Then following statement about a major re-organisation was released by the Royal Shakespeare Company on 25th May, 2001:
Introduction
One of the UK's two national theatre companies, the RSC is best known for its performances of Shakespeare, other classical theatre and new plays, both in the UK and throughout the world.
Proposals for artists
Underpinning the proposals is a commitment to make the RSC a more attractive place to work for actors and directors. The current RSC structure is a deterrent to many actors, largely due to the length of contract, which can be as long as two years. The plans are intended to appeal to actors and directors with a package which includes:
- shorter contracts;
- more attractive pay and conditions for actors;
- bold programming of both new and classical plays;
- a wider variety of performance spaces and locations.
Ralph Fiennes and Kenneth Branagh, two of the RSC's distinguished alumni, have
already pledged to work at the RSC in the future under this new model.
As part of the package of proposals for artists, the RSC is planning the launch of a new Academy in Stratford-upon-Avon, training for the next generation of classical actors. The Academy - which will launch in embryo at The Other Place during the 2002 Summer Festival Season in Stratford - will recruit actors at the start of their careers and expose them to the very best talent in classical theatre. A programme of intensive training will end in a Shakespeare production as part of the Festival Season.
A new model for performance
The proposals refocus the RSC on performances and away from building and theatre management, particularly in London. The new proposals will reconfigure the RSC's current structure which involves a company of actors creating a season of plays which transfer annually from Stratford to Newcastle to London. The new, more flexible model will involve a number of smaller RSC companies, opening plays throughout the year in a wider variety of venues. Some actors will continue to be cross-cast in two or more RSC productions, although there will be a greater number of solus production - known to be attractive to many actors and directors.
The RSC in London
The RSC will adopt a more flexible model for its operations in London, moving centre stage in London with more plays in a wider range of venues, more premieres, and an important presence in the West End.
Talks have already opened with the management of the Barbican Centre, where the RSC has been the resident theatre company since 1982. Discussions are focused on redefining the RSC's relationship with the Barbican, but continuing use of the Barbican Theatre as one of a range of performance venues used by the RSC in London. The RSC's current operating agreement with the Barbican Centre concludes in May 2002, although the Company is already drawing up plans to include the Barbican Theatre among its choice of venues in the following year.
The RSC currently employs around 85 employees in London and the majority are involved in running the Barbican and Pit Theatres on behalf of the Barbican Centre. Consultation with those affected will begin immediately.
The RSC in Stratford-upon-Avon
An integral part of the new proposals will be the redevelopment of the Company's Stratford-upon-Avon base, and the creation of more flexible performance spaces and improved facilities for visitors. The Arts Council of England has already earmarked £50 million for the project - money that will need to be matched by the RSC. A feasibility study on the Stratford redevelopment is underway and will report in the autumn.
The reshaping of the company's organisation to deliver the new operating model has implications for employees in both London and Stratford-upon-Avon. In addition to negotiations with the Barbican Centre on London staff, job losses of between 50-60 are anticipated amongst the more than 500 strong team in Stratford. Consultation with those affected will begin without delay.
National and International Ambitions
The RSC plans further development of its international partnerships, especially in the United States where the RSC has already secured a five-year partnership with the University of Michigan. Other University partnerships and relationships with performance venues on both East and West coasts of the US are being negotiated.
The Regions
The RSC is continuing its commitment to touring in the UK regions. Currently 69 per cent of UK performances take place outside of London - in schools, community and leisure centres, as well as in theatres. Over 80 per cent of the British population is within a 60 minutes drive-time of an RSC production in the course of a year. The new model offers even more potential for short tours in the UK.
Artistic plans
To illustrate the potential of the new operating model, RSC Artistic Director Adrian Noble announced plans to stage a promenade performance of Shakespeare's Pericles and a production of Ibsen's Brand (with Ralph Fiennes) in the West End. The RSC is also currently exploring the transfer of two acclaimed new plays - A Russian in the Woods by Peter Whelan and The Lieutenant of Inishmore by Martin McDonagh - from The Other Place theatre in Stratford to the West End next Spring.
Adrian Noble also announced plans for the RSC's upcoming Winter Season
in Stratford and London. Four new productions and a revival of the
family show, The Lion, The Witch and The Wardrobe, will
form the core of the RSC's repertoire later this year. Building on
the success of productions like Lion and The Secret
Garden, Noble announced a major new production of Alice
in Wonderland to open at the Barbican Centre in October. Rachel
Kavanaugh directs a new dramatisation by Adrian Mitchell.
Further highlights include new productions of Shakespeare's The Merchant of Venice and A Midsummer Night's Dream directed by Loveday Ingram and Richard Jones respectively. The RSC also announced a new collaboration with the Lyric Theatre Hammersmith: The Prince of Homburg by Heinrich von Kleist, directed by Neil Bartlett.
The RSC's Artistic Director, Adrian Noble said: "This country has some great arts institutions, but if we are going to keep them fresh and relevant to future generations we have to break the mould occasionally and give artists the space to experiment and innovate. The crucial thing about the process we have embarked on is that it gives us the flexibility to stage bold and original theatre. We want to put on Shakespeare right in the heart of the West End. We want to produce great new plays not just in small studio spaces, but in larger venues where more people can see them. And through the Academy we want to continue to support classical actors and directors of the future - to offer a unique training ground to the next Judi Dench or Antony Sher."
The Arts Council of England (ACE), the RSC's principal funder with whom the company has been collaborating through the ACE Stabilisation Programme, welcomes the broad thrust of the company's proposals. Detailed consideration of possible support for the change programme by the Arts Council will follow advice to be given by the ACE Stabilisation Panel later this summer. The RSC will continue to work closely with the Arts Council in the implementation of the process of change.
The RSC's new Board, under the chairmanship of Lord Alexander of Weedon, has endorsed the far-reaching change programme. It envisages a period of transition with the Company's new operating model being progressively adopted during 2001-2. Over the next five years, the build up of privately developed resources to complement public funding will lead to an economic model balanced with greater self-sufficiency.
