Attach to Form 990 or Form 990-EZ.
Go to
www.irs.gov/Form990 for instructions and the latest information.
| (i) Name of supported organization | (ii) EIN | (iii) Type of organization (described on lines 1- 10 above (see instructions)) | (iv) Is the organization listed in your governing document? | (v) Amount of monetary support (see instructions) | (vi) Amount of other support (see instructions) | |
|---|---|---|---|---|---|---|
| Yes | No | |||||
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Total |
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Calendar year
(or fiscal year beginning in)
![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 26,528,619 | 36,683,161 | 24,469,930 | 24,730,888 | 26,479,502 | 138,892,100 |
| 2 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf .... | ||||||
| 3 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | ||||||
| 4 | Total. Add lines 1 through 3 | 26,528,619 | 36,683,161 | 24,469,930 | 24,730,888 | 26,479,502 | 138,892,100 |
| 5 | The portion of total contributions by each person (other than a governmental unit or publicly supported organization) included on line 1 that exceeds 2% of the amount shown on line 11, column (f) .. | 6,398,412 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 132,493,688 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 26,528,619 | 36,683,161 | 24,469,930 | 24,730,888 | 26,479,502 | 138,892,100 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 858,305 | 729,922 | 875,372 | 1,407,770 | 2,194,249 | 6,065,618 |
| 9 | Net income from unrelated business activities, whether or not the business is regularly carried on.. | ||||||
| 10 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part VI.).. | -155,131 | -406,820 | -124,090 | -191,100 | -278,337 | -1,155,478 |
| 11 | Total support. Add lines 7 through 10 | 143,802,240 | |||||
Calendar year (or fiscal
year beginning in) ![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") . | ||||||
| 2 | Gross receipts from admissions, merchandise sold or services performed, or facilities furnished in any activity that is related to the organization's tax-exempt purpose | ||||||
| 3 | Gross receipts from activities that are not an unrelated trade or business under section 513 ..... | ||||||
| 4 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf... | ||||||
| 5 | The value of services or facilities furnished by a governmental unit to the organization without charge | ||||||
| 6 | Total. Add lines 1 through 5 | ||||||
| 7a | Amounts included on lines 1, 2, and 3 received from disqualified persons | ||||||
| b | Amounts included on lines 2 and 3 received from other than disqualified persons that exceed the greater of $5,000 or 1% of the amount on line 13 for the year. | ||||||
| c | Add lines 7a and 7b.. | ||||||
| 8 | Public support. (Subtract line 7c from line 6.) | ||||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 9 | Amounts from line 6... | ||||||
| 10a | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources.. | ||||||
| b | Unrelated business taxable income (less section 511 taxes) from businesses acquired after June 30, 1975. | ||||||
| c | Add lines 10a and 10b. | ||||||
| 11 | Net income from unrelated business activities not included on line 10b, whether or not the business is regularly carried on. | ||||||
| 12 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part VI.) .. | ||||||
| 13 | Total support. (Add lines 9, 10c, 11, and 12.).. | ||||||
| Section A - Adjusted Net Income | (A) Prior Year |
(B) Current Year (optional) |
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| 1 | Net short-term capital gain | 1 | ||||
| 2 | Recoveries of prior-year distributions | 2 | ||||
| 3 | Other gross income (see instructions) | 3 | ||||
| 4 | Add lines 1 through 3 | 4 | ||||
| 5 | Depreciation and depletion | 5 | ||||
| 6 | Portion of operating expenses paid or incurred for production or collection of gross income or for management, conservation, or maintenance of property held for production of income (see instructions) | 6 | ||||
| 7 | Other expenses (see instructions) | 7 | ||||
| 8 | Adjusted Net Income (subtract lines 5, 6 and 7 from line 4) | 8 | ||||
| Section B - Minimum Asset Amount | (A) Prior Year |
(B) Current Year (optional) |
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| 1 | Aggregate fair market value of all non-exempt-use assets (see instructions for short tax year or assets held for part of year): | 1 | ||||
| a | Average monthly value of securities | 1a | ||||
| b | Average monthly cash balances | 1b | ||||
| c | Fair market value of other non-exempt-use assets | 1c | ||||
| d | Total (add lines 1a, 1b, and 1c) | 1d | ||||
| e |
Discount claimed for blockage or other factors (explain in detail in Part VI): |
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| 2 | Acquisition indebtedness applicable to non-exempt use assets | 2 | ||||
| 3 | Subtract line 2 from line 1d | 3 | ||||
| 4 | Cash deemed held for exempt use. Enter 0.015 of line 3 (for greater amount, see instructions). | 4 | ||||
| 5 | Net value of non-exempt-use assets (subtract line 4 from line 3) | 5 | ||||
| 6 | Multiply line 5 by 0.035 | 6 | ||||
| 7 | Recoveries of prior-year distributions | 7 | ||||
| 8 | Minimum Asset Amount (add line 7 to line 6) | 8 | ||||
| Section C - Distributable Amount | Current Year | |||||
| 1 | Adjusted net income for prior year (from Section A, line 8, Column A) | 1 | ||||
| 2 | Enter 85% of line 1 | 2 | ||||
| 3 | Minimum asset amount for prior year (from Section B, line 8, Column A) | 3 | ||||
| 4 | Enter greater of line 2 or line 3 | 4 | ||||
| 5 | Income tax imposed in prior year | 5 | ||||
| 6 | Distributable Amount. Subtract line 5 from line 4, unless subject to emergency temporary reduction (see instructions) | 6 | ||||
| Section D - Distributions | Current Year | |
|---|---|---|
| 1 Amounts paid to supported organizations to accomplish exempt purposes | 1 | |
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
2 | |
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | 3 | |
| 4 Amounts paid to acquire exempt-use assets | 4 | |
| 5 Qualified set-aside amounts (prior IRS approval required - provide details in Part VI) | 5 | |
| 6 Other distributions (describe in Part VI). See instructions | 6 | |
| 7Total annual distributions. Add lines 1 through 6. | 7 | |
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
8 | |
| 9 Distributable amount for 2023 from Section C, line 6 | 9 | |
| 10 Line 8 amount divided by Line 9 amount | 10 | |
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2023 |
(iii) Distributable Amount for 2023 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2023 from Section C, line 6 | ||||
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2
Underdistributions, if any, for years prior to 2023 (reasonable cause required-- explain in Part VI).
See instructions. |
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| 3 Excess distributions carryover, if any, to 2023: | ||||
| a From 2018....... | ||||
| b From 2019....... | ||||
| c From 2020....... | ||||
| d From 2021....... | ||||
| e From 2022....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2023 distributable amount | ||||
|
i
Carryover from 2018 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2023 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2023 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2023, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
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6
Remaining underdistributions for 2023. Subtract lines 3h and 4b from line 1. If the amount is greater than zero, explain in Part VI. See instructions. |
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7 Excess distributions carryover to 2024. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2019..... | ||||
| b Excess from 2020..... | ||||
| c Excess from 2021..... | ||||
| d Excess from 2022..... | ||||
| e Excess from 2023..... | ||||
| Facts And Circumstances Test |
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| Return Reference | Explanation |
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| Software ID: | |
| Software Version: |
| Return Reference | Explanation |
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| FORM 990, PART III, LINE 4A, PROGRAM SERVICE ACCOMPLISHMENTS (CONTINUED) | APRIL THE STAGE DEBUT AWARD-WINNER (2019) AND UK THEATRE AWARD-NOMINATED DIRECTOR ATRI BANERJEE MADE HIS RSC DEBUT WITH A VISCERAL NEW PRODUCTION OF JULIUS CAESAR. ATRI'S ROLE WAS RECRUITED THROUGH OPENHIRE; A NEW INITIATIVE BY DEREK BOND AND JOSH ROCHE WHICH AIMS TO IMPROVE TRANSPARENCY AND ACCESS TO FREELANCE CREATIVE JOBS IN THEATRE. THE PRODUCTION VISITED NINE VENUES ACROSS THE COUNTRY INCLUDING RSC PARTNER THEATRES, AND MARKED THE BEGINNING OF AN AMBITIOUS THREE-YEAR PROGRAMME TO EXPAND THE REACH OF OUR NATIONAL TOURING FOOTPRINT AND PLACE CO-CREATION WITH THE COMMUNITIES WE SERVE AT THE HEART OF OUR THEATRE-MAKING, SUPPORTED USING PUBLIC FUNDING BY THE NATIONAL LOTTERY THROUGH ARTS COUNCIL ENGLAND. JULIUS CAESAR TOURED TO VENUES INCLUDING THE MARLOWE THEATRE CANTERBURY; HALL FOR CORNWALL, TRURO; THE ALHAMBRA, BRADFORD; THEATRE ROYAL, NEWCASTLE; THE GRAND THEATRE, BLACKPOOL; THEATRE ROYAL, NOTTINGHAM; THEATRE ROYAL, NORWICH; THEATRE ROYAL IN YORK AND THE LOWRY, SALFORD. THE PRODUCTION FEATURED A COMMUNITY CHORUS MADE UP OF SIX PEOPLE RECRUITED FROM THEIR LOCAL COMMUNITIES, WITH A PARTICULAR FOCUS ON 'COMMUNITY LEADERS' SUCH AS TEACHERS, SUPPORT WORKERS, CAMPAIGNERS, CHURCH LEADERS AND VOLUNTEERS IN THE COMMUNITY. THE PARTICIPANTS WORKED CLOSELY WITH PROFESSIONAL RSC PRACTITIONERS TO DEVELOP THEIR OWN LEADERSHIP AND OTHER TRANSFERABLE SKILLS AND EXPLORED IN GREATER DEPTH THE NATURE OF WHAT MAKES A GOOD LEADER TODAY. GREGORY DORAN (RSC ARTISTIC DIRECTOR EMERITUS) DIRECTED HIS 50TH PRODUCTION FOR THE ROYAL SHAKESPEARE COMPANY WITH A NEW STAGING OF WILLIAM SHAKESPEARE'S DARK FAIRYTALE CYMBELINE. IT WAS ALSO HIS LAST PRODUCTION AS RSC ARTISTIC DIRECTOR EMERITUS AND THE LAST PLAY IN SHAKESPEARE'S FOLIO. GREGORY DORAN ALSO RELEASED A MEMOIR CHARTING HIS PERSONAL AND PROFESSIONAL JOURNEY. MY SHAKESPEARE: A DIRECTOR'S JOURNEY THROUGH THE FIRST FOLIO (METHUEN DRAMA) PRESENTS A DETAILED ACCOUNT OF DORAN'S EXPERIENCES EITHER DIRECTING OR PRODUCING EACH OF SHAKESPEARE'S PLAYS IN THE FIRST FOLIO. WE OPENED THE NEWLY REFURBISHED SWAN THEATRE WITH A WORLD-PREMIERE STAGE PRODUCTION OF MAGGIE O'FARRELL'S HAMNET, ADAPTED BY LOLITA CHAKRABARTI, AND DIRECTED BY THEN ACTING ARTISTIC DIRECTOR, ERICA WHYMAN. THE STORY PULLS BACK A CURTAIN ON THE IMAGINED LIFE OF WILLIAM SHAKESPEARE AND THE WOMAN WHO WOULD BECOME THE CONSTANT PRESENCE AND PURPOSE OF HIS LIFE: AGNES HATHAWAY, AND HIS FAMILY WHO INFLUENCED HIS WORK. THE PRODUCTION WAS ADAPTED FOR THE STAGE BY AWARD-WINNING PLAYWRIGHT LOLITA CHAKRABARTI, WHOSE WRITING CREDITS INCLUDE RED VELVET, INVISIBLE CITIES, HYMN, THE GODDESS AND THE AWARD-WINNING STAGE ADAPTATION OF YANN MARTEL'S NOVEL LIFE OF PI (WINNER OF FIVE OLIVIER AWARDS INCLUDING BEST NEW PLAY, 2022). THE PRODUCTION FEATURED DESIGN BY TOM PIPER, LIGHTING BY PREMA MEHTA AND MUSIC BY OGUZ KAPLANGI. MAY OLIVIER AWARD-NOMINATED DIRECTOR, WRITER AND DRAMATURG OMAR ELERIAN DIRECTED A PLAYFUL AND PROVOCATIVE TAKE ON SHAKESPEARE'S SUMMERTIME COMEDY, AS YOU LIKE IT. CHALLENGING THE STEREOTYPES AND PRE-CONCEPTIONS ASSOCIATED WITH GROWING OLDER, A COMPANY OF ACTORS - MANY WHO WERE AGED OVER 70 TOGETHER WITH FOUR YOUNGER ACTORS -PERFORMED ONE OF SHAKESPEARE'S MOST JOYOUS TALES. JUNE AWARD-WINNING DIRECTOR AND SITE-SPECIFIC THEATRE-MAKER WILS WILSON DIRECTED A THRILLING NEW INTERPRETATION OF SHAKESPEARE'S MACBETH, WITH A CONTEMPORARY MAKEOVER OF THE PORTER SCENE BY COMEDIAN STEWART LEE. IT PLAYED IN THE RST TO OVER 55,000 PEOPLE AND MORE SCHOOLS THAN EVER ? 114 SCHOOLS IN TOTAL, OF WHICH 90% WERE COMPREHENSIVE SCHOOLS. JULY THE SWAN THEATRE'S RE-OPENING SEASON CONTINUED WITH A NEW PRODUCTION OF THE EMPRESS BY TANIKA GUPTA, ARTISTIC ASSOCIATE OF LYRIC HAMMERSMITH THEATRE, DIRECTED BY POOJA GHAI. THE PLAY WAS ADDED TO THE GCSE ENGLISH LITERATURE SYLLABUS FOLLOWING A CAMPAIGN SPEARHEADED BY THE RSC'S YOUTH ADVISORY BOARD - ONE OF FOUR NEW PLAYS BY WRITERS OF COLOUR THAT HAVE BEEN ADDED TO THE SYLLABUS TO BETTER REFLECT THE DIVERSITY OF PLAYWRITING IN THE UK. THE PRODUCTION TRANSFERRED TO THE LYRIC HAMMERSMITH THEATRE FOR FOUR WEEKS IN OCTOBER, BEFORE RETURNING TO CONCLUDE ITS RUN IN STRATFORD-UPON-AVON IN NOVEMBER. PAUL AINSWORTH DIRECTED THE RSC'S NEXT GENERATION ACT COMPANY, A GROUP OF YOUNG PEOPLE RECRUITED FROM ACROSS THE COUNTRY, IN THEIR INTERPRETATION OF SHAKESPEARE'S HAMLET. IN THIS ABRIDGED VERSION, THEY EXPLORED THE UNSTABLE STATE OF DENMARK THROUGH THE EYES OF THE YOUNGER GENERATION IN THE PLAY AND HOW THE ACTIONS OF THOSE IN POWER AFFECT THE INHERITORS OF THE NATION. PERFORMED IN THE OTHER PLACE, THE COMPANY OF TWENTY-FIVE 13-18 YEAR-OLDS REPRESENTED YOUNG PEOPLE FROM ACROSS OUR ASSOCIATE SCHOOLS PROGRAMME, LED IN PARTNERSHIP WITH LEAD ASSOCIATE SCHOOLS AND ASSOCIATE REGIONAL THEATRES. THE PRODUCTION WAS MADE WITH AND BY YOUNG PEOPLE INCLUDING A YOUNG ASSOCIATE DIRECTOR AND BEHIND-THE-SCENES CREATIVES DRAWN FROM THE RSCS NEXT GENERATION BACKSTAGE AND DIRECT TALENT DEVELOPMENT PROGRAMMES. AUGUST ALONGSIDE THE EMPRESS, AND BUILDING ON THE TRADITION OF PREMIERING NEW WORK IN THE SWAN THEATRE, AWARD-WINNING PLAYWRIGHT BRAD BIRCH'S NEW PLAY FALKLAND SOUND, ABOUT A COMMUNITY PLUNGED INTO THE MIDDLE OF AN INTERNATIONAL CRISIS, WAS DIRECTED BY AARON PARSONS WITH DESIGN BY ALDO VZQUEZ. INSPIRED BY THE REAL-LIFE TESTIMONIES OF THOSE WHO LIVED THROUGH THIS SEISMIC MOMENT IN HISTORY, BRAD'S RESEARCH FOR THE PLAY INCLUDED A 10-DAY VISIT TO THE FALKLAND ISLANDS IN 2018, DURING WHICH TIME HE TRAVELLED ACROSS THE COUNTRY, INTERVIEWING THE ISLANDERS AND IMMERSING HIMSELF IN THEIR UNIQUE WAY OF LIFE. SEPTEMBER TRACY-ANN OBERMAN RETURNED TO THE RSC IN A NEW PRODUCTION OF SHAKESPEARE'S CLASSIC THE MERCHANT OF VENICE DIRECTED AND ADAPTED BY BRIGID LARMOUR. PRESENTED BY WATFORD PALACE THEATRE IN ASSOCIATION WITH HOME MANCHESTER AND DEVELOPED WITH SUPPORT FROM THE RSC, THIS GRIPPING NEW PRODUCTION OFFERED A RARE AND VIVID INSIGHT INTO A DARK CHAPTER IN OUR HISTORY, ALL TOO RELEVANT TO BRITAIN TODAY. OCTOBER COMPLETING THE SEASON WAS CHARLIE JOSEPHINE'S COWBOIS, CO-DIRECTED BY CHARLIE JOSEPHINE AND SEAN HOLMES (ASSOCIATE ARTISTIC DIRECTOR OF SHAKESPEARE'S GLOBE). THIS ROLLICKING QUEER COWBOY SHOW FOLLOWED HOT ON THE HOOFS OF CHARLIE'S CRITICALLY ACCLAIMED I,JOAN, WHICH PREMIERED AT SHAKESPEARE'S GLOBE IN APRIL 2022. PART GUN-SLINGING WESTERN, PART LOVE STORY FOR OUR TIMES, THIS PLAYFUL AND EXUBERANT CELEBRATION OF QUEER LOVE, FREEDOM AND SELF-EXPRESSION TOLD THE STORY OF HANDSOME BANDIT JACK CANNON, WHOSE UNPROMPTED ARRIVAL IN A SLEEPY FRONTIER TOWN INSPIRED A GENDER REVOLUTION AND STARTED A FIRE UNDER THE PETTICOAT OF EVERY ONE OF THE TOWN'S REPRESSED INHABITANTS. OUR FESTIVE OFFERING IN THE RST WAS PIERS TORDAY'S MAGICAL REIMAGINING OF JOHN MASEFIELD'S MUCH-LOVED CHILDREN'S CLASSIC, THE BOX OF DELIGHTS AND WAS WATCHED BY OVER 57,000 PEOPLE. NEWLY APPOINTED CHICHESTER FESTIVAL THEATRE ARTISTIC DIRECTOR JUSTIN AUDIBERT RETURNED TO THE RSC TO DIRECT THIS FANTASTICAL TALE. NOVEMBER IN COLLABORATION WITH EXECUTIVE PRODUCER JOE HISAISHI, IMPROBABLE AND NIPPON TV, STUDIO GHIBLI'S MY NEIGHBOUR TOTORO RETURNED TO THE BARBICAN THEATRE FOR A LIMITED 17-WEEK RUN AND BROKE A SECOND BOX-OFFICE RECORD FOR TICKETS SOLD IN A SINGLE DAY. THE GLOBAL STAGE PREMIERE OF HAYAO MIYAZAKI'S CELEBRATED 1988 ANIMATED FEATURE FILM, ADAPTED BY TOM MORTON-SMITH (OPPENHEIMER), WAS FIRST ANNOUNCED IN APRIL 2022. THE PRODUCTION RECEIVED BOTH CRITICAL AND AUDIENCE ACCLAIM, WINNING FIVE WHAT'SONSTAGE AWARDS, AND BEING NOMINATED FOR NINE 2023 OLIVIER AWARDS, THE MOST NOMINATIONS FOR ANY PRODUCTION THAT YEAR. IT WENT ON TO WIN THE MOST AWARDS OF ANY PRODUCTION - A TOTAL OF SIX AWARDS. DECEMBER IN THE SWAN THEATRE, OLIVIER AWARD-WINNING PLAYWRIGHT ISOBEL MCARTHUR MADE HER RSC DEBUT DIRECTING AND ADAPTING THOMAS HEYWOOD'S ELIZABETHAN COMEDY-ROMP THE FAIR MAID OF THE WEST. IT WAS A CELEBRATORY, MUSIC-FILLED, ENSEMBLE COMEDY FOCUSING ON THE LIFE-SAVING POWERS OF COMMUNITY, COMPROMISE AND COMPASSION. JANUARY MATHEW BAYNTON MADE HIS RSC DEBUT AS ONE OF SHAKESPEARE'S MOST FAMOUS COMIC CHARACTERS, BOTTOM, IN A DAZZLING NEW PRODUCTION OF A MIDSUMMER NIGHT'S DREAM, DIRECTED BY ELEANOR RHODE. IT WAS SEEN BY OVER 65,000 PEOPLE. WE HAD TERRIFIC RESPONSES, INCLUDING A 5* REVIEW IN THE GUARDIAN. FEBRUARY SAMUEL BARNETT AND VICTORIA YEATES MADE THEIR RSC DEBUTS TO PLAY, RESPECTIVELY, BENJAMIN BRITTEN AND IMOGEN HOLST IN BEN AND IMO, WRITTEN BY MARK RAVENHILL AND DIRECTED BY ERICA WHYMAN. BEN AND IMO TOLD THE STORY OF THE CREATIVE RELATIONSHIP BETWEEN COMPOSER BENJAMIN BRITTEN AND IMOGEN HOLST, DAUGHTER OF GUSTAV HOLST AND AN ACCOMPLISHED MUSICIAN IN HER OWN RIGHT. |
| FORM 990, PART III, LINE 4A, PROGRAM SERVICE ACCOMPLISHMENTS (CONTINUED) | ROMEO AND JULIET OUR SERIES OF FIRST ENCOUNTERS PRODUCTIONS MADE SHAKESPEARE'S STAR CROSSED LOVERS RELEVANT FOR A NEW GENERATION OF THEATREGOERS. THIS 90-MINUTE VERSION OF ROMEO AND JULIET, EDITED BY ROBIN BELFIELD AND DIRECTED BY PHILIP J MORRIS, USED ORIGINAL LANGUAGE TO CREATE THE PERFECT INTRODUCTION FOR YOUNG PEOPLE AGED 7-13 AND THEIR FAMILIES. AS WELL AS TWO WEEKS OF PERFORMANCES FOR SCHOOL AND FAMILY AUDIENCES IN STRATFORD-UPON-AVON, THIS PRODUCTION PLAYED 89 PERFORMANCES, TOURED TO 20 SCHOOLS AND 7 THEATRES AROUND THE COUNTRY REACHING A TOTAL AUDIENCE OF 17,212 CHILDREN, YOUNG PEOPLE AND ADULTS. LEARNING & NATIONAL PARTNERSHIPS THE PRIMARY GOAL OF OUR LEARNING AND NATIONAL PARTNERSHIPS ACTIVITY WAS TO REDEFINE WHO ENJOYS, SHAPES, LEARNS ABOUT AND PARTICIPATES IN SHAKESPEARE'S WORK. THE TEAM'S WORK PLACED A SPECIAL EMPHASIS ON WORKING WITH SCHOOLS BECAUSE FOR MOST PEOPLE, SCHOOL IS WHERE THEIR FIRST ENCOUNTERS WITH SHAKESPEARE HAPPEN. WE HAVE COMPELLING EVIDENCE, BUILT OVER A NUMBER OF YEARS, THAT SHOWS HOW SHAKESPEARE'S PLAYS AND RSC TEACHING APPROACHES RAISE ASPIRATIONS AND ATTAINMENT, DEVELOP RESILIENCE AND CONFIDENCE, PROMOTE WELLBEING, INCLUSION AND A SENSE OF BELONGING IN INDIVIDUAL CHILDREN, PARENTS AND WHOLE SCHOOL COMMUNITIES. DURING 23/24 THE WORK OF OUR LEARNING AND NATIONAL PARTNERSHIP TEAM SOUGHT TO MAXIMISE THAT IMPACT. WE FOCUSED ON ACHIEVING THAT THROUGH FIVE INTERCONNECTED PROGRAMMES: 1. NATIONAL PARTNERSHIPS - THROUGH OUR ASSOCIATE SCHOOLS PROGRAMME, WE WORK IN PARTNERSHIP WITH SCHOOLS, COMMUNITIES AND REGIONAL THEATRES TO CO-DESIGN YEAR-ROUND PROGRAMMES OF THEATRE-MAKING, INSPIRE CREATIVE CHANGE AND ENRICH NATIONAL RESEARCH INTO THE IMPACT OF SHAKESPEARE'S WORK ON CHILDREN'S LEARNING OUTCOMES. 2. YOUTH LEADERSHIP AND TALENT DEVELOPMENT - SUPPORTING YOUNG PEOPLE IN AREAS OF STRUCTURAL DISADVANTAGE TO LEAD CHANGE IN THEIR SCHOOLS AND COMMUNITIES AS THEY CO-DESIGN AND PARTICIPATE IN THEATRE-BASED TALENT DEVELOPMENT AND LEADERSHIP PATHWAYS TOWARDS PAID TRAINING AND EMPLOYMENT. 3. LEARNING PROGRAMMES - CREATING OPPORTUNITIES TO LEARN ABOUT AND THROUGH SHAKESPEARE'S PLAYS, DEVELOPED FOR AND WITH CHILDREN, YOUNG PEOPLE AND TEACHERS. OFFERING WORKSHOPS, CONFERENCES, TEACHER TRAINING AND ONLINE MATERIALS THAT TRANSFORM ATTITUDES AND APPROACHES TO SHAKESPEARE'S WORK. 4. SHAKESPEARE NATION AND TOURING - TOURING SHAKESPEARE PRODUCTIONS IN LEVELLING UP FOR CULTURE PLACES. THIS YEAR, WE EMBARKED ON A LARGE-SCALE TOUR OF JULIUS CAESAR WHICH WAS CO-CREATED WITH ASSOCIATE THEATRE COMMUNITIES. OUR FIRST ENCOUNTERS WITH SHAKESPEARE SMALL-SCALE TOURS ARE PLANNED AND MADE WITH AND FOR YOUNG PEOPLE AND FAMILIES. 5. 37 PLAYS: AN INVITATION TO EVERYONE TO WRITE STORIES FOR PERFORMANCE, DEVELOPED, CHOSEN AND CELEBRATED WITH OUR 12 REGIONAL THEATRE PARTNERS AND SHARED THROUGH A NATIONWIDE FESTIVAL TO CREATE A NEW FOLIO OF OUR TIMES. DEVELOPMENT OF VIRTUAL RSC INNOVATION AND RESEARCH ARE AT THE HEART OF THE RSC AND CRITICAL TO OUR FUTURE CULTURAL LANDSCAPE. WITH EVERY RESEARCH AND DEVELOPMENT PROJECT WE DID IN 2023/24, WE LEARNT HUGE AMOUNTS ABOUT WHAT IS POSSIBLE, WHICH IN TURN DROVE NEW AND EXCITING POSSIBILITIES THAT ARE ULTIMATELY CHANGING HOW AUDIENCES EXPERIENCE LIVE PERFORMANCE IN THE FUTURE. DURING THE REPORTING YEAR, OUR DIGITAL WORK BECAME AN EVEN MORE VITAL PART OF OUR PROGRAMME, ENABLING AUDIENCES AND COMMUNITIES ACROSS THE UK AND BEYOND TO CONNECT WITH SHAKESPEARE AND THEATRE. THE MAIN FOCUS OF THE REPORTING YEAR WAS TO EMBED A NEW TEAM AND NEW WAYS OF WORKING AS ONE DIGITAL DEVELOPMENT DEPARTMENT. THE DEPARTMENT IS STRUCTURED WITH FOUR PROJECT LEADS: " CREATIVE " PRODUCTION " OPERATIONS " PRODUCER TOGETHER THEY BRING THE EXPERTISE REQUIRED TO DEVELOP OUR INNOVATIVE DIGITAL WORK IN-HOUSE AND BUILD THOSE SKILLS ACROSS THE COMPANY, DELIVERING MORE IMPACT FOR THE ORGANISATION LONGER TERM. ALONGSIDE THIS, THE DEPARTMENT HAS SEEN RISES IN ITS OUTPUT AND DELIVERABLES. WE ARE ARCHIVING AND TRACKING ALL OUR EXISTING CONTENT SO THAT IT CAN BE ACCESSED AND POTENTIALLY COMMERCIALISED IN THE FUTURE. RSC'S STATUS AS AN INDEPENDENT RESEARCH ORGANISATION (IRO) WE ARE THE FIRST (AND CURRENTLY ONLY) PERFORMING ARTS ORGANISATION TO HAVE BEEN AWARDED IRO STATUS. OUR GOAL THIS YEAR WAS TO EMBED OUR UNIQUE IRO STATUS AS A NATIONAL CENTRE FOR TEACHING, TRAINING, LEARNING AND RESEARCH ABOUT SHAKESPEARE, THE PERFORMING ARTS, IMMERSIVE TECHNOLOGIES IN PERFORMANCE AND ENGAGEMENT, AND THE CIVIC MISSION OF ARTS ORGANISATIONS. AGAINST THAT AMBITION, WE CAN REPORT THE FOLLOWING HIGHLIGHTS: " AN INTERNATIONAL COHORT OF INTERDISCIPLINARY PARTNERS WERE RECRUITED FOR THE AHRC-FUNDED FELLOWSHIP PROGRAMME. THE FOCUS OF THE FELLOWSHIPS IS ARTIST-LED RESEARCH RESPONDING TO SOME OF THE UNPRECEDENTED CHALLENGES FACING THE ARTS AND CULTURAL SECTORS IN THE UK AND US. WE WILL LOOK TO DEVELOP THIS PROGRAMME OVER THE COMING YEARS, WITH ADDITIONAL YEAR-ON-YEAR SUPPORT FROM US / UK TRUSTS AND FOUNDATIONS, WHICH WILL SUPPORT US TO WORK TOWARDS A PERMANENT FELLOWSHIP PROGRAMME EXPLORING THE FUTURE OF CULTURAL PRACTICE. WE DEEPENED OUR RELATIONSHIP WITH AHRC, BUILDING THE FOUNDATIONS FOR A NEW CENTRE OF RESEARCH AT THE RSC WHICH WILL FOCUS ON SOCIAL IMPACT AND VALUE; NEW FORMS OF INCLUSIVE SHAKESPEARE SCHOLARSHIP; AND THE FUTURE OF CULTURAL PRACTICE CONNECTED TO THE FELLOWSHIP PROGRAMME, WHICH WILL LEAD US TOWARDS LONGER-TERM INVESTMENT FOR OUR NEW RESEARCH CENTRE. " WE WERE AWARDED A GRANT FROM AHRC TO BUILD OUR DIGITAL INFRASTRUCTURE AND PURCHASE EQUIPMENT TO DELIVER A SERIES OF RESEARCH AND DEVELOPMENT WORK AND TO ESTABLISH A VIRTUAL PRODUCTION FACILITY IN STRATFORD-UPON-AVON WITH OUTSTANDING R&D CAPABILITIES. " WE WERE AWARDED SEED FUNDING FROM BLOOMBERG TO TEST THE FEASIBILITY OF A CULTURAL EDUCATION RESEARCH HUB FOR THE SECTOR. THIS HAS RESULTED IN THE RSC CONVENING ROUNDTABLES INVOLVING 40 REPRESENTATIVES FROM THE ARTS AND CULTURAL SECTOR. " THROUGH A RESEARCH AWARD FROM PAUL HAMLYN FOUNDATION, WE PUBLISHED GROUNDBREAKING NEW RESEARCH ? TIME TO ACT ? INTO THE IMPACT OF SHAKESPEARE'S LANGUAGE AND RSC TEACHING APPROACHES ON THE LANGUAGE DEVELOPMENT OF CHILDREN AND YOUNG PEOPLE (REFERENCED ON PAGE 16). THE RSC'S VISION FOR RESEARCH WILL BE DRIVEN BY A SERIES OF THEMES TO BE LAUNCHED IN JULY 2024. OUR GROWING RESEARCH PROGRAMME AND CAPABILITIES WILL DEVELOP OUR ROLE AS A GLOBAL COLLABORATOR, INNOVATOR AND CONVENER, MAXIMISING OUR NATIONAL AND INTERNATIONAL RESPONSIBILITY AND CHAMPIONING WHY AND HOW THE ARTS MAKE A DIFFERENCE TO INDIVIDUALS, TO COMMUNITIES AND TO SOCIETY. |
| FORM 990, PART V, LINE 6B | THE ORGANIZATION DOES NOT SOLICIT CONTRIBUTIONS IN THE UNITED STATES. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE FORM 990 IS REVIEWED BY THE FINANCE DIRECTOR IN ADVANCE OF FILING. |
| FORM 990, PART VI, SECTION B, LINE 12C | THE POLICY APPLIES TO BOARD MEMBERS AND COMMITTEES OF THE BOARD. ALL CONFLICTS OR POTENTIAL CONFLICTS SHOULD BE DISCLOSED TO THE CHAIRMAN. SUCH PERSONS ARE ENTITLED TO PARTICIPATE IN THE INFORMATION GATHERING STAGE OF DISCUSSIONS, BUT IS NOT ENTITLED TO PARTICIPATE IN THE FINAL DELIBERATIONS OR DECISIONS OF THE BOARD OR COMMITTEE. THEY ARE ALSO NOT ENTITLED TO VOTE ON EITHER THE TRANSACTION OR WHETHER THE MEETING IS QUORATE. |
| FORM 990, PART VI, SECTION B, LINE 15 | COMPENSATION LEVELS ARE REVIEWED BY THE BOARD OF GOVERNORS. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE ROYAL CHARTER IS REFERRED TO WITHIN THE FINANCIAL STATEMENTS AND IS AVAILABLE ON REQUEST. THE FINANCIAL STATEMENTS ARE AVAILABLE FOR PUBLIC INSPECTION ON THE CHARITY COMMISSION WEBSITE AND THE ANNUAL REPORT SUMMARISING THE FULL FINANCIAL STATEMENTS IS AVAILABLE ON THE COMPANY'S WEBSITE. COPIES OF FULL FINANCIAL STATEMENTS ARE AVAILABLE ON REQUEST TO THE COMPANY. |
| FORM 990, PART VII, COMPENSATION OF OFFICERS AND DIRECTORS, COLUMN D | THE OFFICERS, DIRECTORS AND HIGHEST COMPENSATED EMPLOYEES PERFORM ALL THEIR SERVICES OUTSIDE OF THE UNITED STATES AND DO NOT RECEIVE A FORM W-2. THE AMOUNT INCLUDED IN COLUMN D IS THE AMOUNT OF COMPENSATION RECEIVED THAT WOULD HAVE BEEN ON FORM W-2 IF ONE HAD BEEN REQUIRED. |
| PART VII LINE 1A | COMPENSATION FOR CERTAIN HIGHLY COMPENSATION EMPLOYEES WAS NOT DISCLOSED UNDER LAWS AND REGULATIONS OF THE UK DATA PROTECTION ACT. |
| FORM 990, PART XI, LINE 9: | UNREALIZED GAIN ON CURRENCY EXCHANGE 3,278,467. GAIN ON DEFINED BENEFIT PENSION PLAN 228,411. |
| PART IV, QUESTION 12 AND PART XI QUESTION 2B | FINANCIAL STATEMENTS WERE AUDITED UNDER INTERNATIONAL STANDARDS ON ACCOUNTING (U.K. AND IRELAND) AND NOT IN ACCORDANCE WITH U.S. GENERALLY ACCEPTED ACCOUNTING PRINCIPLES. |
| PART XII, QUESTION 2B | THE PROCESS FOR OVERSIGHT OF THE AUDIT OF THE FINANCIAL STATEMENTS AND SELECTION OF AN INDEPENDENT ACCOUNTANT HAS NOT CHANGED FROM THE PRIOR YEAR. |
| FORM 990, PART VIII | THE OFFICERS AND DIRECTORS WHO RECEIVED COMPENSATION WORKED IN THE UNITED KINGDOM AND THEY DO NOT RECEIVE A W-2 OR 1099. |
| SCHEDULE L, PART IV | IT IS NORMAL PRACTICE FOR MEMBERS OF THE BOARD, OR ORGANIZATIONS WITH WHICH THEY ARE CONNECTED, TO HELP RAISE DONATIONS OR SPONSORSHIP FOR THE CHARITY. SUCH RECEIPTS CAN COME FROM MEMBERS DIRECTLY OR FROM ORGANIZATIONS IN WHICH MEMBERS HAVE CONTROLLING INTERESTS. NO MATERIAL BENEFITS ARISE TO MEMBERS AS A RESULT OF SUCH TRANSACTIONS AND THEY ARE THEREFORE NOT DETAILED BELOW. THE FOLLOWING TRANSACTIONS TOOK PLACE WITH RELATED PARTIES: THE SHAKESPEARE BIRTHPLACE TRUST OF WHICH CATHERINE MALLYON HAS BEEN A COUNCIL MEMBER DURING THE YEAR, INVOICED $224,667 IN THE YEAR (2023: $234,484) FOR THE CARE OF THE COLLECTION. THESE WERE ON THE SHAKESPEARE BIRTHPLACE TRUST'S NORMAL COMMERCIAL TERMS. THE BALANCE OWED AT THE END OF THE YEAR WAS NIL (2023: NIL). THE SHAKESPEARE BIRTHPLACE TRUST WAS INVOICED $2,652 (2023: $2,340) IN THE YEAR FOR PROVISION OF ACTORS. THE BALANCE OWING AT THE END OF THE YEAR WAS NIL (2023: NIL). ANDREW MILLER IS A NATIONAL COUNCIL MEMBER OF ARTS COUNCIL ENGLAND. DURING THE YEAR, THE CORPORATION RECEIVED A NATIONAL PORTFOLIO ORGANISATION GRANT OF 19,687,070 (2023: 19,440,865) AND A TOURING GRANT OF $639,784 (2023: NIL). SOCIETY OF LONDON THEATRE, TO WHICH ANDREW MILLER PROVIDED PAID CONSULTANCY SERVICE, INVOICED THE CORPORATION $18,228 (2023: $35,680) FOR ITEMS INCLUDING COMMISSION FROM SALE OF GIFT CARDS, ADVERTISEMENT AND MEMBERSHIP FEES. THESE WERE ON SOCIETY OF LONDON THEATRE'S NORMAL COMMERCIAL TERMS AND THE BALANCE OWED AT THE END OF THE YEAR WAS NIL (2023: $1,075). ANDREW MILLER WORKED AS A FREELANCE CONSULTANT FOR PAUL HAMLYN FOUNDATION BETWEEN APRIL 2022 AND MARCH 2023. DURING THE YEAR ENDING 31 MARCH 2024, THE CORPORATION RECEIVED A GRANT OF $199,099 (2023: $158,204) FOR A RESEARCH PROJECT IN LEARNING AND NATIONAL PARTNERSHIP. THE BALANCE OWING AT THE YEAR END WAS NIL (2023: NIL). CLARE REDDINGTON HAS BEEN A TRUSTEE OF WISE CHILDREN LIMITED SINCE 2018, WHICH INVOICED THE CORPORATION FOR PRODUCTION WORK UNDERTAKEN DURING THE YEAR FOR $41,832 (2023: NIL). THE BALANCE OWED AT THE END OF THE YEAR WAS NIL (2023: NIL). DURING THE YEAR, THE CORPORATION ALSO INVOICED WISE CHILDREN LIMITED FOR RENT FOR $964 (2023: NIL). THESE WERE ON WISE CHILDREN LIMITED'S NORMAL COMMERCIAL TERMS. THE BALANCE OWING AT THE END OF THE YEAR WAS $964 (2023: NIL). DURING THE YEAR, TAMARA HARVEY AND CATHERINE MALLYON USED RSC FREEHOLD PROPERTY IN STRATFORD UPON AVON RENT-FREE, CREATING A TAXABLE BENEFIT IN KIND. A PAYMENT WAS ALSO MADE TO CATHERINE MALLYON UNDER AN OBLIGATIONS AND SETTLEMENT AGREEMENT. A PROPORTION OF THE INDEMNITY INSURANCE EQUATING TO $8,100 (2023: $8,100) COVERS BOARD MEMBERS. THE CHARITY COMMISSION HAS INDICATED ITS APPROVAL OF THIS ARRANGEMENT. |
| PART VI, QUESTION 16B | THE ORGANIZATION HAS A JOINT VENTURE POLICY. |
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