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Royal National Theatre

Coordinates:51°30′26″N0°06′51″W/ 51.5071°N 0.1141°W/51.5071; -0.1141
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(Redirected fromCottesloe Theatre)

National Theatre
The National Theatre fromWaterloo Bridge
National Theatre is located in Central London
National Theatre
National Theatre
Location within Central London
Former namesNational Theatre Company(while based at theOld Vicfrom 1963)
AddressUpper Ground,South Bank
London
England
Coordinates51°30′26″N0°06′51″W/ 51.5071°N 0.1141°W/51.5071; -0.1141
Public transit
DesignationGrade II*
TypeNational theatre
Capacity
  • Olivier Theatre: 1,160 seats
  • Lyttelton Theatre: 890 seats
  • Dorfman Theatre: 400 seats
Construction
Opened1976;48 years ago(1976)(building)
Architect
Website
nationaltheatre.org.uk

TheRoyal National Theatre of Great Britain,[1]commonly known as theNational Theatre(NT) within the UK and as theNational Theatre of Great Britaininternationally,[2][3]is a performing arts venue and associated theatre company located inLondon,England. The theatre was founded by the actorLaurence Olivierin 1963, andmany well-known actorshave performed with it since.

The company was based atThe Old Victheatre inWaterloountil 1976. The current building is located next to the Thames in theSouth Bankarea of central London. In addition to performances at the National Theatre building, the National Theatre tours productions at theatres across the United Kingdom.[4]The theatre has transferred numerous productions to Broadway and toured some as far as China, Australia and New Zealand. However, touring productions to European cities was suspended in February 2021 over concerns about uncertainty over work permits, additional costs and delays because ofBrexit.[5]Permission to add the "Royal" prefix to the name of the theatre was given in 1988,[6]but the full title is rarely used. The theatre presents a varied programme, including Shakespeare, other international classic drama, and new plays by contemporary playwrights. Each auditorium in the theatre can run up to three shows inrepertoire,thus further widening the number of plays which can be put on during any one season. However, the post-2020 covid repertoire model became straight runs, required by the imperatives of greater resource efficiency and financial constraint coupled with the preference (and competition for the availability) of creatives working across stage and screen, thus bringing it in line with that of most theatres.

In June 2009, the theatre beganNational Theatre Live(NT Live), a programme of simulcasts of live productions to cinemas, first in the United Kingdom and then internationally. The programme began with a production ofPhèdre,starringHelen Mirren,which was screened live in 70 cinemas across the UK. NT Live productions have since been broadcast to over 2,500 venues in 60 countries around the world. In November 2020, National Theatre at Home, avideo on demandstreaming service, specifically created for National Theatre Live recordings, was introduced. Videos of plays are added every month, and can be "rented" for temporary viewing, or unlimited recordings can be watched through a monthly or yearly subscription programme.[7][8]

The NT had an annual turnover of approximately £105 million in 2015–16, of which earned income made up 75% (58% from ticket sales, 5% from NT Live and Digital, and 12% from commercial revenue such as in the restaurants, bars, bookshop, etc.). Support fromArts Council Englandprovided 17% of income, 1% from Learning and Participation activity, and the remaining 9% came from a mixture of companies, individuals, trusts and foundations.[9]

Origins

[edit]

In 1847, a critic using the pseudonymDramaticuspublished a pamphlet[10]describing the parlous state of British theatre. Production of serious plays was restricted to thepatent theatres,and new plays were subjected to censorship by theLord Chamberlain's Office.At the same time, there was a burgeoning theatre sector featuring a diet of lowmelodramaand musicalburlesque;but critics described British theatre as driven by commercialism and a "star" system. There was a demand to commemorate serious theatre, with the "Shakespeare Committee" purchasing the playwright's birthplace for the nation demonstrating a recognition of the importance of "serious drama". The following year saw more pamphlets on a demand for a National Theatre from London publisher Effingham William Wilson.[11]The situation continued, with a renewed call every decade for a National Theatre. Attention was aroused in 1879 when theComédie-Françaisetook a residency at theGaiety Theatre,described inThe Timesas representing "the highest aristocracy of the theatre". The principal demands now coalesced around: a structure in the capital that would form a permanent memorial to Shakespeare; an "exemplary theatre" company producing at the highest level of quality; and a centre from which appreciation of great drama could be spread as part of education throughout the country.[12]

The Royal National Theatre a seen from the southwest

TheShakespeare Memorial Theatrewas opened inStratford upon Avonon 23 April 1879, with the New Shakespeare Company (now theRoyal Shakespeare Company,RSC); thenHerbert Beerbohm Treefounded anAcademy of Dramatic ArtatHer Majesty's Theatrein 1904. This still left the capital without a national theatre. A London Shakespeare League was founded in 1902 to develop a Shakespeare National Theatre and – with the impending tercentenary in 1916 of his death – in 1913 purchased land for a theatre inBloomsbury.This work was interrupted by World War I.

In 1910,George Bernard Shawwrote a short comedy,The Dark Lady of the Sonnets,in whichShakespearehimself attempts to persuadeElizabeth Iof the necessity of building a National Theatre to stage his plays. The play was part of the long-term campaign to build a National Theatre.

National Theatre Act 1949
Act of Parliament
Parliament of the United Kingdom
Long titleAn Act to authorise the Treasury to contribute towards the cost of a national theatre, and for purposes connected therewith.
Citation12, 13 & 14 Geo. 6.c. 16
Dates
Royal assent9 March 1949
Commencement9 March 1949
Other legislation
Amended by
Status: Amended
Text of statute as originally enacted
Text of the National Theatre Act 1949as in force today (including any amendments) within the United Kingdom, fromlegislation.gov.uk.
National Theatre Act 1969
Act of Parliament
Parliament of the United Kingdom
Long titleAn Act to raise the limit imposed by section 1 of the National Theatre Act 1949 on the contributions which may be made under that section.
Citation1969c. 11
Dates
Royal assent27 March 1969
Other legislation
AmendsNational Theatre Act 1949
National Theatre Act 1974
Act of Parliament
Parliament of the United Kingdom
Long titleAn Act to remove the limits imposed by the National Theatre Act 1949 on the contributions which may be made under that Act towards the cost of erecting and equipping a national theatre.
Citation1974c. 55
Dates
Royal assent29 November 1974
Other legislation
AmendsNational Theatre Act 1949
Repealed byStatute Law (Repeals) Act 2013
Status: Repealed
Text of statute as originally enacted

Finally, in 1948, theLondon County Council(LCC) presented a site close to theRoyal Festival Hallfor the purpose, so theNational Theatre Act 1949(12, 13 & 14 Geo. 6.c. 16), offering financial support, was passed byParliament.[13]Ten years after the foundation stone had been laid in 1951, the government declared that the nation could not afford a National Theatre; in response, the LCC offered to waive any rent and pay half the construction costs. The government still tried to apply unacceptable conditions to save money, attempting to force the amalgamation of the existing publicly supported companies: the RSC,Sadler's WellsandOld Vic.[13]

Following some initial inspirational steps taken with the opening of theChichester Festival TheatreinChichesterin June 1962, the developments in London proceeded. In July 1962, with agreements finally reached, a board was set up to supervise construction, and a separate board was constituted to run a National Theatre Company, which would lease the Old Vic theatre in the interim. The "National Theatre Company" opened on 22 October 1963 withHamlet,starringPeter O'Toolein the title role.[14]The company was founded byLaurence Olivier,who became the first artistic director of the company. As fellow directors, he enlistedWilliam GaskillandJohn Dexter.Among the first ensemble of actors of the company wereRobert Stephens,Maggie Smith,Joan Plowright,Michael Gambon,Derek Jacobi,Lynn Redgrave,Michael Redgrave,Colin BlakelyandFrank Finlay.

Meanwhile, construction of the permanent theatre proceeded with a design byarchitectsSirDenys Lasdunand Peter Softley and structural engineersFlint & Neillcontaining three stages, which opened individually between 1976 and 1977.[15]The construction work was carried out bySir Robert McAlpine.[16]

The Company remained at the Old Vic until 1976, when construction of the Olivier was complete.[13]

Theatre building and architecture

[edit]
Entrance to the National Theatre

Theatres

[edit]

The National Theatre building houses three separate theatres. Additionally, a temporary structure was added in April 2013 and closed in May 2016.

Olivier Theatre

[edit]

Named after the theatre's first artistic director,Laurence Olivier,this is the main auditorium. Modelled on theAncient Theatre of Epidaurus,it has an open stage and a fan-shaped audience seating area for 1160 people. A "drum revolve" (a five-storey revolving stage section) extends eight metres beneath the stage and is operated by a single staff member. The drum has two rim revolves and two platforms, each of which can carry ten tonnes, facilitating dramatic and fluid scenery changes. Its design ensures that the audience's view is not blocked from any seat, and that the audience is fully visible to actors from the stage's centre. Designed in the 1970s and a prototype of current technology, the drum revolve and a multiple "sky hook" flying system were initially very controversial and required ten years to commission, but seem to have fulfilled the objective of functionality with high productivity.[17]

Lyttelton Theatre

[edit]

Named afterOliver Lyttelton,the National Theatre's first board chairman, it has aproscenium archdesign and can accommodate an audience of 890.

Dorfman Theatre

[edit]

Named afterLloyd Dorfman(philanthropist and chairman ofTravelex Group),[18]the Dorfman is "the smallest, the barest and the most potentially flexible of the National Theatre houses... a dark-walled room" with an audience capacity of 400.[19]It was formerly known as the Cottesloe Theatre (named afterLord Cottesloe,Chairman of the South Bank Theatre Board), a name which ceased to be used with the theatre's closure under the National'sNT Futureredevelopment.

The enhanced[19]theatre reopened in September 2014 under its new name.[20]

Temporary Theatre

[edit]

The Temporary Theatre, formerly called The Shed, was a 225-seat black box theatre which opened in April 2013 and featured new works; it closed in May 2016, following the refurbishment of the Dorfman Theatre.[21]

In 2015 British artistCarl Randallpainted a portrait of actressKatie Leungstanding in front of The Shed as part of the artist's "London Portraits" series, where he asked various cultural figures to choose a place in London for the backdrop of their portraits.[22][23]Leung explained she chose The Shed as her backdrop because she performed there in the 2013 playThe World of Extreme Happiness,and also because "... it's a temporary theatre, it's not permanent, and I wanted to make it permanent in the portrait".[24][25]

Axis view of Royal National Theatre to Olivier Theatre fly tower

Architecture

[edit]
Detail of the National Theatre showing the grain of theformwork

The style of the National Theatre building was described by architecture historianMark Girouardas "an aesthetic of broken forms" at the time of opening. Architectural opinion was split at the time of construction. Even enthusiastic advocates of theModern Movementsuch asNikolaus Pevsnerfound theBéton brutRAAC concrete both inside and out overbearing. Most notoriously, the futureCharles IIIdescribed the building in 1988 as "a clever way of building a nuclear power station in the middle of London without anyone objecting".John Betjeman,a man not noted for his enthusiasm forbrutalistarchitecture, wrote to Lasdun stating ironically that he "gasped with delight at the cube of your theatre in the pale blue sky and a glimpse of St Paul's to the south of it. It is a lovely work and so good from so many angles...it has that inevitable and finished look that great work does."[26][27]

Denys Lasdun's building for the National Theatre – an "urban landscape" of interlocking terraces responding to the site at King's Reach on the River Thames to exploit views ofSt Paul's CathedralandSomerset House.

Despite the controversy, the theatre has been a Grade II*listed buildingsince 1994.[28]Although the theatre is often cited as an archetype ofBrutalistarchitecture in England, since Lasdun's death the building has been re-evaluated as having closer links to the work ofLe Corbusier,rather than contemporary monumental 1960s buildings such as those ofPaul Rudolph.[29]The carefully refined balance between horizontal and vertical elements in Lasdun's building has been contrasted favourably with the lumpiness of neighbouring buildings such as theHayward GalleryandQueen Elizabeth Hall.It is now in the unusual situation of having appeared simultaneously in the top ten "most popular" and "most hated" London buildings in opinion surveys. A recent lighting scheme illuminating the exterior of the building, in particular thefly towers,has proved very popular, and is one of several positive artistic responses to the building. A key intended viewing axis[30]is fromWaterloo Bridgeat 45 degrees head on to the fly tower of the Olivier Theatre (the largest and highest element of the building) and the steps from ground level. This view is largely obscured now by mature trees along the riverside walk but it can be seen in a more limited way at ground level.

Foyers and interior spaces

[edit]

The National Theatre's foyers are open to the public, with a large theatrical bookshop, restaurants, bars and exhibition spaces. The terraces and foyers of the theatre complex have also been used for ad hoc, short seasonal and experimental performances and screenings. The riverside forecourt of the theatre is used for regular season of open-air performances in the summer months.

The Clore Learning Centre is a new dedicated space for learning at the National Theatre. It offers events and courses for all ages, exploring theatre-making from playwriting to technical skills, often led by the NT's own artists and staff. One of its spaces is The Cottesloe Room, so called in recognition of the original name of the adjacent theatre.

The dressing rooms for all actors are arranged around an internal light-well and air-shaft and so their windows each face each other. This arrangement has led to a tradition whereby, on the opening night (known as "Press Night" ) and closing night of any individual play, when called to go to "beginners" (opening positions), the actors will go to the window and drum on the glass with the palms of their hands.[31]

Backstage tours run throughout the day and the Sherling High Level Walkway, open daily until 7.30 pm, offers visitors views into the backstage production workshops for set construction and assembly, scenic painting and prop-making.

NT Future

[edit]

2013 saw the commencement of the "NT Future" project; a redevelopment of the National Theatre complex which it was estimated would cost about £80 million.[32]

National Theatre Studio

[edit]

The Studio building across the road from theOld Vicon The Cut in Waterloo. The Studio used to house the NT's workshops, but became the National's research and development wing in 1984. The Studio building houses the New Work Department, the Archive, and the NT's Immersive Storytelling Studio.

The Studio is a Grade II listed building designed by architects Lyons Israel Ellis.[33]Completed in 1958, the building was refurbished by architectsHaworth Tompkinsand reopened in autumn 2007.

The National Theatre Studio was founded in 1985 under the directorship ofPeter Gill,who ran it until 1990.[34]Laura Collier became Head of the Studio in November 2011, replacing Purni Morrell who headed the Studio from 2006.[35]Following the merge of the Studio and the Literary Department under the leadership of Rufus Norris, Emily McLaughlin became the Head of New Work in 2015.

National Theatre Live

[edit]
Main article:National Theatre Live

National Theatre Live is an initiative which broadcasts performances of their productions (and from other theatres) to cinemas and arts centres around the world. It began in June 2009 withHelen MirreninJean Racine'sPhedre,directed byNicholas Hytner,in the Lyttelton Theatre.

The third season of broadcasts launched on 15 September 2011 withOne Man, Two GuvnorswithJames Corden.This was followed byArnold Wesker'sThe Kitchen.The final broadcast of 2011 wasJohn Hodge'sCollaboratorswithSimon Russell Beale.In 2012Nicholas Wright's playTravelling Lightwas broadcast on 9 February, followed byThe Comedy of ErrorswithLenny Henryon 1 March andShe Stoops to ConquerwithKatherine Kelly,Steve PembertonandSophie Thompsonon 29 March.

One Man, Two Guvnorsreturned to cinema screens in the United States, Canada and Australia for a limited season in Spring 2012.Danny Boyle'sFrankensteinalso returned to cinema screens worldwide for a limited season in June and July 2012.

The fourth season of broadcasts commenced on Thursday 6 September 2012 withThe Curious Incident of the Dog in the Night-Time,a play based on the international best-selling novel byMark Haddon.This was followed byThe Last of the Haussmans,a new play by Stephen Beresford starringJulie Walters,Rory KinnearandHelen McCroryon 11 October 2012.William Shakespeare'sTimon of Athensfollowed on 1 November 2012 starringSimon Russell Bealeas Timon. On 17 January 2013, NT Live broadcastArthur Wing Pinero'sThe Magistrate,withJohn Lithgow.[36]

The performances to be filmed and broadcast are nominated in advance, allowing planned movement of cameras with greater freedom in the auditorium.

Learning and participation

[edit]

National Theatre Connections

[edit]
Main article:National Theatre Connections

National Theatre Connections is the annual nationwide youth theatre festival run by the National Theatre. The festival was founded in 1995, and features ten new plays for young people written by leading playwrights. Productions are staged by schools and youth groups at their schools and community centres, and at local professional theatre hubs. One of the productions of each play is invited to perform in a final festival at the National Theatre, usually in the Olivier Theatre and Dorfman Theatre.

National Theatre Collection

[edit]

TheNational Theatre Collection(formerly calledOn Demand. In Schools) is the National Theatre's free production streaming service for educational establishments worldwide, which is free to UK state schools. The service is designed for use by teachers and educators in the classroom, and features recordings of curriculum-linked productions filmed in high definition in front of a live audience.[37]

The service was launched initially to UK secondary schools in 2015 with productions for Key Stage 3 pupils and above. In November 2016, the National Theatre launched to service to UK primary schools, adding a number of new titles for Key Stage 2.[38]Productions currently offered by the service includeFrankenstein(directed byDanny Boyle,starringBenedict CumberbatchandJonny Lee Miller),Othello(directed byNicholas Hytner,startingAdrian LesterandRory Kinnear),Antigone(directed byPolly Findlay,starringChristopher EcclestonandJodie Whittaker), andJane Eyre(directed bySally Cookson).

In 2018, the National Theatre reported that over half of UK state secondary schools have registered to use the service.On Demand. In Schoolswon the 2018 Bett Award for Free Digital Content or Open Educational Resources.[39]

In March 2020, in light of the coronavirus pandemic, the National Theatre Collection was made available for pupils and teachers to access at home to aid blended learning programmes.[40]In April 2020, six new titles were added to the service to bring the total up to 30 productions. These includeCat on a Hot Tin Roof(directed by Benedict Andrews for theYoung Vic,starringSienna MillerandJack O'Connell) andSmall Island(directed by Rufus Norris for the National Theatre).[41]

Public Acts

[edit]

Public Acts is a community participation programme from the National Theatre working with theatres and community organisations across the UK to create large-scale new work. The first Public Acts production wasPericlesin August 2018, at the National Theatre, in the Olivier Theatre.The Guardiandescribed this as 'a richly sung version with brilliant performances from a cast of hundreds.'[42]The second production wasAs You Like Itperformed in August 2019 at theQueen's Theatre,Hornchurch.[43][44]

Since 2019, Public Acts has been working on a third production in Doncaster in partnership with Cast and six local community partners.[45]The new adaptation ofThe Caucasian Chalk Circlewas originally planned for 2020 but has been postponed, due to COVID-19.[46]

In December 2020, in partnership withThe Guardian,Public Acts released an online musical calledWe Begin AgainbyJames Graham(Quiz) as a music video and a standalone track released by Broadway Records.[47][48]

Outdoor festivals

[edit]

River Stage

[edit]

River Stage is the National Theatre's free outdoor summer festival that place over five weekends outside the National Theatre in its north-east cornersquare. It is accompanied by a number of additional street food stalls and bars run by the NT.

The event features programmes developed by various companies for the first four weekends, with the National Theatre itself programming the fifth weekend. Participating organisations have included The Glory,HOME Manchester,Sadler's Wells,nonclassical,WOMAD,Latitude Festival,Bristol'sMayfestandRambert.The festival launched in 2015 and is produced by Fran Miller.

Watch This Space

[edit]

The annual "Watch This Space" festival was a free summer-long celebration of outdoor theatre, circus and dance, which was replaced in 2015 by the River Stage festival.

"Watch This Space" featured events for all ages, including workshops and classes for children and adults. "Watch This Space" had a strong national and international relationships with leading and emerging companies working in many different aspects of the outdoor arts sector. Significant collaborators and regular visitors included Teatr Biuro Podrozy, The Whalley Range All Stars, Home Live Art, Addictive TV, Men in Coats, Upswing, Circus Space, Les Grooms, StopGAP Dance Theatre, metro-boulot-dodo, Avanti Display, The Gandinis, Abigail Collins, The World-famous, Ida Barr (Christopher Green), Motionhouse, Mat Ricardo, The Insect Circus, Bängditos Theater, Mimbre, Company FZ, WildWorks, Bash Street Theatre, Markeline, The Chipolatas, The Caravan Gallery, Sienta la Cabeza, Theatre Tuig, Producciones Imperdibles and Mario Queen of the Circus.[49]

The festival was set up by its first producerJonathan Holloway,who was succeeded in 2005 by Angus MacKechnie.

Whilst the Theatre Square space was occupied by the Temporary Theatre during the NT Future redevelopment, the "Watch This Space" festival was suspended.[50]but held a small number of events in nearby local spaces. In 2013 the National announced that there would be a small summer festival entitled "August Outdoors" in Theatre Square. Playing Fridays and Saturdays only, the programme includedThe SneakersandThe Streetlightsby Half Human Theatre,The Thinkerby Stuff & Things,H2Hby Joli Vyann,Screevingby Urban Canvas,Pigeon Poo Peopleby The Natural Theatre Company,Capsesby Laitrum,Bang On!,Caravania!by The Bone Ensemble,The Hot Potato Syncopators,Total Eclipse of the Headby Ella Good and Nicki Kent,The Caravan Gallery,Curious Curiosby Kazzum Theatre andThe Preenersby Canopy.[51]

Artistic directors

[edit]
Laurence Olivierbecame the first artistic director of the National Theatre in 1963. Shown in a photograph byCarl Van Vechten,1939

Laurence Olivierbecame artistic director of the National Theatre at its formation in 1963. He was considered the foremost British film and stage actor of the period, and became the first director of theChichester Festival Theatre– there forming the company that would unite with the Old Vic Company to form the National Theatre Company. In addition to directing, he continued to appear in many successful productions, not least as Shylock inThe Merchant of Venice.In 1969 the National Theatre Company received aSpecial Tony Awardwhich was accepted by Olivier at the23rd Tony Awards.He became alife peerin 1970, for his services to theatre, and stepped down in 1973.

Peter Halltook over to manage the move to the South Bank. His career included running theArts Theatrebetween 1956 and 1959 – where he directed the English language première ofSamuel Beckett'sWaiting for Godot.He went on to take over the Memorial Theatre at Stratford, and to create the permanentRoyal Shakespeare Company,in 1960, also establishing a new RSC base at theAldwych Theatrefor transfers to theWest End.He was artistic director at the National Theatre between 1973 and 1988. During this time he directed major productions for the Theatre, and also some opera at Glyndebourne and the Royal Opera House. After leaving, he ran his own company atThe Old Vicand summer seasons at theTheatre Royal, Bathalso returning to guest directTantalusfor the RSC in 2000 andBacchaiin the National Theatre's Olivier andTwelfth Nightin the Dorfman some years later. In 2008, he opened a new theatre,The Rose,and remained itsDirector Emeritusuntil his death in 2017.

One of the National's associate directors under Peter Hall,Richard Eyre,became artistic director in 1988; his experience included running theRoyal Lyceum Theatre,Edinburgh and theNottingham Playhouse.He was noted for his series of collaborations withDavid Hareon the state of contemporary Britain.

In 1997,Trevor Nunnbecame artistic director. He came to the National from the RSC, having undertaken a major expansion of the company into theSwan,The Other Placeand theBarbican Theatres.He brought a more populist style to the National, directingMy Fair Lady,Oklahoma!andSouth Pacific.

In April 2003,Nicholas Hytnertook over as artistic director. He previously worked as an associate director with theRoyal Exchange Theatreand the National. A number of his successful productions have been made into films. In April 2013 Hytner announced he would step down as artistic director at the end of March 2015.[52][53]

Amongst Hytner's innovations wereNT Future,theNational Theatre Liveinitiative ofsimulcastinglive productions, and the Entry Pass scheme, allowing young people under the age of 26 to purchase tickets for £7.50 to any production at the theatre.

Rufus Norristook over as artistic director in March 2015. He is the first person since Laurence Olivier to hold the post without being aUniversity of Cambridgegraduate. In June 2023 it was announced that Norris would be stepping down in 2025.[54]

Facing east; towards theCity of London,fromWaterloo Bridge.ShowingSt. Paul's,and other major City buildings – to the right, the illuminated National Theatre.

Notable productions

[edit]

1963–1973

[edit]
In 1962, the company ofThe Old Victheatre was dissolved, and reconstituted as the "National Theatre Company" opening on 22 October 1963 withHamlet.The company remained based in The Old Vic until the new buildings opened in February 1976. The National Theatre Board was established in February 1963, formally gaining the Royal prefix in 1990.

1974–1987

[edit]

1988–1997

[edit]

1998–2002

[edit]

2003–2014

[edit]

2015–present

[edit]

Royal patrons

[edit]
[edit]
  • An artistic lighting scheme illuminating the exterior of the building
    An artistic lighting scheme illuminating the exterior of the building
  • The statue of Laurence Olivier as Hamlet was unveiled in September 2007
    The statue of Laurence Olivier as Hamlet was unveiled in September 2007
  • The terrace entrance between the mezzanine restaurant level and the Olivier cloakroom level, reached from halfway up/down Waterloo Bridge
    The terrace entrance between the mezzanine restaurant level and the Olivier cloakroom level, reached from halfway up/down Waterloo Bridge
  • The main entrance on the ground floor
    The main entrance on the ground floor
  • The ensemble shows a varying range of geometric relationships.
    The ensemble shows a varying range of geometric relationships.
  • River Thames and Waterloo Bridge, with National Theatre, centre-right
    River Thames and Waterloo Bridge, with National Theatre, centre-right

See also

[edit]

Notes

[edit]
  1. ^Hartnoll, Phyllis; Found, Peter (1 January 2003), Hartnoll, Phyllis; Found, Peter (eds.),"National Theatre",The Concise Oxford Companion to the Theatre,Oxford University Press,doi:10.1093/acref/9780192825742.001.0001,ISBN978-0-19-282574-2,retrieved20 December2023
  2. ^Lister, David (11 January 2003)."Wales and Scotland need a cultural revolution".The Independent.London.
  3. ^"Home page".The National Theatre.Archivedfrom the original on 25 May 2020.Retrieved29 November2017.Welcome to the National Theatre
  4. ^"National Theatre Near You".Royal National Theatre. Archived fromthe originalon 3 February 2015.Retrieved20 January2015.
  5. ^Slawson, Nicola (17 February 2021)."National Theatre to halt Europe tours over Brexit rules".The Guardian.Retrieved18 February2021.
  6. ^The Cambridge History of British Theatre,Volume 3, p. 319
  7. ^Marshall, Alex (December 2020)."U.K. National Theater Enters the Streaming Wars".New York Times.Retrieved17 December2020.
  8. ^"National Theatre at Home".National Theatre.Retrieved17 December2020.
  9. ^National Theatre Annual Report 2012-13
  10. ^DramaticusThe stage as it is(1847)
  11. ^Effingham William WilsonA House for Shakespeare. A proposition for the consideration of the Nationand aSecond and Concluding Paper(1848)
  12. ^Woodfield, James (1984).English Theatre in Transition, 1881–1914: 1881–1914.Rowman & Littlefield. pp.95–107.ISBN0-389-20483-8.
  13. ^abcFindlater, RichardThe Winding Road to King's Reach(1977), also in Callow. Retrieved 1 July 2008.
  14. ^"Monitor - Prince of Denmark".BBC.Archivedfrom the original on 20 March 2021.Retrieved9 August2020.
  15. ^"Denys Lasdun and Peter Hall talk about the building".History of the NT.Royal National Theatre. Archived fromthe originalon 22 July 2010.Retrieved1 October2009.
  16. ^"A portrait of achievement"(PDF).Sir Robert McAlpine. Archived fromthe original(PDF)on 8 May 2016.Retrieved24 April2016.
  17. ^History of the Drum RevolveArchived30 December 2010 at theWayback Machineat National Theatre website
  18. ^Brown, Mark (28 October 2010)."National Theatre's Cottesloe venue to be renamed after £10m donor".The Guardian.Retrieved3 October2022.
  19. ^ab"Dorfman Theatre".Royal National Theatre.Retrieved3 October2022.
  20. ^Quinn, Michael (2 July 2014)."National's Dorfman Theatre to open with Fatboy Slim musical".The Stage.Retrieved3 October2022.
  21. ^"National Theatre reveals closing date for Temporary Theatre".The Stage.19 April 2016.
  22. ^Carl Randall's "London Portraits" on display in National Portrait Gallery.,The Royal Drawing School, London, 2016,retrieved20 March2021
  23. ^Actress Katie Leung and The Shed.,Carl Randall's artist website, 2016,archivedfrom the original on 20 March 2021,retrieved20 March2021
  24. ^Carl Randall's London Portraits – Video Documentary.,The Daiwa Anglo Japanese Foundation London, 2016,archivedfrom the original on 10 August 2016,retrieved20 March2021
  25. ^London Portraits – Video Documentary.,Youtube, 2016,archivedfrom the original on 20 March 2021,retrieved20 March2021
  26. ^Pearman, Hugh (21 January 2001)."Gabion: The legacy of Lasdun 2/2".Archived fromthe originalon 5 March 2012.Retrieved25 April2008.
  27. ^Richard J. Williams."What is: Brutalism?".HENI Talks.
  28. ^Historic England(23 June 1994)."Royal National Theatre (1272324)".National Heritage List for England.Retrieved16 August2018.
  29. ^Rykwert, Joseph (12 January 2001)."Sir Denys Lasdun obituary".The Independent.London. Archived fromthe originalon 30 September 2007.Retrieved22 January2007.
  30. ^Denys Lasdun: Architecture, City, Landscape by William J R Curtis Phaidon Press 1994
  31. ^Lithgow, John(13 January 2013)."A Lone Yank Takes Joy in Togetherness".The New York Times.p. AR7.Archivedfrom the original on 20 March 2021.Retrieved16 May2013.
  32. ^"Welcome to National Theatre NT Future"Archived6 April 2013 at theWayback Machine,Royal National Theatre. Retrieved 6 April 2013.
  33. ^Historic England."Royal National Theatre Studio (1391540)".National Heritage List for England.Retrieved18 December2018.
  34. ^Cavendish, Dominic (28 November 2007)."National Theatre Studio: More power to theatre's engine room – Telegraph".The Daily Telegraph.London. Archived fromthe originalon 20 March 2021.Retrieved25 April2008.
  35. ^"Collier to Head NT Studio"Archived12 November 2012 at theWayback Machine,The British Theatre Guide,20 October 2011. Retrieved 6 April 2013.
  36. ^The MagistrateArchived7 September 2012 at theWayback Machine.Royal National Theatre.
  37. ^"National Theatre On demand. In Schools".schools.nationaltheatre.org.uk.Retrieved15 August2018.
  38. ^"Third of secondary schools sign up to National Theatre's streaming service | News | The Stage".The Stage.4 November 2016.Retrieved15 August2018.
  39. ^"2018 winners | Bett Awards".bettawards.Archivedfrom the original on 5 June 2016.Retrieved15 August2018.
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Bibliography

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Further reading

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  • Rosenthal, Daniel (2013).The National Theatre Story.Oberon Books: London.ISBN978-1-84002-768-6
  • Dillon, Patrick [Tilson, Jake – designed by] (2015).Concrete Reality: Building the National TheatreNational Theatre: London.ISBN978-0-95722-592-3
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