Our work

We have resident acting companies – groups of 20 to 40 actors working together on a variety of projects over a longer period of time than is customary for theatre.

'The ensemble is a secure environment without ever being a comfort zone. All of us are continually challenging ourselves and being inspired by those around us to reach new levels in all aspects of our work.'
Geoffrey Streatfeild, The Histories Ensemble

The Associates play an important part in informing the artistic direction of the Company in addition to directing and designing shows. As the Artistic Director, Gregory Doran provides the creative vision, planning each season of work, directing individual productions and ensuring the RSC remains in the forefront of live theatre.

• Gregory Doran – Artistic Director
• Erica Whyman - Deputy Artistic Director
• Tom Piper – Associate Designer
• John Barton – Advisory Director
• Cis Berry – Director of Voice and Text

A quote from a widely admired RSC veteran speaks volumes about the importance of the audience's role.

'In the theatre the audience gives so much. They're supplying something to the actors and you're supplying something to the play. It's entirely a live thing and it's never the same. This is the night that nobody else except you in that theatre is seeing. It's the magic of theatre.'

Dame Judi Dench

Casting works closely with the director to understand his or her ideas for the production and stays involved through auditions. They also manage the complexity of actors contracted to play in several productions. In general, at least five actors are auditioned for each available part and department members see over 25 productions a month in the process of scouting talent.

'The role here is so different to the equivalent position anywhere else as you are casting a company who will more often than not be contracted to perform in multiple productions. It is a privilege to work for an ambitious, successful and forward-looking organization.'

Hannah Miller, Head of Casting

The work of the Department includes dyeing, printing, leatherwork, beading, corsetry, millinery, mask–making and jewellery–making, in addition to a specialist Armoury department. Costumes are washed and maintained throughout the run, and most are available to be hired by schools, dramatic societies and other theaters thereafter.

'Maintenance of costumes is much more than a bit of washing and ironing. Certain fabrics are very delicate and have to be cared for with very special knowledge. There is a constant list of running repairs. It's a big job and great care must be taken.'

Alistair McArthur, Head of Costume

Discover more about RSC costumes.

The production designer works with the director to conceptualize the world in which the play will be set, often drawing inspiration from paintings, photographs and other visual aids in conceiving the set and costumes. A design model is then used to establish if the design is workable (and affordable!) before a detailed final model is made: a 3D miniature version of the set, scenery and props.

'The RSC offers an environment of infinite possibility – for a designer to be encouraged to explore without limit can only produce the best possible end result. There is no greater learning experience than this.'

Michelle Smickle, Trainee Designer

Ticket sales, financial support from Arts Council England and fundraising are our biggest sources of revenue. The Development team works with individuals, trusts and companies, building relationships in order to raise funds. New writing and artist training, education projects and the Transformation of the Stratford theatre - the results of generous donations can be seen everywhere.

'It was a dream come true to be able to support King Lear with Ian McKellen in the title role. Perhaps, more than anything, it was an opportunity to say thank you to the RSC for over 60 years of being the global standard-bearer of Shakespeare's works.'

Mark Pigott OBE, RSCA supporter

The Education team works with young people throughout the country, deepening the understanding and enjoyment of Shakespeare's work by encouraging an active, theatre based engagement with the plays. In the last decade, more than a million under 25 year olds have enjoyed our work and in the last year, over 25,000 students and 2,500 teachers have worked directly with our practitioners. Our manifesto, Stand Up For Shakespeare, encourages schools to adopt theatre based approaches to studying Shakespeare.

'My Dad said Shakespeare was boring, but he's got it wrong! I'm gonna tell him about Hamlet. It's got murders and ghosts and castles and stuff and that's not boring. What are we doing next?'

Ben, age eight, after doing a unit of work on Hamlet with his teacher using RSC approaches

Discover more about RSC Education.

The Events and Exhibition team explores and explodes our work. Through performances, talks, workshops and exhibitions, audiences are offered a variety of routes in to enjoy the RSC. The team works with a range of UK and international artists and communities to create fresh perspectives, opening up imaginative opportunities for audiences to collaborate, be involved and co-create our work.

'One of the most interesting aspects of our work is the diversity of people, places, ideas and art forms we work with. We aim to curate a really eclectic programme. To name just a few projects, we've worked on a version of Romeo and Juliet played through Twitter, commissioned exciting contemporary visual and performance art for our new building, presented skills sessions for aspiring theatre makers and developed an international community theatre project for the World Shakespeare Festival in 2012. By opening up the creative process, we aim to invite everyone in to enjoy and participate in the company's unique approach to theatre.'

Jo Whitford, Events and Exhibitions Manager

Find out more about RSC Events and Exhibitions

The front of house team looks after the safety, security and care of our audiences, ensuring that all shows and events run smoothly, that all members of the audience are welcomed warmly and that the standard of service reflects the professionalism of the work on stage.

'I'm immensely proud to be part of a team that contributes to the success of the performance. People travel from all over the world to performances in Stratford and we are able to resolve any problems they may have, and, most satisfyingly, we get to see their enjoyment of the productions. It gives me goosebumps!'
Joss Carter, RSC usher

These teams ensure that resources are focused on the work on stage and that we have the very best people to do it. Our operations are supported by IT, HR and business systems and services, enabling the company to manage and communicate efficiently internally and externally. We employ around 700 staff at any one time and receives as many as 300 applications for an open position.

'The pace of life at the RSC is incredibly fast and the complex and diverse HR challenges together with the excitement of being part of the creative theatre process makes this a unique HR role.'
Adele Cope, Director of HR

Find out more about working for the RSC at www.rsc.org.uk/thinktheatre/

The Literary Department is at the heart of our new work. Working closely with the best British and International writers, directors and composers, we create tailor-made commissions to allow them to explore and develop new ideas for our stages.

We currently have 35 writers working on new plays with us. These include large scale musicals, new translations, new adaptations and work for young people. Our commissioned new plays have a scope that explores the contemporary world: from the foundation of modern America to the politics of English football.

'I turned up to the RSC's new musical version of Roald Dahl's Matilda expecting a pretty classy children's show. What I wasn't anticipating was the best British musical since Billy Elliot and a smash hit that will surely be the toast of the West End once its run in Stratford is over.'
Charles Spencer, Telegraph

In the last decade, there have been over 11,600 performances, with over 6.3 million tickets being sold. Our Marketing and Communications Departments are responsible for encouraging our current audiences to return and attracting new audiences using a range of promotional tools and techniques. The teams work closely with colleagues to present the RSC as effectively as possible, tell the story of its work and to build relationships across the world.

'So many extraordinary words, so much outstanding action, such an epic vision from the greatest writer the world has ever known, and, four centuries on, from the company that dedicates itself to his work.'
Daily Telegraph

We are committed to using live music in all its productions. The Music Department commissions composers for individual shows and schedules the musicians for the entire season. Instruments in our productions have ranged from the traditional clarinet and violin to kitchen sinks and planks of wood!

'If music be the food of love, play on'…and at the RSC, we have always played live and always will! Why disagree with the House Dramatist!?'
Richard Sandland, RSC Music Department

The Nursery was founded in 1963 when actor David Brierley's wife identified the need for actors spending a season in Stratford–upon–Avon to have family time. The Nursery looks after the children of all employees, from artists to administrators, and provides services to the local community.

'My first thought when faced with moving to Stratford to act with the RSC was – Great! Fantastic! But then I started thinking about the time I would have to spend away from my family. The RSC nursery means that my family doesn't have to miss out on the adventure. I wouldn't have it any other way.'
RSC actor

The Scenic Workshop team has to create a set – from sketches and a model – that will endure the rigors of a repertory season as well as going out on tour. As they translate the small scale models and drawings into life size pieces of work, the team often invents and experiments with different techniques as they go.

'Set painting is such a luxurious medium in its scale and we are very lucky to be able to develop new ideas with access to new materials and share the wealth of knowledge acquired within the scenic workshops, where there is a great diversity of skills.'
Rebecca Ashley, Acting Head of Scenic Art

Discover more about the scene and prop workshop.

We are fortunate to have a long history of support from the US. Generous, recent supporters include:

Arlene Altman*
Joyce Chelberg*
Columbia Foundation Fund of the Capital Community Foundation
Jane and Howard Epstein*
Mr and Mrs Mort Fleishhacker
Lydia and Manfred Gorvy*
Mrs Drue Heinz DBE
Michael and Mercedes Hoffman*
IBM International Foundation
Laurence Isaacson CBE
Professor Joel Kaplan
Mr and Mrs John Kluge
The Kovner Foundation
The Kresge Foundation
Nick and Alyssa Lovegrove*
Mr and Mrs Jon Lovelace
Jacqueline B Mars*
Doug and Julie McPherson*
The Meyer Foundation*
The Ohio State University
Mrs Carolyn Perry
Mark Pigott OBE*
Mr and Mrs Gerald Schoenfeld
Jon and NoraLee Sedmak*
Sidney E Frank Foundation
Mr and Mrs Raymond Smith
Mr and Mrs Leslie Wexner
Mr Mitchell Wolfson Jr

* Supporters of RSC America Inc.

The Stage Department deals with the nuts and bolts of the scenery, working with the automation department who develop stage machinery to move the scenery, using electric winches, pneumatics, hydraulics, and bespoke controls, all integrated into a central control system. This ensures that with the scenic effects are accurately repeated night after night.

'One of the most enjoyable challenges of working at the RSC is the opportunity to develop innovative bespoke mechanisms at the design stage of each production. The RSC has a wealth of engineering knowledge and experience, and a strong determination in setting new standards to meet evermore ambitious aspirations of the creative teams.'
Haydn Wright, Senior Automation Technician

The art of speaking Shakespeare is seldom studied in depth and we were the first company ever to appoint a full time voice coach.

Movement, which enables an actor to express character and emotion without speech, is also a vital part of an actor's toolkit and needs to be developed and studied as an actor's career progresses. We constantly explore new techniques and teaching methods.

'No other language has such an extraordinary writer, who is somehow the voice of the people. It is the RSC's job to keep Shakespeare's language alive.'
Cicely Berry, Voice Director

Just as the internet has begun to permeate all our lives, so too has it become a central part of how we communicate with the global community.

We have seen online mature as an effective way of promoting productions and selling tickets, but also as platform that can provide our audiences with behind-the-scene video and information about our work, education professionals with materials for teaching, as well bespoke digital projects such as Adelaide Road.

Beyond the web, digital media is used extensively in exhibitions, on stage and front-of-house. And we also have an ever-growing presence on social media - you can also follow us on Twitter and Facebook.