ROYAL NATIONAL THEATRE
1411 Broadway 9th Floor, New York, NY 10018 www.nationaltheatre.org.uk

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Organizations Filed Purposes: THEATRE CAN LEAD TO EXTRAORDINARY MOMENTS OF SHARED IMAGINATION. IT ENABLES US TO STAND IN ANOTHERS SHOES TO BETTER UNDERSTAND OURSELVES AND THE WORLD AROUND US. IT SHOWS US WHO WE ARE, WHO WE HAVE BEEN, WHO WE COULD BE. THE NT DELIVERS ON THIS PROMISE THROUGH A WORLD-CLASS PROGRAMME OF PERFORMANCE, REINVIGORATING EXISTING WORK AND EXPLORING PROGRESSIVE NEW VOICES AND FORMS. WE MAKE THEATRE WITH AS WIDE A RANGE OF ARTISTS AS POSSIBLE, SEEKING ALWAYS TO FIND FRESH PERSPECTIVES ON THE STORIES THAT WE TELL. ON OUR STAGES IN LONDON, AND THROUGH TOURS, PARTNERSHIPS, DIGITAL AND BROADCAST, WE SHARE THIS WORK WITH A LARGE, DIVERSE AND EVOLVING AUDIENCE, THROUGHOUT THE UK AND AROUND THE WORLD. WE AIM TO PROVIDE LEADERSHIP AND ADVOCACY FOR THEATRE ACROSS THE COUNTRY. OUR WORK IS SHAPED BY THE WORLD AROUND US, AND WE SEEK TO BE CONSTANTLY ENGAGED WITH THE WIDER NATIONAL CONVERSATION. THROUGH THE WORK WE MAKE AND OUR WORLD-LEADING LEARNING PROGRAMME, WE WANT TO ENGAGE ALL AUDIENCES WITH THE POWER

AT THE NATIONAL, WE MAKE WORLD-CLASS THEATRE THAT IS ENTERTAINING, CHALLENGING AND INSPIRING. AND WE MAKE IT FOR EVERYONE.

In 2019-20, the work on our stages on the South Bank spoke clearly to contemporary themes and questions through a mixture of new work, adaption and fresh approaches to classic work. We staged six pieces of original new writing. In the Dorfman, Death of England by Roy Williams and Clint Dyer was a compelling portrait of a man coming to terms with the flaws of his late father and his own complicity in racism in contemporary Britain; Faith, Hope and Charity concluded Alexander Zeldin's inequality tryptich with the story of a community centre facing closure; Jellyfish was about first love, independence, and coming of age with Down's Syndrome; and Ella Hickson's Cold War thriller ANNA used binaural sound to. In the Lyttelton, Simon Woods' blistering debut play Hansard depicted a relationship destroyed by a painful secret, while Lucy Kirkwood's The Welkin explores how female bodies are regulated and failed by the law. Some of the most popular works of the year were new adaptions of well-loved novels. Helen Edmunson adapted Andrea Levy's Small Island charting the epic journey of the Windrush Generation. April de Angelis adapted My Brilliant Friend by Elena Ferrante in a two-part epic following a life-long friendship between two women. Meanwhile, in the Dorfman, Joel Horwood's adaptation of The Ocean at the End of the Lane by Neil Gaiman thrilled audiences with its fantastical exploration of grief and memory, and Andy Stanton's Mr Gum and the Dancing Bear was delightfully disgusting fun for children. Adaptations of plays also featured strongly in the programme. Inua Ellams' reworking of Chekhov's Three Sisters re-set the story in the Nigeria-Biafran War. David Hare created a new version of Peter Gynt for the Olivier and the Edinburgh International Festival, and Tony Kushner created a new version of Frederich Durrenmatt's The Visit. Revivals of modern classics included Annie Baker's The Antipodes. In the Lyttelton, Master Harold and the Boys by Athol Fugard explored the strain of , as well as a tale about power and family with Rutherford and Son by Githa Sowerby. Our popular production of Brian Friel's Translations returned for a second run in the Olivier. We also welcomed two visiting productions - Robert LePage's epic production of The Seven Streams of the River Ota (first staged at the NT in 1996) and Sydney Theatre Company's The Secret River.

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