over the course of the year. These attracted audiences of 18,000 and achieved an attendance of 87% capacity.

10

Charles Spencer, The Daily Telegraph

L’Ormindo ‘A more exquisite evening would be hard to imagine.’ Tim Ashley, The Guardian

‘ Kasper Holten’s marvellously inventive production of Cavalli’s L’Ormindo is both pacy and genuinely amusing.’ Barry Millington, Evening Standard

Melanie Eskenazi, Music OMH

Thomas Tallis ‘ The music of the Tudor songsmith Thomas Tallis can rarely have sounded more heavenly than it does beneath the cloud-swathed, candlelit skies painted on the ornate ceiling… a hybrid entertainment of music and drama, with both elements afforded equal weight, it’s a skin-tingling pleasure.’

John Williams and Friends

Sam Marlowe, The Times

‘ This beautiful acoustic space makes you hold your breath and focus in a way you never do in an amplified concert… It was pure magic. The five stars apply equally to the music, the musicians and the venue.’

A Bach Family Celebration

Simon Broughton, Evening Standard

‘ Sitting in the stall seats you could reach out and touch the players, while those standing in the galleries can still hear the softest brush of finger on lute string.’ Helen Wallace, Classical Music

‘ As always, the Playhouse was packed to the rafters with a wonderfully varied group – if one of those miserable people who are constantly wittering on about how classical music is dead, dying, or of interest only to ‘the old’ could be bothered to venture out to Southwark for one of these recitals, they’d find an audience composed of all age groups, with plenty of young people in the mix.’ Melanie Eskenazi, Music OMH

11


280

performances

271 actors 177 musicians 98 creatives Audience of

368,000 40% £5 tickets 91% capacity for Shakespeare

12

the globe The Globe season comprised 280 performances from late April to mid-October, attracting a total audience of 368,000 and achieving an overall audience capacity of 84%. Over 40% of our audiences enjoyed our £5 groundlings tickets, demonstrating that the Globe continues its democratic mission to present a range of diverse theatrical experiences at a price affordable to all. Over the course of the year, we employed 271 actors, 177 musicians, 98 creative staff, 48 stage managers and 23 wardrobe staff. The theme of the Globe’s season this year, entitled Arms and the Man, explored mankind’s endless capacity for conflict and complemented national commemorations of the centenary of the start of the First Word War. Shakespeare For this we returned to Shakespeare’s Roman plays, which included a revival of Lucy Bailey’s 2008 triumph of grand guignol, Titus Andronicus (one of the most celebrated and controversial of previous productions at the Globe), a passionate rendering of the richly poetic imperial tragedy Antony and Cleopatra, directed by Jonathan Munby, and a thrilling Julius Caesar, directed by Dominic Dromgoole. Later, conflict returned as farce in Blanche McIntyre’s wonderfully knockabout production of The Comedy of Errors. Overall, the major Shakespeare productions played to 91% capacity, enjoying great critical acclaim and drawing a delighted response from audiences. In addition, two of this year’s small-scale touring productions visited the Globe in the course of the summer. King Lear – a revival of the heart-rending 2013 production directed by Bill Buckhurst – and a hugely entertaining Much Ado About Nothing, directed by Max Webster, played 20 performances on Bankside, drawing an audience capacity of 97%.

13


what they said new plays 2014 was another great year for new writing at the Globe. Simon Armitage’s brilliant verse drama, The Last Days of Troy, adapted from Homer’s Iliad, brought an epic dimension to a Globe season exploring mankind’s addiction to conflict. The ancient, unending rage in the Middle East provided the theme for David Eldridge’s Holy Warriors, a historical fantasia which juxtaposed modern times with episodes from the era of Saladin and Richard the Lionheart. The centenary of the Great War was explicitly commemorated by Howard Brenton’s Dr Scroggy’s War, a funny and moving exploration of contemporary attitudes to the war and the work of Harold Gillies, the pioneer of modern plastic surgery. And in Richard Bean’s explosive Pitcairn, a war of ideas and cultures emerged on the remote island chosen by Fletcher Christian and his fellow Bounty mutineers during times of revolutionary change in Europe. We were delighted to have shared our resources with the Royal Exchange, Manchester on The Last Days of Troy and with Chichester Festival Theatre and Out of Joint on Pitcairn. These, together with our collaborations with English Touring Theatre on Eternal Love and the Royal Opera House on L’Ormindo, made 2014 our strongest year yet for co-productions.

globe to globe at the globe Three foreign language companies were welcomed back to the Globe this year. From Mumbai, Theatre Arpana reprised their 2012 Globe to Globe production of All’s Well That Ends Well in Gujarati, introducing vibrant traditional music and dance and transferring the action from a French renaissance court to a mercantile community in early 20thcentury India. Deafinitely Theatre returned to the Globe, not with their 2012 Love’s Labour’s Lost, but an enchanting A Midsummer Night’s Dream in British Sign Language. Similarly, Rakatá, who presented an electrifying Henry VIII to the Globe from Madrid two years ago, this year brought Lope de Vega’s classic El Castigo sin Venganza (Punishment Without Revenge) our first staging of a play from Spain’s Golden Age, providing a rare chance for UK audiences to see one of Lope’s greatest plays.

14

Titus Andronicus

The Last Days of Troy

‘ Lucy Bailey’s blackly comical production is the best I’ve seen.’

‘ I know from personal experience that theatre can change your world…This story will always be relevant and will always hurt and will always have to be told as a reminder of the futility of war.’

Dominic Maxwell, The Times

‘ This is my first time performing at the Globe; I can’t believe I’m finally here, in the heart of it. In the heart of him, and that’s wonderful…it is an incredibly subtle space.’

Nick Bagnall, on directing The Last Days of Troy

Holy Warriors

William Houston on playing Titus Andronicus

‘ Beautifully pitched production of a coruscating ambitious play.’

Globe to Globe A Midsummer Night’s Dream

Ian Shuttleworth, Financial Times

‘ The performers convey the story with skill and a modern energy that makes it accessible for everyone and terribly funny.’

The Comedy of Errors ‘As enchanting as it is hilarious.’

Camilla Gurtler, A Younger Theatre

Paul Taylor, The Independent

Much Ado About Nothing

Doctor Scroggy’s War

‘ The week at the Globe was absolutely awesome…I will cherish that memory of the first night for the rest of my life. To play a part like Benedick in the place where it was (sort of) written, and to have an audience like that is just… it feels like surfing, when you’ve got that kind of crowd response, ready to listen and laugh, and really play with them… it’s an absolute joy.’

‘ One of the very finest of this year’s glut of First World War dramas.’ Fiona Mountford, Evening Standard

Simon Bubb on playing Benedick in the touring production

Antony and Cleopatra ‘ A fine production, which brings Shakespeare’s gorgeously written melodrama down to earth in the best sort of way.’ Time Out

Globe to Globe All’s Well That Ends Well ‘ Sunil Shanbag’s direction draws out some joyous moments from the action, offering plenty for nonGujarati speaking audiences.’ Catherine Love, What’s On Stage

Pitcairn

‘ This swift and impassioned revival by Dominic Dromgoole: it’s a perfect match of play to the venue.’

‘ I can’t stop thinking about it and it expands in my mind… A heroically lucid and hard-edged production.’

The Stage

Paul Taylor, The Independent

Julius Caesar

15


Bitola, Republic of Macedonia

Belize

Mérida, Mexico

London, United Kingdom

beyond the globe

Santiago, Chile

Chicago, USA

globe to globe hamlet The Globe to Globe Hamlet tour opened at Shakespeare’s Globe on 23 April 2014, the 450th anniversary of Shakespeare’s birth. This completely unprecedented theatrical adventure will see Hamlet tour to every single country on earth over two years. Sixteen extraordinary men and women are now travelling across the seven continents, performing in a huge range of unique and atmospheric venues. In 2014, it was performed to audiences in Wittenberg, Hamlet’s university town, in Tromsø within the Arctic Circle, in Moscow, through the Baltics, in Kiev on the eve of their elections to an audience including Vladimir Klitschko and Pietro Poroshenko, at the United Nations Head Quarters in New York, at the oldest theatre in Central America, the majestic Teatro Nacional de El Salvador, outside on the banks of the St Lawrence River in Canada, in the shadow of Mexico’s Yucatán Cathedral, built a year before Hamlet was written, at a beautiful marina in Antigua & Barbuda, on a mountainside in Guatemala, in St Kitts and Nevis, where the Hamlet company became the first international theatre group to perform on the island, in Poland, where the company was invited to open the Gdansk Shakespeare Theatre, outdoors for free in Chilean parks, in Argentina, which marked the 100th show, and across majestic national theatres throughout South America. By 31 October 2014, 89 performances of the Globe to Globe Hamlet had been performed in 54 countries to an estimated audience of 54,000 people. It has toured across all of the Americas and most of Europe travelling over 71,158 miles so far. Over a quarter of the two-year tour is now complete. In October 2014 UNESCO patronage was granted to Globe to Globe Hamlet, in recognition of the tour’s engagement with local communities and its promotion of cultural education. In January 2015 Shakespeare’s Globe won the The Stage’s 2015 International Award. 16

United Nations New York, USA

89

performances

62 countries unesco patronage

winner

The Stage 2015 International Award

Tallin, Estonia

‘Globe to Globe Hamlet was created with the aim of performing Hamlet to as many people as possible, in as diverse a range of places as possible. The central principle of the tour is that Shakespeare can entertain and speak to anyone, no matter where they are on earth; and that no country or people are not better off for the lively presence of Hamlet.’ Dominic Dromgoole

17


36

venues across the UK & Europe

138 performances 141 performances in New York

co-winner

Renee Stepham Award for Best Presentation of Touring Theatre

winner

Two Tony Awards & Two Drama Desk Awards for Twelfth Night

18

other touring productions

on screen

Our small-scale productions of Much Ado About Nothing and King Lear (both of which also appeared at the Globe), played at 36 venues throughout the UK and Europe, presenting 138 performances and drawing audiences of approximately 23,000.

Access to Globe productions has been widened in recent years with the distribution of filmed performances. This year, we extended that access further with cinema screenings in eight countries – UK, USA, Canada, Hungary, Ireland, Norway, Russia and Germany. In all, there were approximately 1,125 screenings of Globe productions on 372 screens, playing to an estimated audience of 42,000.

In addition, we produced a revival of our captivating 2013 A Midsummer Night’s Dream which, following appearances in two UK venues, toured to nine major theatres in China, Taiwan and Russia (where it featured as part of the bi-lateral UK-Russia Year of Culture). 2014 also saw revivals of our 2012 productions of Richard III and Twelfth Night at the Belasco Theatre on Broadway, co-produced with Sonia Friedman Productions. The productions garnered five Tony nominations and two Tony awards (Best Performance by an Actor in a Featured Role in a Play – for Mark Rylance’s Olivia; and Best Costume Designs for a Play – for Jenny Tiramani’s Twelfth Night) and three Drama Desk nominations and two Drama Desk awards (Best Revival of a Play – for Twelfth Night; and Best Director – for Tim Carroll’s Twelfth Night). There were 141 performances in New York, playing to a combined audience of 148,000. But touring was not limited to Shakespeare. We were thrilled to co-produce Eternal Love with English Touring Theatre, a revival of Howard Brenton’s play (formerly titled In Extremis) telling the powerful story of the relationship between Eloise and Abelard, which premiered at the Globe back in 2006. We were delighted to be co-winners with Sadler’s Wells of The Renee Stepham Award for Best Presentation of Touring Theatre in the 2014 UK Theatre Awards. And at the time of writing, the performance of King Lear at the Folger Shakespeare Library in Washington DC has been nominated for four Helen Hayes Awards (one of the most prestigious cultural honours in the USA), including Outstanding Performer in a Visiting Production (for Joseph Marcell’s Lear) and Outstanding Visiting Production.

We were also well represented on the small screen this year. In May, BBC 4 broadcast a recording of The Duchess of Malfi in the Sam Wanamaker Playhouse, presented by Andrew Marr. Filmed productions from previous years continue to sell well on DVD and a variety of digital platforms are now showing our work, including Digital Theatre. Four of the productions in this year’s Arms and the Man season at the Globe were filmed for DVD release: Antony and Cleopatra, Julius Caesar, The Comedy of Errors and Titus Andronicus.

globe player Just after the close of this financial year we launched the online Globe Player, an on-demand high definition video platform offering access to a back catalogue of over 50 productions, in addition to several hours of free interview content with some of the major figures in British theatre. We believe this to be the first of its kind in the theatre world.

19


what they said Richard III and Twelfth Night on Broadway ‘ These productions are suffused with that most fundamental of Shakespearean virtues, faith. The performers here trust wholly in Shakespeare’s words and in the ability of the audience to understand them.’ Ben Brantley, New York Times

Globe on Screen ‘ Globe on Screen is a pioneering innovation from The Globe… This gives people who don’t entirely enjoy the theatre a chance to experience some truly excellent Shakespeare, while it also gives people who enjoyed certain productions the chance to relive the action… and give a unique glimpse into one of the most innovative theatres in the world.’ Siobhan Whitebread, The Spark Newspaper

‘ This beautifully-directed production…The camera-work was superb… these filmed productions frequently take the play where no productions of this calibre have ever gone before; the detail and voice work is superb and you find yourself immersed from the moment the lights dim.’ Richard Edmonds, Birmingham Post

‘ His cinematic version of Twelfth Night has all the feeling and intimacy of a night at the theatre.’ Yuppeemag.com

Globe Player ‘ Unlike plays released in cinemas or on DVD, the Shakespeare-on-demand service is designed for smartphones and tablets so that viewers can become theatregoers on the move, rather than sitting in front of a desktop computer.’ Sam Malvern, The Times

20

beyond the globe Productions in the UK (in italics) and around the globe.

Alnwick, Northumberland Riga, Latvia Gyula, Hungary Amsterdam, Holland Roseau, Dominica Hangzhou, China Antigua, Guatemala Havana, Cuba San Jose, Costa Rica Arcata, USA San Luis, USA Herstmonceux, East Sussex Arnos Vale, San Salvador, El Salvador Hong Kong St Vincent & the Grenadines Santa Fe, USA Indija, Serbia Art Carnuntum, Austria Santa Monica, USA Kaohsiung, Taiwan Astana, Kazakhstan Santa Barbara, USA Kiev, Ukraine Aylesbury, Buckinghamshire Santo Domingo, Dominican Republic Kilkenny, Ireland Beijing, China St George, Grenada Kingston, Jamaica Belgrade, Serbia St Petersburg, Russia Kingston, Surrey Belize City, Belize Salisbury, Wiltshire Malvern, Worcestershire Bitola, Macedonia Managua, Nicaragua Sarajevo, Bosnia-Herzogovina Blackpool, Lancashire Seattle, USA Margate, Kent Blackwell, County Durham Shanghai, China Merida, Mexico Boston, USA Singapore Middle Temple Hall, London Bratislava, Slovakia Minsk, Belarus Skopje, Macedonia Bremen, Germany Taipei, Taiwan Moscow, Russia Bridgetown, Barbados Moscow, Russia Talinn, Estonia Brighton, East Sussex Tartu, Estonia Napa Valley, USA Brighton, East Sussex Tirana, Albania Nassau, Bahamas Brougham Hall, Penrith, Cumbria Tromsø, Norway Neuss, Germany Bucharest, Romania Truro, Cornwall New York, USA Budapest, Hungary Turku, Finland New York (United Nations), USA Bury St Edmunds, Suffolk Valetta, Malta New York Calderstones, Liverpool (Belasco Theatre, Broadway) Varna, Bulgaria Cambridge, Cambridgeshire Newby Hall, Ripon, Yorkshire Vilnius, Lithuania Cambridge, Cambridgeshire Norwich, Norfolk Washington DC, USA Canterbury, Kent Osborne House, East Cowes, Washington DC, USA Castle Hedingham, Hedingham Essex Isle of Wight Wittenberg, Germany Charlestown, St Kitts & Nevis Oxford, Oxfordshire Wolverhampton, West Midlands Chicago, USA Panama City, Panama Worcester Three Choirs, Chisinau, Moldova Paramaribo, Suriname Worcestershire Copán, Honduras Parham House, Pulborough, Worthing, West Sussex Craiova, Romania West Sussex Yekaterinburg, Russia Curium, Cyprus Philadelphia, USA Ystad, Sweden Darlington, County Durham Podgorica, Montenegro Zagreb, Croatia Doddington Hall, Lincolnshire Port au Prince, Haiti Dumfries, Dumfries & Galloway Port of Spain, Trinidad & Tobago Much Ado About Nothing Edinburgh, Lothian Portsmouth, Hampshire A Midsummer Night’s Dream Elsinore, Denmark Prague, Czech Republic King Lear English Harbour, Antigua & Barbuda Prescott, Canada Gdansk, Poland Prishtina, Kosovo Hamlet Eternal Love Georgetown, Guyana Pskov, Russia (co-produced with English Touring Theatre) Gros Islet, St Lucia Reykjavik, Iceland Twelfth Night and Richard III Guangzhou, China Richmond, Yorkshire (co-produced with Sonia Friedman Productions) 21


education inspiring young people

Transition Projects

2014 was an exceptionally busy and successful 25th anniversary year for Globe Education, in which its founder, Patrick Spottiswoode, celebrated 30 years at Shakespeare’s Globe. Lively Action Workshops Globe Education provided a range of lively and imaginative workshops on the Globe site for over 93,000 students aged six to 18 from the UK and abroad. Demand for our work increases annually and to support the growth of learning projects we increased our pool of Globe Education Practitioners from 59 to 70. 14 learning consultants now train and mentor the practitioners. Playing Shakespeare with Deutsche Bank In 2014 we celebrated the ninth year of Playing Shakespeare with Deutsche Bank, Globe Education’s flagship project for London schools. This year we created a brilliantly accessible production of The Merchant of Venice and over 15,500 students from 166 London secondary schools received free tickets. In addition, over 4,000 members of the general public received free tickets for Saturday performances and 3,500 students bought subsidised tickets. As always, the performances were supported by schools’ workshops and an interactive website exploring language, characters, a week-by-week report on preparing the play for the stage, interviews with the creative team and teachers’ notes. This year over 100 teachers took part in Continuing Professional Development (CPD) classes on the play as part of the project. Work with Teachers In addition to the work with teachers for Playing Shakespeare with Deutsche Bank we were delighted to launch an exciting new partnership with the National Union of Teachers offering CPD sessions for teachers in a number of venues across the UK.

93,000

Lively Action students

70

Globe Education Practitioners

15,500

free tickets for students from

166

London secondary schools

This year we developed two projects designed to help children manage some of the challenging transitions in their school careers. At two primary and two secondary schools in Hackney we created Dare to Play!, a programme of drama and storytelling workshops aimed at building bridges between the two school levels and engaging pupils in English and Drama. In Newham we worked with two infant and two primary schools, using performance and storytelling to ease the transition from Key Stage 1 to Key Stage 2, encouraging friendships, introducing the new school environment and developing self-esteem, confidence, language and social skills. Storytelling For younger children, stories told or heard can help them understand the world in which they live and allow them to transmit that understanding to others. The Children as Storytellers project, supported by the John Lyons Charity, delivered workshops to children at seven London primary schools. Pupils were also offered an off-site storytelling session or a performance in the Sam Wanamaker Playhouse. We also offered Lively Action Storytelling sessions to children at Key Stages 1 and 2, introducing them to the enduring stories which lie at the heart of some of Shakespeare’s greatest plays. Created to complement the requirements of the English National Curriculum, these sessions aim to help pupils learn how to tell their own stories, orally and in their writing. Work in Southwark The ‘Seven Ages of Man’ speech from As You Like It provided the theme for the 18th annual Our Theatre production on the Globe stage in February. Over 130 secondary students from Southwark paid tribute to the 450th anniversary of their local playwright’s birth in an ensemble performance on the Globe stage entitled Seven Ages of Shakespeare. The project has been generously supported since its inception by PwC and over 5,200 children have taken part to date. We also hosted our annual Concert for Winter, a seasonal celebration of the Southwark community through music and song. Adult groups were joined by local nursery, primary and secondary schools, colleges, and schools for students with special educational needs to perform a festive concert on the Globe stage.

22

23


Online Interactivity is key to the success of Globe Education’s digital programmes, which we developed throughout the year and whose excellence was recognised with several major industry awards. We were thrilled to launch Exploring Shakespeare, an interactive film taking younger students on an imaginative tour of the Globe and through some of Shakespeare’s most accessible plays. The film attracted approximately 7,000 views in its first six months with an average dwell-time of five-and-a-half minutes. Exploring Shakespeare was a finalist in the ‘Not-for-Profit/Charity Website, App or Campaign’ category of the 2014 Drum Awards for the Digital Industries (Dadi). We also launched Staging It, a brand new interactive film maker, allowing the user to understand Shakespeare’s text from a director’s point of view and stage a scene virtually at the Globe. Staging It was nominated in the Education category of the British Interactive Media Awards. The digital component of the Playing Shakespeare with Deutsche Bank project is now well established. This year’s site exploring The Merchant of Venice (mentioned above) was a finalist in two categories in this year’s Japan Prize: The President of NHK Prize (for an excellent work that encourages mutual understanding among nations and races or contributes to cultural exchange) and the The Minister of Foreign Affairs Prize (for the best work in the youth category). Special mention should be made of the now very popular Globe Playground, which received 140,000 views and brought us three major awards, winning ‘Best in Industry’ from the New Media Awards, and winning both ‘Education Standard of Excellence’ and ‘Non-Profit Standard of Excellence’ in the Web Marketing Association Awards. In the course of the year our digital work attracted close to 1.3 million page views (up 20% on 2013).

learning for all A New Venue for Learning The opening of the Sam Wanamaker Playhouse in January 2014 has enriched all areas of Globe Education’s work. In the course of the year, the Playhouse hosted a new storytelling programme of Shakespeare’s plays for over 300 five-to-ten-year-olds, three new summer schools for teenagers, and a series of courses for teachers from Hong Kong, Germany and the USA. In all, over 600 participants enjoyed classes or gave performances in the Playhouse. In the field of research, Globe Education’s first Post-doctoral Research Fellow led workshops with theatre practitioners, scholars and members of the public to explore some of the fascinating aspects of staging early modern plays in a candlelit indoor playhouse. The Playhouse was also the venue for the return of our experiments in the ‘original pronunciation’ of Shakespeare with David and Ben Crystal, which included a staged reading of Macbeth. 2014 was indeed a record year for our ongoing Read Not Dead series of staged readings of early modern drama: over 3,000 members of the general public attended readings in the course of the year, due in no small part to their wonderful new candlelit venue. Globe Education also hosted the scintillating production of John Lyly’s Galatea by boys from King Edward VI School, Stratford upon Avon, in the Playhouse.

24

25


3,000

over people enjoyed staged readings

12,000 attended over 160 over

public events

courses for over

1,300

graduates and undergraduates

26

Other Public Events

University Courses & Visits

Globe Education celebrated the 450th anniversary of Shakespeare’s birth with a series of lectures given by leading international Shakespeare scholars: Professor Jonathan Bate CBE (University of Oxford), Professor James Shapiro (Columbia University), Professor Lisa Jardine CBE (University College London) and Professor Stanley Wells CBE (Shakespeare Birthplace Trust). These attracted 800 members of the general public.

Some 1,000 undergraduates and 329 graduates took courses at Shakespeare’s Globe during the year. These included Bachelor of Fine Arts students from Rutgers University and students on the King’s College London/ Globe MA in Shakespeare Text and Performance.

This year also saw the second performance of Muse of Fire, our awardwinning interactive family show. And mention should also be made of the performance at the Globe in July of Hamlet by the Combat Veteran Players, a drama group (supported by Stoll). The players are all military veterans who are overcoming, or have overcome, mild to severe mental trauma following military service.

Summer Courses

In the course of the year over 160 events – including readings, lectures, workshops and seminars complementing productions in the Globe and the Sam Wanamaker Playhouse – were created by Globe Education and attended by over 12,000 members of the general public. Those delivering lectures constituted a roll-call of some of the leading lights in the study of Shakespeare, and included Professors Tony Howard (University of Warwick), Andrew Hadfield (University of Sussex), David Scott Kastan (Yale University), Ann Thompson (King’s College London), Michael Cordner (University of York), Michael Dobson (Shakespeare Institute), Laurie Maguire (University of Oxford) and Lois Potter (University of Delaware).

Two Globe Education Practitioners visited Shenyang University to advise on a Beijing Opera-style production of Othello which was being staged in English for the first time.

In addition, we offered an exciting range of short courses, lasting between one day and four weeks. These gave students the opportunity to work on the Globe stage, enjoy movement, voice and text masterclasses and undertake a practical exploration of the Globe’s unique relationship between actor and audience. This year, our partners included the English-Speaking Union of the United States, the Little Theatre Guild, the American Institute for Foreign Study, Washington University at St. Louis and Shakespeare Globe Centre, New Zealand. The Sam Wanamaker Festival This year, the Sam Wanamaker Festival brought together students from every accredited UK drama school for a weekend of workshops and masterclasses culminating in a performance of scenes by Shakespeare and his contemporaries on the Globe stage. The festival is now a well-established springboard for aspiring actors and several participants have begun their professional careers on the Globe stage. Parliamentary Visits We were delighted to receive two official parliamentary visits this year. In December 2013, we welcomed Elizabeth Truss, the then Parliamentary Under-Secretary of State for Education, showing her Globe Education’s approach in action followed by discussions with Globe Education Director, Patrick Spottiswoode and the Head of Learning, Georghia Ellinas. Later, in March 2014, Fiona Mactaggart MP spent time with Globe Education on an Industry and Parliament Trust Fellowship. 27


what they said Lively Action

Playing Shakespeare with Deutsche Bank

‘ The Globe extols the virtues of rehearsal based approaches to Shakespeare – the need to teach Shakespeare actively, creatively. This is an effective, ‘works anywhere’ way of quickly getting into a scene.’

‘ Every time I have attended Playing Shakespeare with Deutsche Bank at the Globe I have never failed to come away inspired and full of ideas to help open up the language and world of Shakespeare to my students… It really is a remarkable and valuable experience for all involved.’

The Guardian

‘ Growing numbers of pupils are getting a taste of Shakespeare through the Globe. About 120,000 pupils are expected to take advantage of the live workshops.’

Read Not Dead ‘ Open, honest, and fun from the start. As soon as you see it, you like it.’ Huffington Post

‘ A beautiful and literate reclamation of a masterpiece of the early modern stage, more complex and involved than the vast majority of fully realised productions I’ve seen lately, and hysterically funny to boot.’ Dr Peter Kirwan, The Bardathon (University of Nottingham)

Natalie Jim, Drama Curriculum Leader, Sarah Bonnell School

‘It’s Shakespeare, but not as we know it!’

Richard Garner, The Independent

Richard Garner, The Independent

‘ The Globe is a wonderful resource for anyone who cares about Shakespeare, the master of Britain’s greatest asset, our language. It was exciting to see the enthusiasm of young people, scholars and performers for this unique centre and to learn about their ambitious plans for the future.’

‘ When Shylock is ordered to “become a Christian”, schoolchildren in the audience … gasp with shock and sympathy for the Jewish moneylender. Such a reaction – uncommon among adult audiences – demonstrates the artistic and educational value of encouraging thousands of 11 to 16 year olds to attend stripped-down Shakespeare performances.’

Fiona Mactaggart MP

‘ This is Shakespeare learning at its best, with students excited, engaged, and definitely creative.’ Sarah Lambie, Teaching Drama

Muse of Fire ‘ It’s entertaining, funny, clever and informative. This is theatre for young audiences at its innovative best and not even remotely patronising. Everyone had fun and everyone learned loads.’ Susan Elkin, The Stage

‘ The best theatre experience ever! So exciting and brilliantly done – amazing.’ Emily Drabble, The Guardian

‘ A theatrical experience like nothing you’ve seen before… My youngest (nearly seven) was transfixed… a marvellous and innovative introduction to Shakespeare and the Globe. I look forward to seeing more such high calibre productions.’ Ealing Today

‘ One of the best kids’ activities in London … exceeded expectations and kept my kids incredibly entertained the whole time.’ Edie Lush, Hub Culture / The Week

Andrew Hill, Financial Times

‘ Selecting The Merchant of Venice for a school performance was a bold step for the Globe, yet the ensuing production has managed to engage young audiences and bring one of Shakespeare’s lesserknown and lesser-studied plays to life.’ Blog, Times Educational Supplement

‘ A fabulously vibrant The Merchant of Venice at which the totally engaged young audience members gasped aloud in horror at the enforcement of Christianity on Shylock. And no one noticed the “difficult” language.’ Susan Elkin, The Stage

‘ In 2014, [Playing Shakespeare with Deutsche Bank] workshops were held in 39 schools and about 2,500 students participated in them. This in itself constitutes a large-scale intervention in curriculum and pedagogy.’ Institute of Education Evaluation

‘ It is difficult to quantify arts’ impact but it is clearly demonstrated in real world outcomes, in the grades of students who have been involved in Playing Shakespeare with Deutsche Bank. The effect is palpable in their essays.’ Morgan Melhuish, Southborough High School

28

29


30

31


‘ This experience definitely made me want to study more Shakespeare plays and see more plays performed.’ Marion, year 10 student

‘ I really enjoyed the workshops with the actor from the Globe because it was really active and fun. It helped me to understand the language a bit more.’ Nicole, year 10 student

‘ My favourite thing was that I learnt something new – it made me more confident in drama lessons and actually performing Shakespeare myself. I did not really like Shakespeare that much but I enjoyed it more after the workshop and going to watch The Merchant of Venice at the Globe.’ Sumiya, year 10 student

‘ This is how Shakespeare should be played. 400 years ago the audience would have been as vocal as these school kids, and I wish every audience was the same. Their input helps to drive the story on.’ Bethan Cullinane on playing Jessica in The Merchant of Venice

‘ The best part of performing at the Globe is that it allows you to involve the audience, make them feel like they are part of the action… The audience is another member of the company. We bring the audience into the storytelling…the actors do not keep their conversations between themselves; they share with the audience – asking them to help out.’ Bill Buckhurst on directing The Merchant of Venice

Our Theatre ‘ To actually see my students perform on the Globe stage was one of my personal teaching highlights. I was so proud of their dedication and professionalism. I know this will be a lifetime memory for all involved.’ Susan Wilson, St Saviour’s & St Olave’s School, Southwark

‘ Our Theatre was a fantastic event that inspired students and staff alike. The whole project helped to give my students much-needed confidence. It encouraged them to verbalise more and with greater clarity, and it was a wholly inclusive experience that catered for all groups equally.’

Concert for Winter

The Sam Wanamaker Festival

The Sam Wanamaker Playhouse

‘ We love taking part in this project. We are in the same community as the Globe and there are huge benefits for our older people, who might not otherwise get a chance to see or take part in a project like this.’

‘ To have the opportunity to perform at the Globe is unbelievable. I could not think of a more inspiring and exciting way to start my acting career.’

‘ The Sam Wanamaker Playhouse … is a catalyst for a lot more learning, education and training.’

Tina Johnston, The Blackfriars Nightingales

‘ It’s really exciting that we can bring together the children’s curriculum work with a creative performance project. It helps to engage and enthuse the children.’ Jemima Rhys-Evans, Charles Dickens Primary School, Southwark

‘ The children remember their experience. After performing on the world famous Globe stage there is a tangible difference in their confidence in speaking, performing and how they present themselves.’ Pauline Poole, Michael Faraday Primary School, Southwark

Hackney Transition Project: Dare to Play! ‘ I am very pleased we have been able to take part in Dare to Play! and grateful to Globe Education for all their energy and expertise. It is an important project. The difference in those incoming first year students who have been involved in is highly notable.’

Rachel Kilpatrick, Manchester School of Theatre

‘ Coming from the background that I’m from, which is quite a rough one, I never imagined that I’d be given the chance to stand on one of the most famous stages in the world – speaking verse. To say I’m beside myself would be an understatement.’ Nakay Kpaka, Drama Centre London

Children as Storytellers ‘ The Children as Storytellers project, supported by the Nomura Charitable Trust, includes Continuing Professional Development and has enabled our teachers to feel confident using Shakespeare’s stories as tools to encourage children to explore and make their own decisions about what right and wrong mean.’ Karan Kelleher, John Donne Primary School, Peckham

Digital ‘ The Globe Playground… is ideal for helping parents to foster an interest in Shakespeare in their children.’

Juliet Cook, Stoke Newington School

Richard Garner, The Independent

‘ Dare To Play! has been a resounding success. Our Hackney students loved the Globe’s dynamic workshops where actors have invited them to play with Shakespeare’s language and perform key lines.’

‘ Regular Story Days sessions bring Shakespeare’s words to life, and there’s more fun to be had with the Globe Playground, the new online play-area for kids.’

Sophie Holdforth, Hackney Learning Trust

‘ [Staging It] offers [students] an insight into the way a professional theatre company works.’

Continuing Professional Development ‘ As a teacher I have benefitted hugely from taking part in this project. …I will continue to use the techniques that I have been introduced to within my teaching and will certainly be sharing my successes of introducing young children to Shakespeare with other teachers and colleagues.’ Zara Smallwood, Robinsfield Infant School

Susan Elkin, The Stage

Original Pronunciation ‘ I listened differently, as if experiencing the play for the first time. Mostly, audience members seemed to attest to finding the play newly comprehensible.’ Eoin Price, University of Birmingham

‘ I took my niece to see Macbeth in Original Pronounciation: it was, she said, the first time she had fully understood a Shakespeare play on stage. Actors report a groundedness, a feeling that the thoughts are coming from the gut, rather than the head.’ Sarah Lambie, Teaching Drama

Research ‘ Shakespeare’s Globe … is a kind of living laboratory, with its own team of in-house scholars, researchers and academic advisers.’ Sean Coughlan, BBC News Education Correspondent

‘ Scholars have been asking such questions for decades. Although we may never have definitive answers, research at London’s Globe Theatre is providing important new approaches and insights.’ Matthew Reisz, Times Higher Education

Katie Wood, Sunday Post

Adi Bloom, Times Educational Supplement

‘ [Staging It] stops kids thinking of characters as stereotypes and makes them think of them as real people, with real dilemmas and purposes.’ Mick Connell, National Association for the Teaching of English

‘ Staging It brings alive the experience of directing for Key Stage 3 and 4 students.’ Lesley Finlay, Ink Pellet

Jayesh Parmar, Tuke School, a special educational needs school in Peckham

32

33


supporting ourselves Shakespeare is one of the most important factors in attracting tourists to the UK. In a British Council survey of five countries – Brazil, China, Germany, India and USA – groups of 18-to-30-year-olds were asked to name a particular person associated with contemporary UK arts and culture. The result was conclusive: ‘By far the most frequently mentioned name was William Shakespeare.’ The numbers visiting the Globe in recent years clearly supports this, and we were pleased to join two other leading organisations who engage audiences with one of Britain’s biggest assets – the Shakespeare Birthplace Trust and the Royal Shakespeare Company – in submitting evidence to the Select Committee on Tourism for the Department of Culture, Media and Sport. Shakespeare’s Globe Exhibition & Tour

358,330

Exhibition visitors

2,666

demonstrations

309

tours of the new Sam Wanamaker Playhouse

We welcomed another record-breaking number of visitors to the Exhibition & Tour with 358,330 over the year. This attendance is particularly encouraging given that in 2013 the number of visitors increased by 50,000. This continuing strong performance has been achieved within the context of a positive London visitor economy and a closely focused sales and marketing strategy. In May 2014 we were thrilled to launch the first public tours of the Sam Wanamaker Playhouse. By the end of the financial year we provided over 1,000 visitors with a fascinating insight into its design, construction and operation. Demonstrations & Temporary Exhibitions In addition to updating our display on the development of the Playhouse, we complemented the permanent Exhibition with a varied programme of temporary exhibitions and engaging and informative live demonstrations. Altogether, 2,666 demonstrations of costume dressing, swordplay and renaissance printing were presented over the course of the year. Our temporary exhibitions included ‘Festival in Focus’, a continuation of a spectacular exhibition of photographs from the 2012 Globe to Globe Festival; a selection of works by Tom De Freston, examining the artist’s engagement with tragedy in literature; a display of etchings by Graham Clarke, including his series ‘The Life and Times of Mr William Shakespeare’ and an entertaining series of drawings and sketches of 18 years of past and present Globe performances by the award-winning illustrator Chris Duggan. Audioguides This year we added Russian and Mandarin to the choice of audioguide languages we offer, making a total of eight languages. The audioguide contents have also been updated, keeping abreast of developments in the Sam Wanamaker Playhouse.

34

35


Retail We were encouraged to see the average transaction values in the shop continue to grow over the course of the year and it is heartening to report that streamlining our range of books has raised rather than lowered the percentage of revenue from book sales. Online trade was also brisk this year. This year’s very ambitious revenue target was exceeded and sales increased over last year’s by some 30%. This impressive performance was largely driven by sales of our growing range of DVDs of past Globe productions. We have continued to expand our merchandise range with more themed products linked to the seasons in the Globe and now the Sam Wanamaker Playhouse, whilst maintaining our commitment to providing high quality but good value merchandise which is exclusive to Shakespeare’s Globe.

Catering & Hospitality Both our public catering and private and corporate hospitality, managed by Swan at the Globe, performed well this year. We improved the range and quality of our catering services to theatre patrons and exhibition visitors as well as to those customers for whom our restaurant and bar are destinations in themselves. The most visible improvement made this year was the complete redesign of the main bar, which was undertaken with minimal disruption to customers. The result is a more comfortable space for dining and drinking and a far more efficient space in which to work and serve our growing number of patrons. In addition to improving the bar, we have made major alterations to the restaurant and created a range of dining areas which each offer a distinct dining experience. Less evident, but underpinning both of these, have been the important improvements made to the infrastructure and back-of-house facilities. This has raised the quality of both food and service in the bar and restaurant. Over the year we have welcomed over 56,000 patrons to the restaurant and over 350,000 transactions have been undertaken in the bar and other catering facilities. We also redesigned the Balcony Room and greatly improved its audio-visual equipment, creating a greatly enhanced, more flexible space for private and corporate events. Enquiries about event bookings increased by over 25% following increased marketing activity and relationship-building. Throughout the year Swan at the Globe has managed over 250 private and corporate events, ranging from weddings to major awards ceremonies and the Bankside venue is now firmly established as a leading player in London’s hospitality market. 36

37


widening engagement

500

Over members in new Access Scheme

32,000

interact with the Globe via social media

2.5 million

website users – up

24%

Deaf and Disabled Access

Publishing

With the opening of the Sam Wanamaker Playhouse came an invitation to our Deaf and disabled patrons to join us in a new theatrical space and with the assistance of David Bonnett Associates we have made the auditorium and stage accessible to wheelchair users. Due to the design of the new Playhouse, open captioning (such as that used at the Globe) is not practicable. Instead, we have developed closed captioning on individual tablets for patrons who can benefit from text assistance.

In celebration of the opening of the Sam Wanamaker Playhouse, Cambridge University Press published Moving Shakespeare Indoors, a collection of essays edited by Andrew Gurr and Farah Karim-Cooper (the Globe’s past and present heads of research) exploring the reasons that prompted the move to indoor theatres and considering the effects that more intimate staging, lighting and music had on performance and repertory. We also continued the publication of our series of First Folio editions of Shakespeare, with Titus Andronicus, Antony and Cleopatra, Julius Caesar and The Comedy of Errors.

As reported earlier, Deafinitely Theatre returned to the Globe in June with a highly-acclaimed production of A Midsummer Night’s Dream in British Sign Language (BSL), while as part of our ongoing commitment to engage with the Deaf community, we have trained four Deaf Globe Education Practitioners, allowing us to lead tours and workshops in BSL, opening up Shakespeare’s world to Deaf students. In January 2014 we launched our Access Scheme in order that the individual requirements of our Deaf and disabled patrons could be better met. It now has over 500 members.

In the course of the year, we published 21 informative 56-page theatre programmes for productions in the Globe, the Sam Wanamaker Playhouse and on tour, most including an average of six generously illustrated articles from many of the top names in current Shakespeare scholarship, providing a critical and historical background to each play. We also published 29 shorter programmes in support of concerts and special events in the new Playhouse. Approximately 100,000 programmes were sold. In 2014 our membership magazine, Around the Globe, reached its 18th year of publication. In addition to anticipating and reflecting upon productions in the Globe and the new Playhouse, the magazine continues to publish on more general aspects of Shakespeare, early modern theatre and Elizabethan and Jacobean culture.

This year, Shakespeare’s Globe also became one of the founding members of the Southwark Dementia Action Alliance, which aims to make Southwark a more welcoming and understanding environment for people living with dementia. Digital Work Digital engagement with our audience has grown significantly on the previous year. The Shakespeare’s Globe website recorded nearly four million hits (up nearly 500,000 on last year) and nearly two-and-a-half million users (up 24% on last year). Page views increased by over 66% and the average time spent on the site is now three minutes 45 seconds (an increase of 27% on 2013). The Globe’s popular and highly-regarded social media work goes from strength to strength. Nearly 320,000 users interacted with the Globe via Twitter and Facebook. We now have over 120,000 Facebook friends (up 42% on 2013), nearly 100,000 Twitter followers (up 52%) and an e-mail membership of 200,000 (up 31%).

38

39


new spaces The West Block Project In recent years, as this review has made clear, activity at the Globe has expanded enormously. With the opening of the new Playhouse our artistic programme now runs throughout the year. Our education work is constantly evolving and expanding into new areas. Every year more and more visitors come to visit the Globe site and enjoy tours of the theatres and the exhibition (a space which has remained largely unchanged for 15 years). And beyond these there remains the great unfinished component of Sam Wanamaker’s original vision for the Globe: the Library and Archive. In response to some of these needs and ambitions, and with the support of a feasibility study undertaken by the architects Allies and Morrison, we developed and clarified our plans for the transformation of the temporary buildings on or adjoining the western side of the Globe site over the course of the year. The project constitutes three equally important parts: firstly, a complete remodelling and reimagining of the current exhibition; secondly, a dedicated events space and suite of upgraded backstage facilities, including muchneeded workshops, wardrobes, dressing rooms and office spaces; and thirdly a library and archive with worldclass facilities for (in Sam Wanamaker’s words) ‘graduate studies and research in the work of Shakespeare and his contemporaries’. In July, the Trustees agreed the feasibility study and planning designs (RIBA Stage 1) and authorised the progression of these plans to RIBA Stage 2. As part of this work, the Trustees reviewed and endorsed concept designs in October, while an advisory group, chaired by Sir Brian Follett, also produced a report that provided Trustees with recommendations for the planned new Library. Teaching, Rehearsal & Café Spaces The pressure on our teaching and rehearsal spaces, however, cannot be entirely relieved by the development of the Globe site. We also recognize the need to make the most of some of the old buildings and new developments in and around Bankside, the historic heart of Elizabethan theatre. With this in mind, we furthered our plans to acquire accommodation immediately adjacent to our Sackler Studios which will house a purpose-built education workshop and public café. We expect to have acquired a long-term lease on this property by the end of February 2015, and we are confident that this additional space will be ready to use by the summer of 2016. We also identified within a scheme to redevelop 185 Park Street an opportunity to acquire 1,500 square metres of much-needed space for rehearsals, teaching and administration. We have opened discussions with the developer, Delancey. Both buildings are a short walk from the Globe site.

40

41


Summary of Financial Statement

HOW WE MADE It 2014

£145k 1%

2013

£76k 1% £1,991k 9%

HOW WE spent It 2014 Theatre, Exhibition & Education

£2,205k 11%

Other trading Partnership funds

£3,436k 16%

£3,482k 18%

Bank interest

£16,035k 74%

£93k 1%

2013

Fundraising costs

£1,728k 8%

£1,366k 8%

£2,472k 12%

£2,436k 13%

£875k 4%

£8,843k 42%

£1,387k 6%

£13,957k 70%

£114k 1%

Total income £19.789 million

Other trading costs

£1,115k 6%

Total expenditure £21.100 million

Year ended 31 October 2014

Year ended 31 October 2014

Income

expenditure

Marketing costs Facilities, property and other support costs

£4,875k 27%

Depreciation

Total expenditure £17.963 million

Year to 31 October 2014

Year to 31 October 2013

Year to 31 October 2014

Year to 31 October 2013

£000

£000

£000

£000

16,035

13,957

93

114

Other trading receipts

3,436

3,482

8,843

7,371

Partnership funds, including donations, legacies and other gifts

Theatre and Exhibition Admissions, Educational Services and Touring net income

1,991

2,205

Bank interest receivable

76

145

Total operating income

21,538

19,789

Fundraising Personnel (including theatre performers and education practioners) Primary purpose charitable trading expenditure (non-staff related)

5,702

4,875

Other trading

1,387

1,115

875

686

Facilities, property and other support

Marketing

2,427

2,391

Net depreciation

1,728

1,366

Governance Total operating expenditure

42

Primary purpose charitable trading expenditure (non-staff related)

£7,371k 41%

£686k 4%

£5,702k 27%

Total income £21.538 million

Personnel costs (including Theatre performers and Education practitioners)

45

45

21,100

17,963

43


operating surplus

Operating Surplus

Year to 31 October 2014

Year to 31 October 2013

£000

£000

438

1,826

Capital campaign funds received

479

1,873

Capital campaign costs

(79)

Net campaign funds received

400

1,873

Total surplus

838

3,699

Operating income comprises all income received during the year excluding funds received in respect of the Globe’s capital campaign, shown separately below; total incoming resources within the Globe’s statutory accounts include capital campaign income.

Balance Sheet

Fixed Assets

As at 31 October 2014

As at 31 October 2013

£000

£000

32,127

31,784

Current Assets

12,049

10,900

Creditors: amounts due within one year

(2,927)

(2,273)

9,122

8,627

Total Assets less current Liabilities

41,249

40,411

Total

41,249

40,411

As at 31 October 2014

As at 31 October 2013

£000

£000

Designated

31,382

30,517

Unrestricted

2,086

2,019

Restricted

7,611

7,705

41,079

40,241

170

170

41,249

40,411

Net Current Assets

Capital & reserves Accumulated Funds

Total Reserves Capital Redemption reserve Total

44

45


looking forward theatre

education

We look forward to delighting audiences with the Globe’s first 12-month theatre programme – the first full sixmonth Sam Wanamaker Playhouse winter season, running from October to April, followed by the Globe Theatre summer season, running from April to October and brought together under the theme of Justice and Mercy.

In the year ahead we will continue to extend the reach and impact of our work for students, teachers and the general public.

As well as ’Tis Pity She’s a Whore (already mentioned), the winter season in the Playhouse will comprise The Changeling written by Thomas Middleton and William Rowley and directed by Dominic Dromgoole; The Broken Heart written by John Ford and directed by Caroline Steinbeis; Dido, Queen of Carthage written by Christopher Marlowe and directed by Jacqui Somerville; two revivals from our inaugural season: The Knight of the Burning Pestle written by Francis Beaumont and directed by Adele Thomas and Cavalli’s L’Ormindo, a co-production with the Royal Opera House; and Farinelli and the King, a new play written by Claire van Kampen. We will also continue our year-round programme of candlelit events and concerts in the Playhouse. Our 2015 Globe Theatre Summer Season will include new productions of Shakespeare’s As You Like It directed by Blanche McIntyre, Measure for Measure directed by Dominic Dromgoole, The Merchant of Venice directed by Jonathan Munby and Richard II directed by Simon Godwin. To mark the 800th anniversary of Magna Carta, the season will open with King John, directed by James Dacre. This will be the first time this play has been presented at the Globe. Our commitment to contemporary writing will continue with two new plays for the summer: The Heresy of Love by Helen Edmundson and Nell Gwynne by Jessica Swale. And following the brilliant success of Simon Armitage’s Last Days of Troy in 2014, we will return to ancient Greece with a new adaptation of the Oresteia of Aeschylus. Beyond Bankside, our Globe to Globe Hamlet will continue its two-year journey visiting every country in the world; we will revive our 2014 small-scale touring production of Much Ado About Nothing and launch a new production of Romeo and Juliet.

At a national level, we will create an on-line Teachers’ Hub to support the teaching of Shakespeare following the implementation of the new curriculum. Also nationally, we look forward to developing our outreach offer for schools, with the support of a newly appointed National Outreach Manager. In the capital, we have plans to develop outreach projects for schools in several London boroughs, including the successful Children as Storytellers primary school project. Our Playing Shakespeare with Deutsche Bank production for 2015 will be Othello. Once again, free tickets to the production will be offered to every state secondary school in London and, for the first time, also in Birmingham. An additional week of performances will offer heavily subsidised tickets to all other schools. Four Saturday performances will provide free tickets for families and community groups. In all, a total of around 20,000 free tickets will be given away for the production. As always, we will offer accompanying workshops and web resources and Continuing Professional Development sessions for teachers. We are delighted that this production of Othello will also be complemented by a schools’ project at the Royal Courts of Justice. We look forward to making great use of the Sam Wanamaker Playhouse for all ages, for the first time presenting Globe Education’s annual Our Theatre production with Southwark Schools in the Playhouse. We will offer a new undergraduate module focusing on the repertory of the indoor theatre for undergraduates at Sussex University and a new MA module based on indoor theatre repertory for our joint MA with King’s College London. Our series of engaging Research in Action workshops will also continue in the Playhouse. We will seek Independent Research Organisation status for our research work. Our forthcoming seasons of public events will be created around the ideas of Shakespeare and Friendship and Shakespeare Inspired and will include lectures, seminars, an academic conference and a lively series of Read Not Dead staged readings both in the Sam Wanamaker Playhouse and in historic venues such as the Inns of Court. We are excited to be marking the anniversaries of Agincourt and the Magna Carta with a staged reading of Henry V in original pronunciation (following our staged reading of Macbeth in OP in 2014), a staged reading of the source play that inspired Shakespeare’s King John and a talk on King John by John Wolfson, the Globe’s Curator of Rare Books. Our family programmes will include a day focusing on Shakespeare and Puppets and storytelling performances of some of the classical and renaissance tales which inspired Shakespeare, notably from Ovid and Cinthio. We will also reignite The Muse of Fire, our award-winning immersive theatre piece for families, for a third year. We plan to make 2015 an important year for our increasingly important digital work. We will continue to develop digital resources to introduce children to the Globe and to Shakespeare and to support the teaching of the plays in schools in the English speaking world – including the digital development of the Globe Education Shakespeare Editions. We also plan to extend the video streaming of our public educational events and make some lectures accessible from our website. As always, we will seek alternative sources of funding to enable us to continue or develop our externally funded education projects.

46

47


Exhibition & Theatre Tour

new spaces

Opening up the Sam Wanamaker Playhouse to visitors was a priority for us in 2014 and we will continue to develop guided tours of the Playhouse by extending training to all our exhibition guides.

The West Block Project

Temporary exhibitions will continue throughout the year and we look forward to welcoming, amongst other things, a display of mezzotints depicting Shakespeare’s work, recently donated to the Globe Library and Archive by the estate of Charles Lennox Boyd and a bronze bust created by the sculptor Judy Methuen, based closely upon a putative portrait of Shakespeare from Hatchlands Park in Surrey. We will also be putting to good use some recently acquired showcases in the main foyer areas, displaying changing materials relating to Globe activities, beginning with a display of quarto editions of plays presented in the Sam Wanamaker Playhouse from the collection of John Wolfson.

The RIBA Stage 2 works will be reviewed by the Trustees in April 2015. This stage will include a concept design, proposals for structural design and building services, a supporting sustainability, maintenance and operational strategy and a budget and construction delivery plan. Alongside this we will put together a project business plan and funding strategy to support the capital costs.

We also plan to launch a new audio-guide designed specifically for our younger visitors.

Teaching, Rehearsal & Café Spaces

A New Exhibition

We expect to finalise our long leasehold on accommodation immediately adjacent to the Sackler Studios, providing a public café and education workshop space. We look forward to developing the building’s fit-out plans and obtaining the necessary planning and licence consents. We aim to open these new facilities in the summer of 2016.

But the most exciting work over the course of 2015 will be directed towards a new permanent Exhibition, in association with the redevelopment of the West Block. A huge amount has already been achieved in determining the themes and topics of the new Exhibition with Globe staff and partners, and the concept has now reached RIBA Stage 2. Over the coming year we look forward to working with a range of partners and cultural organisations to develop the Exhibition further and exploring its funding potential.

48

Our primary and most exciting developmental goal in 2015 and beyond will be to develop our plans for the transformation of the temporary buildings on the west side of the Globe site, providing a new purpose-built library and Archive, a new exhibition and events space, upgraded backstage facilities and additional office spaces.

We also expect to complete our negotiations on the lease of premises within 185 Park Street, for a scheme providing additional spaces for rehearsals, teaching and administration.

49


THANK YOU!

Our supporters Major Partners Deutsche Bank PwC

Official London Hotel Partner Grange Hotels

Media Partners Financial Times

Corporate Supporters BritishAmerican Business DMG Media Haddenham Healthcare Ltd Maviga International (Holdings) Ltd Sapphire Systems plc Spotlight UBS Wealth Management

In-kind Supporters Ford M.A.C. Cosmetics

Corporate Members Bates Wells & Braithwaite LLP Chubb Insurance Company of Europe IG Invensys plc SAGE Publications Sapphire Systems plc

Legacy Gifts Sheila Jones Michael P Shaneyfelt Shirley Skinner-Young

Trusts & Foundations Anonymous Trusts The Andor Trust Andrew Lloyd Webber Foundation The Boris Karloff Charitable Foundation The Boshier-Hinton Foundation The Brian Mitchell Charitable Settlement The Chear Foundation 50

John S Cohen Foundation Constance Travis Charitable Trust The Deborah Loeb Brice Foundation The Eranda Foundation The Eric Anker-Petersen Charitable Trust The Ernest Cook Trust Fidelio Charitable Trust The Fidelity UK Foundation The Foyle Foundation The Golden Bottle Trust Golsoncott Foundation The Harold Hyam Wingate Foundation The John Coates Charitable Trust The John Horseman Charitable Trust John Lyon’s Charity The Leche Trust The Linbury Trust The Loveday Charitable Trust Maecenas The Dr Mortimer & Theresa Sackler Foundation Newcomen Collett Foundation The Nomura Charitable Trust The Peter Harrison Foundation P F Charitable Trust St Olave’s & St Saviour’s Foundation Schroder Charity Trust United St Saviour’s Charity

Director’s Circle Bruce & Jane Carnegie-Brown Dr Martin Clarke André Hoffmann Mr Charles & Lady Iona Ind Beeban Kidron & Lee Hall Dina & Stephen Lucas Brian Mitchell Stuart & Hilary Williams Danny & Spinny Witter

Nobles Anonymous Supporter Jeffrey & Mary Archer Adrian Babbidge & Rosemary Ewles Justin Bickle Andrew Brown Emily Carding David Dutton & Mave Turner Robert & Sara Erith Linda Fish Deborah Fisher Mark & Julia Gardner Martin Gill Judith Harding Melissa & Justin Hill David & Eleanor Holloway Marion Jagodka Jessica Lee Michael McCabe

Glen & Cheryl Moreno Joan Payden Sir Michael & Lady Perry Patricia Ranken Micheline Dubois Dyrk & Margaret Riddell Susan Robinson Jonathan Ross Yann Samuelides Philippa Seal & Philip Jones QC Rosamund & Stephan Shakespeare Andrew Simmonds & Kathy Moyse Frederick Smith Dr David Speller Paul & Kimberley Stevens Brian Symons Robert & Olivia Temple John & Madeleine Tucker Harriet Tyce Toby Wallis Lucinda & Matthew Webber Andrew Witney

courtiers Anonymous Supporter Thomas Andrew Kirsty Anson Sir Nicholas & Lady Bacon David & Beverley Banks Gail Beer Dr Nick Benson Julie Black Miriam & Richard Borchard Mary Brennan Lord Browne of Madingley John Callaghan Mary Ellen Clarke Marcus Coles Neil Constable & Chris Martin Andrew Corbett-Nolan William & Sandra Davis Mary Jane Donaldson Tim Everett Ernest Hoover John & Pauline Hunter Maxine Isaacs Roderick & Elizabeth Jack Peter & Sarah King Clive & Julia Lampard Linda Leaver Michael Lebovitz & Ana Paludi Calvin & Patricia Linnemann Michael & Catherine Loubser Josephine & Andrew MacCormack Scott & Suling Mead Judith Meier Carlos Mendez de Vigo Brian & Sheila Morris Darren Newman Georgia Oetker Martin Payne & Trudy Lowe Lynn & Lionel Persey 51


Paul & Lisa Pillmore Adam Pollock & Allen Watkins Alison Reeve Michael Rich Colin & Brenda Soden Gail Wiegman Martin Williams Dr John Wright

and all our best friends Sam wanamaker playhouse major donors Anonymous The Chear Foundation Marcus Coles Fidelity UK Foundation The Foyle Foundation The Garfield Weston Foundation The Hoffmann Foundation Charles & Iona Ind The Linbury Trust Loveday Charitable Trust Sara Miller McCune Rutgers University The Dr. Mortimer and Theresa Sackler Foundation

Sam Wanamaker Playhouse Seat Donors Paul Abberley Paul Ackroyd Bruce & Ros Alexander Allies + Morrison Gemma Kate Allred & Paul Taker Anonymous Nicholas & Jennifer Antill Jane Appleby Walsh Sylvia Arkieson John & Grace Armfield Paisley Arnold Jennifer Ashworth Mr M S & Mrs C J Baker-Bates Dr Denis J Bartlett Oster Bayne Gail Beer Elizabeth Bell-Smith Catherine Berge The Berman / Arnold Family Catherine Birch Pat Bishop Maria Bjornson The Blair Family Robert & Anne Bogin Miriam Borchard Anita J Bott Ian Boulton Katie Bradford 52

Graham Bull & Penny Hooper Christopher & Stella Burgess Mary Butterworth John Michael Thomas Callaghan Simon Campbell-Jones Bruce & Jane Carnegie-Brown Patricia M Cass Will & Zarich Catlin-Hallett Randy Cepuch Dani, Edward & Camilla Charleson-Gallacher Michael & Claudia Claridge Judy Clark Bruce Cleave Terence & Claire Coghlin Marcus Coles The Conradie & Allen Families Nancy Cooper John Cooper Matthew Corrie Olga Dalton Suzanne H M Davies Owen Davies Barry & Lynne Day Paul & Laurie Deemer Dr Diana Devlin Hilary Devonshire Paddy Bowden Dickinson Paul Bruce Dickinson Barbara Dilworth Dena Domminney Pip Donaghy Jane Douglas Henry & Elizabeth Douglas Anne Marion Downie James & Diana Drife Micheline Dubois Ann Dunbar Celina Dunlop Ella Dunlop John Dunlop Zelda Dunlop Thomas D’Urfey Thomas Dyer Dr Peter & Laura Earnshaw Leo & Jeri Eaton Barbara E. Ellams Isabel Katherine Margaret Elmslie Robert & Sara Erith Gary Ernest Colin Joseph Fairman The Fischer Fund Andrew & Jane Fraser Anne Furneaux & William Morton George Gallaccio Gell Family Paul Gilhooley Judith Gollings India Honor Baillie Goodman Anita Marilyn Goodzeit Teresa Greener Charles & Margaret Greenidge Emma & Matthew Gregory

Michael & Jacqueline Grodner Jacqueline Grosch George & Audrey Guy, George & Nora Bichard Haddenham Healthcare Asia Haleem Peter J Hall Jane Hall & Winifred Taylor Rosie & Sally Harris Zoë Hewett Veronica Hickie Mark Hiddleston John Hignett Sam Hird Sue Hitching Theresa Hodges Rosalie Hoffmann André Hoffmann Alexander Hoffmann Frederic Hoffmann Isabel Hoffmann Henry Hoffmann Holloway Family Ernest Hoover Anthony Horowitz Jill Horowitz Moyra & John Horseman Jennifer Howells Lady Howes Christopher & Rebecca Hume Sally Hunt Geoffrey & Roz Hunter Florence & Georgia Hunter Hurtt-Lucas Family Caroline Hutchings & Jenny Cairns Wendy Huter Graham & Amanda Hutton Mike Inkson Kenneth Ironside Aki Isoda Daksha Jackson Stephen Jamieson Vanessa Jamieson Guy Jamieson John & Helen Jeffries Valerie Jelley Paul David Jenner Richard & Sue Jennings Albert Jones Alan Jones & Ashley Garrett Rus Kallan Antonia Kearney Valerie Kessel Peter & Sarah King Mrs Peggy King Capt. Cathal Kirwan Lesley Knight Christopher & Anne Konsta Carolyn Lambourne Clive & Julia Lampard Tom Langbridge Richard Lawson Dr Peter Lillywhite

The Linnemann Family John E Long Tim Macer & Alan Taylor G Peter Macon Robert J. Maddocks Susan Manford & Karen Kearney Martin Mannion Berry Mayall Sharon McCullough Ian McKenzie Úna McKevitt & Paul Umfreville Patricia McSweeney Judith & Donald Meier Luca Melchiorri Terribile & Andrew Ying MGMS Roger & Robin Millay Roger & Robin Millay Joanna Milstein & Bjorn Okholm Skaarup Pamela & Richard Mones The Richard A Mones Family Brian & Sheila Morris Henry Moss-Blundell Dr Michelle de la Mothe Andy Mydellton Ian & Claire Nabney Kristen Michelle Neander Elizabeth Newlands Amelia, Lady Northbrook Vince & Sally O’Brien Georgia Oetker Catherine Owen Paul Owen & Ian Nelson Jason Panagiotopoulos Roger Parry Joyce Parsons Robert, Gwynne & Roger Parsons Linda & Robin Paxton Martin Payne & Trudy Lowe Geoff Peace Prof. Gabriel Pearson Sir Michael & Lady Perry John Philip & Tashia Morgridge Mike & Anne Phillips Dr John Dale Phillips Mary Pinnell Terry Pipe Mary Pollard & Bryan Boreham Terry Pope Jane Price Bryony Purse The Rankin Frost Family Philip Rayner Dr Martin & Dr Marian Read His Honour Michael Rich Q.C. Aline Mary Robbins Susan Robinson Bernard Ross Ruth Rothenberg Anne Rowley Yann Samuelides Eileen & Michael Sanderson Kavita & Ravi Savur Jennifer Schofield

Bob & Susan Shannon Annie Christine Sharp Dan Shaw Sue Shearman Peter Shorey & Stephen Ley Jeremy Lewis Simons Fred B Smith Margaret Southam Ferrari Anna Spackman Linda Spanner Richard & Ann Speller Samantha Spence Merville Spiers Donald & Norma Stone R & R Sudlow (Nee Halcomb) Wilma Sweeney Tony Swinnerton Brian Symons Jonathan Taylor Winifred Taylor Jenny & William Templeton Liz Thearle Margaret Thomas Antony Thomlinson John & Pennie Thomson Kit van Tulleken Chris Uzelac X N C Villers David & Gilly Wadmore Hollie Wale Toby Wallis Charlotte Wanamaker Allan Watkins & Adam Pollock Angus & Chloe Watson David Michael Wederell Prof. Stanley Wells CBE Rebecca Wexler Irene Whitty Alan Williams Alan & Lyn Williams Sylvia Wilson Roger & Jennifer Wingate Danny Witter Emma Woodhouse Suzan Woods Nicholas, John & Christopher Wright Erica Zimmer & Peter Waller

Joseph Goffman & Dr Antonia Fondaras Charles & Jane Goldman Michael & Mercedes Hoffman Steve & Rosemarie Johnson Alan Jones & Ashley Garrett William & Serena Lese Roy & Jill Levien Claire & Christopher Mann Sara Miller McCune William & Susan Mirbach Greg & Lynne O’Brien Natalie Pray Daniel L Rabinowitz & Ann F Thomas Roy & Virginia Richards William Ryan Jon & NoraLee Sedmak Donald & Norma Stone Kristen & Michael Swenson Alice Wang Jack Watters Christie-Anne Weiss Jo Weiss Warren Whitaker Alan & Irene Wurtzel

Patrons of Shakespeare Globe Centre USA Ron & Cynthia Beck John & Carol Boochever David & Katherine Bradley Audre D Carlin Michael & Shelley Carr Gerald Cromack William & Sandra Davis William & Donna Eacho Christina & Alex Evans Amy Falls John Forlines III Beth Glynn 53


WHO’S WHO The Shakespeare Globe Council Lord Falconer of Thoroton Chairman Dr Diana Devlin Deputy Chairman Lyn Williams Convenor Mrs Gene Andersen Adrian Babbidge Lucy Bailey Merrick Baker-Bates CMG Robert Banks Keith Baxter Linda Beaney Lucy Beevor Henry Beltran Lord Birkett Christina Blair Lyle Blair Rudi Bogni Liz Brewer Tony Britton Robert Brooke Bill Bryden CBE Alan Butland Lord Butler of Brockwell GCB CVO Deborah Callan Audre D Carlin Jeremy Child Alan Cox Brian Cox CBE Kenneth Cranham Jonathan David Gordon Davidson Barry Day OBE Sir Evelyn de Rothschild Prof. Alan Dessen Tom Deveson Stephen Dingle Joe Dowling Mark Engelman Robert Erith Rosemary Ewles Paul Farnsworth Anton Franks Andrew Fraser Barbara Gaines Hon. OBE Peter Gill OBE Anne Gilmour Emma Gilpin-Jacobs Julian Glover 54

Charles Goldman Kenneth Grange CBE Jon Greenfield Prof. Andrew Gurr Daniel Hahn Jackie Haighton Patrick Haighton Sir Peter Hall Rosemary Harris Sue Harrison Sandra Hepburn Prof. Frank Hildy Valerie Hill-Archer Anastasia Hille Thelma Holt CBE Jeffrey Horowitz Rt. Hon. Lord Howell of Guildford Lady Clare Howes Graham Jackson Lennie James Jean Jayer Peter Jolly Michael Kahn Ken Kelling Peter Kent CMG Norbert Kentrup Alan King Geoffrey King Philip Kirkpatrick Nancy Knowles-Kolden Peter Kyle OBE Jane Lapotaire Robert Leaf Jerome Link OBE Christopher Luscombe John McEnery Prof. Gordon McMullan Joseph Marcell Valerie Mitchell Lady Belinda Morse Dominic Muldowney Maureen Murdock Philip Murphy Heather Neill Lady Rupert Nevill Yukio Ninagawa Richard Olivier Roger Parry CBE Sir Michael Perry GBE David Pickard Ian Plenderleith CBE Natalie Pray Prof. Richard Proudfoot Velma Pursehouse

Dr Martin P Read Nelson Skip Riddle Sue Robertson John Rodwell Anne Rowley Dawn Sanders ONZM, QSM Prunella Scales CBE Stuart Sessions MBE Barry Shaw Jack Shepherd Robert D Smith CMG Tom Stephens Jeanne Strickland Prof. Ann Thompson Jenny Tiramani Patrick Tucker Claire van Kampen Yolanda Vazquez Abby Wanamaker Zoë Wanamaker CBE Matthew Warchus Ann Ward Jo Maitland Weiss Prof. Stanley Wells CBE Martin Westwood Prof. Martin White John Whitney Spencer Wigley Michael Willcox Alan Williams Annie Wolfe Michael York CBE Franco Zeffirelli All current Trustees are also members of the Council.

The Shakespeare Globe Trust Shakespeare’s Globe is the vision of Sam Wanamaker CBE, 1919  – 1993 HRH The Prince Philip Patron Zoë Wanamaker CBE Honorary President Shakespeare’s Globe does not receive regular public subsidy. We rely on the support of individuals, corporations and trusts to realise our capital ambitions and maintain the excellence of our education and artistic programmes. The Friends and Patrons of the Globe are not just enthusiastic audience members and donors but also fantastic ambassadors for our work. We are proud to continue the Globe’s long association with the USA and fortunate to enjoy the support and advocacy of a number of transatlantic Patrons very ably aided by a board chaired by Jo Weiss. We are deeply indebted to all our supporters, who together enabled us to not merely reach but surpass our fundraising goal for the Sam Wanamaker Playhouse. Their huge generosity and goodwill gives us great confidence as we plan the next stage of our capital development: the creation of a new world-class exhibition, a suite of greatly enhanced rehearsal and education facilities and – the final piece of Sam Wanamaker’s vision for the Globe – a fitting home for our scholarly work. We are enormously grateful to all our supporters.

55


Executive Team

US Board

Neil Constable Chief Executive

Audre D Carlin Life President Jo Weiss Chair

Dominic Dromgoole Artistic Director

Gerald H Cromack II Treasurer

Liz Fosbury Chief Finance & Operations Officer

Barry Day OBE

Jim Dale MBE

Anthony Hewitt Director of Development

Peter Hilton

Patrick Spottiswoode Director, Globe Education

Peter Kent CMG

Mark Sullivan Commercial Director

Sara Miller McCune

Trustees

Alan Jones Joseph Marcell Roger Parry Natalie T Pray

Lord Falconer of Thoroton Chairman

Daniel L Rabinowitz

Lord Bichard of Nailsworth KCB Deputy Chairman

Tom Smedes

Danny Witter Treasurer Lord Blair of Boughton David Butter Bruce Carnegie-Brown

George B Stauffer Christie-Anne Weiss G Warren Whitaker Secretary Neil Constable Chief Executive

Dr Martin Clarke Neil Constable Chief Executive Iraj Ispahani Philip Kirkpatrick Prof. Laurie Maguire Dame Mary Richardson Dame Rachel de Souza Emma Stenning Jenny Topper OBE

56

57


OUR FULL ANNUAL REPORT & ACCOUNTS The summary financial statements in this review may not contain sufficient information to allow for a full understanding of the financial affairs of the charity. For further information, the full annual accounts and the auditor’s report on these accounts, the Trustees’ Annual Report and Accounts for the year ended 31 October 2014 should be consulted. These have been filed with the Charity Commission. You can obtain copies from the Chief Finance and Operating Officer, Shakespeare’s Globe, 21 New Globe Walk, London SE1 9DT The annual accounts were approved on 2 February 2015. The accounts have been audited by a qualified auditor, BDO LLP, who gave an audit opinion which was unqualified and did not include a statement required under section 237 (2) and (3) of the Companies Act 2006.

Lord Falconer of Thoroton Chairman for and on behalf of the Trustees, 2 February 2015 The Shakespeare Globe Trust, a limited company registered in England and Wales No.1152238 and registered charity No.266916. Shakespeare Globe Trading Limited, registered in England and Wales No.997433.

AUDITOR’S STATEMENT Independent Auditor’s statement to the Trustees of The Shakespeare Globe Trust We have examined the summary financial statement for the year ended 31 October 2014 set out on pages 42 to 44. Respective responsibilities of Trustees and Auditor The trustees are responsible for preparing the summary financial statement in accordance with applicable United Kingdom law. Our responsibility is to report to you our opinion on the consistency of the summary financial statement within the annual review with the full annual financial statements and the Trustees’ Report, and its compliance with the relevant requirements of section 427 of the Companies Act 2006 and the regulations made there under. We also read the other information contained in the Annual Review and consider the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the summary financial statement. Our report has been prepared pursuant to the requirements of the Companies Act 2006 and for no other purpose. No person is entitled to rely on this report unless such a person is a person entitled to rely upon this report by virtue of and for the purpose of the Companies Act 2006 or has been expressly authorised to do so by our prior written consent. Save as above, we do not accept responsibility for this report to any other person or for any other purpose and we hereby expressly disclaim any and all such liability.

Images by: Malú Ansaldo; Anne-Marie Bickerton; Holly Blaxhill; Marc Brenner; Gary Carlton; Stephen Cumminskey; Cesare De Giglio; Mark Douet; Manuel Harlan; Alex Harvey-Brown; Simon Kane; Liz Lauren; Pete Le May; Joan Marcus; Helena Miscoscia; Alistair Muir; Dean Nolan; Russ Rowland; Bronwen Sharp; Siim Vahur; John Wildgoose and Hannah Yates.

58

Basis of opinion We conducted our work in accordance with Bulletin 2008/3 ‘The auditors’ statement on summary financial statement in the United Kingdom’ issued by the Auditing Practices Board. Our report on the charity’s full annual financial statements describes the basis of our opinion on those financial statements and on the Trustees’ Report. Opinion In our opinion the summary financial statement is consistent with the full annual financial statements and the Trustees’ Report of the Shakespeare Globe Trust for the year ended 31 October 2014 and complies with the applicable requirements of section 427 of the Companies Act 2006, and the regulations made there under. We have not considered the effects of any events between the date on which we signed our report on the full annual financial statements 2 February 2015 and the date of this statement. BDO LLP, Statutory Auditor Gatwick United Kingdom Date: 2 February 2015 BDO LLP is a limited liability partnership registered in England and Wales (with registered number OC305127)

© The Shakespeare Globe Trust, 2015

59


shakespearesGlobe.com

60


Articles inside

Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.