Access Matters | February - August 2017

ACCESS MATTERS Welcome to our Summer 2017 Access Matters, where you can find out about our access provision and our forthcoming assisted performances.

In 2017, exactly 2000 years after the death of Roman poet Ovid, inspiration for Shakespeare and his contemporaries, we transport you to Shakespeare’s Rome. Angus Jackson previously directed Don Quixote (2016) at the RSC, and I’m delighted to welcome him as Rome Season Director for the Royal Shakespeare Theatre more from him below.

Snow in Midsummer is a contemporary reimagining of a Classical Chinese drama and will be the first production in our long-term cultural exchange with China. The Hypocrite is a hilarious new farce from Richard Bean (whose One Man, Two Guvnors went global) and is a co-production with Hull Truck Theatre as part of Hull UK City of Culture 2017.

The Rome influence also touches the Swan Theatre with Phil Porter’s hilarious recrafting of Plautus’s comedies, Vice Versa, and a beautiful, erotic tragedy in one act by Oscar Wilde, Salomé.

Beyond our work on stage, we continue to host a variety of events and exhibitions, as well as programmes for students and teachers throughout the year. Our first permanent exhibition, The Play’s The Thing, opens at the end of October and offers a fascinating, hands-on glimpse of RSC treasures and secrets. With RSC productions touring the UK, performing in London, showing in cinemas and travelling around the world, there is something for everyone as we head into 2017. I look forward to welcoming you soon.

As I prepare to bring the decadence of Shakespeare’s Rome to the Royal Shakespeare Theatre stage, the politics, power play and corruption seem more pertinent than ever before.

I will direct the tragic thrillers Julius Caesar and Coriolanus, and we track the decline of an empire through Antony & Cleopatra, directed by Iqbal Khan, and Titus Andronicus, directed by Blanche McIntyre.

This will be an extraordinary collaboration: the four plays will be connected by a shared space, share one designer – Robert Innes Hopkins – and trace a journey together through love, defiance, betrayal, duty and sacrifice.

Gregory Doran Artistic Director

Angus Jackson Season Director, Royal Shakespeare Theatre

www.rsc.org.uk/access

01789 403436

February – September 2017 Stratford-upon-Avon

Julius Caesar

Antony & Cleopatra

Royal Shakespeare Theatre 3 March – 9 September 2017

Royal Shakespeare Theatre 11 March – 7 September 2017

William Shakespeare

WILLIAM SHAKESPEARE

WILLIAM

Iqbal Khan returns to the RSC to direct, following his critically acclaimed productions of Othello (2015) and Much Ado About Nothing (2012).

SHAKESPEARE

WILLIAM SHAKESPEARE

Audio Described Performances Friday 19 May, 7.15pm Touch Tour 5pm Saturday 19 August, 1.15pm Touch Tour 11am

Audio Described Performances Saturday 17 June, 1.15pm Touch Tour 11am Thursday 7 September, 7.15pm Touch Tour 5pm

Captioned Performances Saturday 6 May, 1.15pm Wednesday 14 June, 7.15pm

Captioned Performances Thursday 8 June, 7.15pm Saturday 5 August, 1 .15pm

Semi-integrated BSL Interpreted Performance Monday 14 August, 7.15pm plus post show talk back 2

Following Caesar’s assassination, Mark Antony has reached the heights of power. Now he has neglected his empire for a life of decadent seduction with his mistress, Cleopatra, Queen of Egypt. Torn between love and duty, Antony’s military brilliance deserts him, and his passion leads the lovers to their tragic end.

Sculpture by Lionel Smit

Photo by Tara Moore. Image Courtesy of Kevin Francis Gray Studio. © 2016

Caesar returns from war, all-conquering, but mutiny is rumbling through the corridors of power. Our Rome season in the Royal Shakespeare Theatre opens with the politics of spin and betrayal turning to violence. Following his sellout productions of Tom Morton-Smith’s Oppenheimer (2014) and James Fenton’s adaptation of Don Quixote (2016), Season Director Angus Jackson steers the thrilling action as the race to claim the empire spirals out of control.

William Shakespeare

www.rsc.org.uk/assisted-performances

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Company Includes: Josette Simon

01789 403436

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February – September 2017 Stratford-upon-Avon

Titus Andronicus

Snow in Midsummer

William Shakespeare

Frances Ya-Chu Cowhig Based on the Classical Chinese Drama by Guan Hanqing

Royal Shakespeare Theatre 23 June – 2 September 2017

WILLIAM SHAKESPEARE

Three years later, a businesswoman visits the parched, locust-plagued town to take over an ailing factory. When her young daughter is tormented by an angry ghost, the new factory owner must expose the injustices Dou Yi suffered before the curse destroys every living thing.

Audio Described Performances Friday 21 July, 7.15pm Touch Tour 5pm Tuesday 29 August, 7.15pm Touch Tour 5pm Captioned Performances Tuesday 25 July, 7.15pm Thursday 24 August, 1.15pm

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Executed for a murder she did not commit, young widow Dou Yi vows that if she is innocent, snow will fall in midsummer and a catastrophic drought will strike.

www.rsc.org.uk/assisted-performances

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A contemporary re-imagining of one of the most famous Classical Chinese dramas, Snow in Midsummer is the first production in our Chinese Translations Project, a cultural exchange bringing Chinese classics to a modern western audience.

Playwright Frances Ya-Chu Cowhig and director Justin Audibert (The Jew of Malta, 2015) breathe new life into this ancient story, haunted by centuries of retelling.

Ellie Belcher / Arcangel Images

Shakespeare’s gory revenge tragedy presents us with murder as entertainment, and, as the body count piles up, poses questions about the nature of sexuality, family, class and society. Blanche McIntyre returns to the RSC after her debut directing The Two Noble Kinsmen (2016).

Swan Theatre 23 February – 25 March 2017 Original photograph by Keith van-Loen / Alamy Stock Photo

The decay of Rome reaches violent depths in Shakespeare’s most bloody play. Titus is a ruler exhausted by war and loss, who relinquishes power but leaves Rome in disorder. Rape, cannibalism and severed body parts fill the moral void at the heart of this corrupt society.

FRANCES YA-CHU COWHIG

SNOW IN MIDSUMMER

BASED ON THE CLASSICAL CHINESE DRAMA

BY GUAN HANQING

Audio Described Performances Friday 17 March, 7.30pm Touch Tour 5.15pm Saturday 25 March, 1.30pm Touch Tour 11.15am Captioned Peformance Thursday 23 March, 7.30pm

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Semi-integrated BSL interpreted performance Tuesday 21 March, 7.30pm

01789 403436

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February – September 2017 Stratford-upon-Avon

The Hypocrite Richard Bean

Swan Theatre 31 March – 29 April 2017

Vice Versa

Phil Porter Inspired by the plays of Plautus

THE ROYAL SHAKESPEARE COMPANY, HULL TRUCK THEATRE AND HULL UK CITY OF CULTURE 2017 PRESENT

RICHARD BEAN

THE HYPOCRITE

Swan Theatre 11 May – 9 September 2017 A side-splitting comedy romp, lovingly ripped off from the Roman comedies of Plautus by Phil Porter (The Christmas Truce, 2014; A Mad World My Masters, 2013). A wily servant and a pair of wronged young lovers team up to bamboozle a pompous general in this riotous new farce. Dodgy disguises, comic capers and a talking monkey create pandemonium as the tricksters try to save the girl, free the servant and live to tell the tale!

What would become a defining moment in Hull’s history is, quite frankly, the worst day of Sir John Hotham’s life.

Charged by Parliament to deny King Charles I entry to the city, Civil War seems inevitable and losing his head more than probable. And that’s to say nothing of his problems at home – a lovesick daughter, a ghost obsessed with the chinaware, sexually arousing furniture and a wife intent on escape.

The Hypocrite is a riotous comedy from award-winning playwright Richard Bean (One Man, Two Guvnors). Transferring direct from Hull to Stratford-upon-Avon this brand new co-production is directed

by Phillip Breen, whose RSC comic credentials include the ‘uproariously enjoyable’ The Merry Wives of Windsor (2012) and the ‘gloriously entertaining’ The Shoemaker’s Holiday (2014).

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Director Janice Honeyman (who directed Antony Sher in the Baxter Theatre’s 2009 production of The Tempest in association with the RSC) piles on the physical fun in this world premiere production.

Audio Described Performances Wednesday 19 April, 1.30pm Touch Tour 11.15am Friday 28 April, 7.30pm Touch Tour 5.15pm Captioned Performance Friday 21 April, 7.30pm Company Includes: Mark Addy

www.rsc.org.uk/assisted-performances

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Franz Xaver Messerschmidt, The Simpleton, “Character Head” No.17, © Belvedere, Vienna

The Royal Shakespeare Company, Hull Truck Theatre and Hull UK City of Culture 2017 present

A NEW ROMAN COMEDY BY PHIL PORTER INSPIRED BY THE PLAYS OF PLAUTUS

Audio Described Performances Friday 7 July. 7.30pm Touch Tour 5.15pm Saturday 2 September, 1.30pm Touch Tour 11.15am Captioned Performances Tuesday 11 July, 7.30pm Saturday 9 September, 1.30pm

01789 403436

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February – September 2017 Stratford-upon-Avon

Salomé

We spoke to Ben about his experiences at the RSC, touring and access in British theatre.

Below are some of his thoughts.

Photo by Topher McGrillis

Oscar Wilde

Swan Theatre 2 June – 6 September 2017 Imprisoned by a fearful Herod, the prophet Jokanaan rejects the sexual advances of Herod’s stepdaughter, Salomé. When she is compelled by Herod to dance, Salomé is filled with lust-driven revenge and demands the head of the prophet as payment.

Owen Horsley, Associate Director on the King & Country season, directs our first-ever Oscar Wilde production in Stratford-upon-Avon. This new production places sexual ambiguity at the core and revels in the beauty of this poetic masterpiece.

This production features nudity and scenes of a sexual nature.

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OSCAR WILDE

A Midsummer Night’s Dream was a pure joy. If we can take everybody away from their normal day to day lives worrying about mortgages and Brexit and divorces and Syria, and all these things that happen in our daily lives, and give them that escapism for a couple of hours – that’s what it’s about for me.

But there were challenges – in Glasgow, I couldn’t get into my dressing room because the keypad was too high up. It’s just those kind of things people don’t think about. I do it all the time when I’m booking accommodation myself – I forget to tell people I’m short! The common challenge for me in all theatres is height, similar to many people in wheelchairs – being able to reach passcodes on doors, it’s those kind of things.

The Relaxed Performance for A Midsummer Night’s Dream was amazing. We worked with Welcombe Hills, a special school. The actors playing the fairies, including me, met the children a few days before the rest of the company, and got to know them. When the kids met the rest of the cast, they just had these big smiles on their faces. And I just thought “Yes, this is what it’s going to be about”. Immediately these guys have fallen in love.

© Yaroslav Kazakov/Shutterstock

Salomé has fascinated and inspired artists across the ages. In Wilde’s lyrical one-act drama – originally banned in Britain – he reinvents Salomé as a powerful and enigmatic figure, both erotic and chaste.

Ben Goffe played Mustardseed in A Midsummer Night’s Dream, in Stratford-upon-Avon and on tour.

My mum is a dance teacher and owned her own dance school, I started going to dance classes aged three – it was easier than to get me to a babysitter! I always loved acting and dancing.

Audio Described Performances Friday 14 July, 7.30pm Touch Tour 5.15pm Saturday 26 August, 1.30pm Touch Tour 11.15am Captioned Performances Wednesday 19 July, 1.30pm Tuesday 15 August, 7.30pm

www.rsc.org.uk/assisted-performances

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When I was about 16 and working in panto as one of Snow White’s seven dwarfs, I started thinking about where I should train – because I wanted to act, dance and sing. I trained at Italia Conti and it was great. I remember having to do the splits on my second day! I was treated the same as anyone else.

I’m not sure many dwarfs are at my level of tap, breakdancing, and singing…but I definitely count myself as an actor first. Actor, dancer, singer: that’s the order for me.

For me, I hope being part of the RSC means I’ll be seen for a lot more straight acting roles. When I first started out, I’d done lots of pantos – but I wanted to break that barrier. I wanted to be employed as an actor and not just for being a dwarf. If someone is casting for a part that is male, 20-30…why shouldn’t I go for that? My agent puts me up for parts they feel suit me as an actor.

My dad was in Willy Wonka and the Chocolate Factory, but despite being such an iconic image from the film, none of the actors playing Oompa Loompas were credited. But attitudes are changing, and so many people are now getting parts because of their talent – not because of their disability.

People are talking about disability more and more now. During the Paralympic Games in London, everybody learnt so much about disability. It was a really vivid way of showing how powerful people can be, if we just make some small adaptations to our environment. At theatres, the wider the variety of people in the environment, the less we will have to think about ‘access needs’ – the provision will just be there, for all audiences and actors.

I love working with Audio Description and BSL – sometimes you’ll get layers of laughter as things are described, or the way the joke is interpreted in BSL means the audiences using the interpretation get the joke before everyone else has caught up.

I’d love to play Puck or Feste, or maybe Petruchio, or Banquo. Don’t dress us up as clowns or puppets or anything else. Give us something gritty to do.

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2 1.00 Snow 7.00 P Snow

3 7.15 F Caesar 7.30 Snow

4 1.30 Snow 7.15 Caesar 7.30 Snow

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18 1.15 Caesar 1.30 Snow 7.15 Antony 7.30 Snow

19 20 7.15 Antony 7.30 Snow

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22 1.30 Snow 7.15 Caesar 7.30 Snow

23 1.00 P Caesar 7.00 P Antony 7.30 ● Snow

24 7.15 Antony 7.30 Snow

25 1.15 Antony 1.30 Snow 7.15 Antony 7.30 L Snow

26 27 7.15 Caesar

28 7.15 Caesar

29 7.15 Caesar

30 1.15 Caesar 7.15 Antony

31 7.15 Antony 7.30 F Hypocrite

1 2 1.15 Antony 7.15 Caesar 7.30 Hypocrite

3 7.15 Caesar 7.30 Hypocrite

4 1.15 OUR Caesar 7.15 Caesar 7.30 Hypocrite

5 1.00 Hypocrite 7.00 P Hypocrite 7.15 Caesar

6 1.15 Antony 7.15 Antony 7.30 Hypocrite

7 7.15 Caesar 7.30 Hypocrite

8 9 1.15 Caesar 1.30 Hypocrite 7.15 Antony 7.30 Hypocrite

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12 1.15 OUR Antony 1.30 Hypocrite 7.15 Caesar 7.30 Hypocrite

13 1.15 Caesar 7.15 Antony 7.30 Hypocrite

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15 16 17 1.15 7.15 Antony Caesar 1.30 7.30 Hypocrite Hypocrite 7.15 Caesar 7.30 Hypocrite

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19 1.30 Hypocrite 7.30 Hypocrite

20 1.15 Caesar 7.15 Antony 7.30 Hypocrite

21 7.15 Antony 7.30 ● Hypocrite

22 23 24 1.15 7.15 Antony Caesar 1.30 7.30 Hypocrite Hypocrite 7.15 SBP Caesar 7.30 Hypocrite

25 1.00 RLIVE Caesar 7.30 Hypocrite

26 1.30 Hypocrite 7.00 LIVE Caesar 7.30 Hypocrite

27 1.15 Caesar 7.15 Antony 7.30 Hypocrite

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4 1.15 Antony 7.15 Caesar

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11 1.15 Antony 7.15 Antony 7.30 F Vice

12 7.15 Caesar 7.30 Vice

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18 1.00 Vice 1.15 Caesar 7.00 P Vice 7.15 Caesar

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20 1.15 Caesar 1.30 Vice 7.15 Antony 7.30 Vice

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23 1.00 RLIVE Antony 7.30 Vice

24 7.00 LIVE Antony 7.30 Vice

25 1.15 Antony 7.15 Caesar 7.30 Vice

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27 1.15 Caesar 1.30 Vice 7.15 Antony 7.30 Vice

28 29 7.15 Antony

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2 7.15 Antony 7.30 F Salomé

3 1.15 Antony 7.15 Caesar 7.30 Salomé

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10 1.15 Caesar 1.30 Salomé 7.15 Antony 7.30 Salomé

11 12 7.15 Antony 7.30 Vice

13 7.15 Caesar 7.30 Vice

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15 7.15 Antony 7.30 Salomé

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5 1.30 Salomé 7.15 Titus 7.30 Vice

6 1.15 Titus 7.15 Titus 7.30 Vice

7 7.15 Caesar 7.30 Vice

8 1.15 Caesar 1.30 Salomé 7.15 Antony 7.30 Salomé

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10 7.15 Antony 7.30 Vice

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12 1.30 Vice 7.15 Titus 7.30 Salomé

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14 1.15 OUR Titus 7.15 Caesar 7.30 Salomé

15 1.15 Caesar 1.30 Vice 7.15 Antony 7.30 Vice

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20 1.15 Titus 7.15 Titus 7.30 Vice

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22 1.15 Caesar 1.30 Vice 7.15 Caesar 7.30 Salomé

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28 1.30 Venus 7.15 Antony 7.30 Salomé

5 1.15 ● Antony 1.30 Vice 7.15 Titus 7.30 Vice

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7 7.15 Titus 7.30 Salomé

8 1.00 RLIVE Titus 7.30 Salomé

9 1.30 Vice 7.00 LIVE Titus 7.30 Vice

10 1.15 Caesar 7.15 Caesar 7.30 Salomé

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12 1.15 Antony 1.30 Vice 7.15 Caesar 7.30 Vice

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16 1.30 Salomé 7.15 Antony 7.30 Vice

17 7.15 Titus 7.30 Vice

18 7.15 Caesar 7.30 Vice

19 1.15 Caesar 1.30 Salomé 7.15 Antony 7.30 Salomé

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22 7.15 Titus 7.30 Vice

23 1.30 Vice 7.15 Titus 7.30 Salomé

24 1.15 ● Titus 7.15 Caesar 7.30 Salomé

25 7.15 Caesar 7.30 Salomé

26 1.15 Titus 1.30 Salomé 7.15 Titus 7.30 Vice

27 28 7.15 Titus 7.30 Vice

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30 7.15 Antony 7.30 Salomé

27 10.30 Venus 1.00 P Venus 1.15 Caesar 7.15 Antony 7.30 Salomé 31 1.15 Antony 7.15 Caesar 7.30 Vice

2 1.30 Venus 7.15 Caesar 7.30 Venus

3 10.30 Venus 1.15 Caesar 1.30 Venus 7.15 Caesar 7.30 Vice

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2 1.15 Titus 1.30 Vice 7.15 L Titus 7.30 Salomé

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4 7.15 Caesar 7.30 Salomé

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6 7.15 Antony 7.30 L Salomé

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TO BE ANNOUNCED

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Performance Schedule

JULY

February 2017 – August 2017

FRI

SAT SUN MON

= Access Performances F = First Performance P = Press Night L = Last Performance KEY: OUR = Open Understudy Rehearsal RLIVE = Live to Cinema rehearsal LIVE = Live to Cinema ■ = Audio Described Performance = Semi-integrated British Sign Language Interpreted Performance ● = Captioned Performance =P re-or Post-Show on stage event SBP = Shakespeare’s Birthday Performance Royal Shakespeare Theatre Julius Caesar, Antony & Cleopatra, Titus Andronicus Swan Theatre Snow In Midsummer, The Hypocrite, Vice Versa, Salomé, Venus & Adonis ABBREVIATIONS Snow = Snow in Midsummer, Caesar = Julius Caesar, Antony = Antony & Cleopatra, Hypocrite = The Hypocrite, Vice = Vice Versa, Titus = Titus Andronicus, Venus = Venus & Adonis

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London

King Lear

Love’s Labour’s Lost and Much Ado About Nothing (or Love’s Labour’s Won)

Barbican, London 31 October – 17 December 2016

Barbican, London 10 November – 23 December 2016

Cymbeline is the ruler of a divided Britain. When Innogen, the only living heir, marries her sweetheart in secret, an enraged Cymbeline banishes him.

Distracted by Innogen’s marriage, Cymbeline is blind to the actions of a powerful figure behind the throne who is plotting to seize power…

King Lear has ruled for many years. As age begins to overtake him, he decides to divide his kingdom. But vanity clouds his judgement, and he soon wanders the wilderness, left to confront the mistakes of a life that has brought him to this point.

William Shakespeare

William Shakespeare

William Shakespeare

Antony Sher plays one of Gillian Bevan plays the title role, directed Shakespeare’s greatest roles, directed

by Gregory Doran.

by Melly Still.

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Audio Described Performance Saturday 26 November, 1.30pm Touch Tour 11.30am Captioned Performance CAP Friday 9 December, 7.15pm

Photo by Ellie Kurttz

Photo by Ellie Kurttz

Audio Described Performance Friday 2 December, 7.15pm Touch Tour 5.15pm Captioned Performance Friday 16 December, 7.15pm

0207 638 8891 / barbican.org.uk

CAP

Haymarket Theatre 9 December 2016 – 18 March 2017

HHHHH

‘Sparklingly funny and giddily blissful’

Audio Described Performances Love’s Labour’s Lost: Wednesday 18 January, 2.30pm Touch Tour 12.30pm Much Ado About Nothing: Wednesday 18 January, 7.30pm Touch Tour 5.30pm Captioned Performances Love’s Labour’s Lost: Wednesday 1 February, 2.30pm Much Ado About Nothing: Wednesday 1 February, 7.30pm

CAP

TIMES

Shakespeare’s great romantic comedies, Love’s Labour’s Lost and Much Ado About Nothing were first paired to great acclaim at the Royal Shakespeare Theatre in 2014. Matching events, characters and themes suggest that these razor-sharp romances belong together. In Love’s Labour’s Lost two sparring lovers, Berowne and Rosaline, are separated; at the start of Much Ado About Nothing, two sparring lovers meet again after a long absence and continue to quarrel, until they are tricked into acknowledging their love.

Directed by Christopher Luscombe, with a dazzling design by Simon Higlett and glorious music by Nigel Hess, the productions are set either side of the First World War.

01789 403436 www.trh.co.uk

Photo by Manuel Harlan

Cymbeline

Photo by Manuel Harlan

London

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Royal Shakespeare Theatre, Front row seats

There are four seats available at every performance in the front row of the Royal Shakespeare Theatre and Swan Theatre stalls for people with either a visual or a hearing impairment. Please ask Box Office staff about the availability of these seats when booking your ticket.

The Other Place has five available wheelchair spaces. Four of them are on the ground level and one on the upper level.

Although the Studio Theatre is unreserved, you can request wheelchair spaces and make the Box Office aware of any access issues, and we will do our best to accommodate any requests.

Braille

We produce Cast Lists in Braille. If you would like to receive Access Matters in Braille please contact us at access@rsc.org.uk or call 01789 403436.

Induction loop

All our theatres are fitted with a loop system as are the Box Office and shop counters.

Touch Tours

We offer free Touch Tours before Audio Described performances. Touch Tours offer the opportunity to get close to the set, costumes and props used in the play. During a tour backstage, the audio describers will guide you through important props and character costumes used in the production.

Swan Theatre and The Other Place Audio Describers

Julia Grundy, Ellie Packer, Mary Plackett, Carolyn Smith.

Captioners

Stefanie Bell, Roz Chalmers, Kay George, Janet Jackson, Ridanne Sheridan, Beverley Ward.

BSL Interpreters

Becky Allen, Clare Edwards.

Please call 01789 403436 to book your free place.

The Play’s The Thing

The Play’s The Thing is our new interactive, multi-sensory exhibition for families, opening 22 October 2016.

Spark your imagination with weird and wonderful treasures from our past productions. See costumes worn on our stages. Generate your own Shakespearean plot. Make Ariel fly. Step inside the mind of a director.

This exhibition is multi-sensory, with touch labels, designed to be accessible for all.

There is a lift to the first floor exhibition and the layout is designed to be accessible for wheelchair users. Large print information and audio transcription is available and video content is captioned. Assistance dogs are welcome in the exhibition.

Tickets for disabled people are £4.25. If you require the services of a companion their ticket is also £4.25.

Photo by David Tett

For more information about the exhibition visit www.rsc.org.uk/the-plays-the-thing/access, or if you have any questions about the accessibility of the exhibition, please email access@rsc.org.uk.

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www.rsc.org.uk/assisted-performances

Photo by Jo Bowker

Assistance Dogs can be taken into the auditorium, please tell Box Office staff when booking your seat if you are bringing your dog. Alternatively you can leave your dog with a member of staff in the foyer, please let us know when booking.

Photo by Stewart Hemley

Hearing and Guide Dogs

This exhibition is supported by

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Booking Tickets

Tickets for productions in Stratford-upon-Avon in the Royal Shakespeare Theatre and Swan Theatre for disabled people are £16, whenever you visit or wherever you choose to sit. If you require the services of a companion their ticket will also be £16. Tickets for The Other Place vary but are discounted. To book please call 01789 403436. Alternatively you can book online using the access booking form at www.rsc.org.uk You can book for Captioned and BSL interpreted performances online. To buy tickets, select the production you want to see, click the ‘Buy Tickets’ button and enter the code 10408 in the promo box above the list of dates. This will bring up the appropriate performances and link directly to the best seats.

Theatre access

Both the Royal Shakespeare Theatre and Swan Theatre have lift access to all levels of the building. There are wheelchair spaces on all levels of the Royal Shakespeare Theatre and Swan Theatre stalls. Adapted toilets are available on all levels of the Royal Shakespeare Theatre and on the ground floor and first gallery level of the Swan Theatre.

The Other Place has lift access to both levels of the Studio Theatre and there are also accessible toilets on both levels.

Accessible parking

There are seven allocated parking bays for blue-badge users on Waterside directly outside the Royal Shakespeare Theatre and ten further bays on Chapel Lane, the road opposite the Swan Theatre. There are allocated blue-badge parking bays at the side and rear of The Other Place in Southern Lane. These are free of charge and do not have a time limit. These spaces are controlled by the local authority and are not for Royal Shakespeare Company visitors only. Please ensure you correctly display a GE ST current blue-badge.

COLLE

THE OTHER PLACE

There is a car drop off point directly outside the Royal Shakespeare Theatre and a coach drop off point just past the Swan Theatre.

www.rsc.org.uk/access access@rsc.org.uk 01789 403436 Royal Shakespeare Company, Waterside, Stratford-upon-Avon, Warwickshire CV37 6BB This leaflet was printed in October 2016. Every effort is made to ensure that the information remains correct, but please check with the Box Office for full and final details. Registered charity number 212481.