RSC Winter 2014 Season and Shakespeare anniversary celebrations

4 February 2014


Issued: Tuesday 4 February, 10am

Royal Shakespeare Theatre
A season commemorating the First World War

• LOVE'S LABOUR'S LOST and LOVE'S LABOUR'S WON (Much Ado About Nothing) a double-bill directed by Christopher Luscombe, broadcast live to cinemas and streamed free to schools

• THE CHRISTMAS TRUCE a new play by Phil Porter, based on real events in the First World War and directed by Deputy Artistic Director, Erica Whyman

Swan Theatre
Staging the work of Shakespeare's contemporaries and new plays

• THE WITCH OF EDMONTON Artistic Director, Gregory Doran, concludes the 'Roaring Girls' season, directing Eileen Atkins in Rowley, Ford and Dekker's domestic tragedy

• THE SHOEMAKER'S HOLIDAY Dekker's festive city comedy of class, conflict and cobblers in love is directed by Phillip Breen

• OPPENHEIMER world premiere of Tom Morton-Smith's new play about J. Robert Oppenheimer looks into the heart of the Manhattan Project to create the atom bomb, directed by Angus Jackson

Shakespeare's 450th Birthday and 'Midsummer Mischief'

• RSC celebrates 450th anniversary of Shakespeare's birth with firework display in Stratford-upon-Avon commemorating the 'Star of Poets'

• 'MIDSUMMER MISCHIEF' festival of new plays marking the 40th anniversary of The Other Place led by Erica Whyman

• The Festival includes THE TEMPEST, a new co-production with The Ohio State University, directed by Kelly Hunter and developed for children with autism

RSC Education continues 'Young Shakespeare Nation', supporting teachers in giving children access to the broadest range of Shakespeare's plays with:

• Free broadcasts of RSC performances streamed direct into classrooms
• First ever conference for teachers in Stratford-upon-Avon this November
• More schools joining the Learning and Performance Network, the RSC's partnership with schools and theatres, which reaches over 400,000 students a year
• New masterclasses for students and teachers with RSC artists and theatre-makers

Season interviews with Gregory Doran, Erica Whyman and directors and writers available at

Royal Shakespeare Theatre: 23 September 2014 – 14 March 2015

As part of a season marking the centenary of the First World War, Christopher Luscombe returns to the Royal Shakespeare Company to direct a single company of actors in a fresh pairing of two of Shakespeare's most sparkling comedies, set in the shadow of war.

Love's Labour's Lost and Love's Labour's Won (usually known as Much Ado About Nothing) will play in repertoire in the Royal Shakespeare Theatre (RST) from October. Both productions will share a setting based on a splendid country house just before and just after the War, designed by Simon Higlett. Lighting design will be by Oliver Fenwick and music by Nigel Hess.

Returning to the RSC are Edward Bennett and Michelle Terry who will play the lovers in both productions: Berowne and Benedick and Rosaline and Beatrice in Love's Labour's Lost and Love's Labour's Won respectively. Edward was last at the RSC in Gregory Doran's productions of Love's Labour's Lost, A Midsummer Night's Dream and Hamlet; he has more recently been in the touring production of One Man, Two Guvnors. Olivier award-winning actress Michelle was part of the RSC Complete Works productions in 2006 of Pericles and The Winter's Tale. Other theatre credits include All's Well That Ends Well and The Comedy of Errors (National Theatre). Michelle won the award for Best Actress in a Supporting role at the 2011 Olivier Awards for her portrayal of Sylvia in The Royal Court production of Tribes.

In Love's Labour's Lost, the mischievous Rosaline tests Berowne's high-minded resolve in the summer of 1914. At the end of the play the merriment is curtailed as the lovers agree to submit to a period apart, unaware the world around them is about to be transformed by a war to end all wars. Love's Labour's Won begins four years later in the autumn of 1918 with a world-weary Benedick and Claudio returning from the trenches to a post-war house party, where Claudio falls in love with Hero and Benedick reignites his altogether more combative courtship with Beatrice. Youthful passions run riot before peace ultimately breaks out.

Christopher Luscombe makes his RSC directorial debut, having last appeared with the Company as an actor in 1997. His recent directing work includes The Merry Wives of Windsor and The Comedy of Errors for Shakespeare's Globe, as well as Madness of George III and Spamalot in the West End.

Deputy Artistic Director, Erica Whyman, will direct the same company in her first production in the Royal Shakespeare Theatre, The Christmas Truce. This new, uplifting play, by Phil Porter, for families and audiences of all ages, has been specially commissioned for this season. The story is inspired by real events exactly 100 years ago, when soldiers along the Western Front left their trenches on Christmas Eve, carrying only their courage and humanity, to meet their enemies in No Man's Land to talk, exchange gifts and, incredibly, play football. The production will be designed by Associate Designer, Tom Piper, with lighting by Charles Balfour and music by Sam Kenyon.

The Christmas Truce will draw on true stories of soldiers in the Warwickshire Regiment and in particular, the experiences of local cartoonist, Bruce Bairnsfather, who worked at the original Shakespeare Memorial Theatre as an electrical engineer, and whose famous comic creation 'Old Bill' was hugely popular with the troops.

As the RSC creates the production throughout this year, the Company invites local people and those with connections to the Regiment to help uncover and commemorate stories from the period. An Open House community day will be held at the Royal Shakespeare Theatre on Saturday 8 March from 10am to 3pm for people to share and discover more about their own First World War family history. A supporting exhibition about Bruce Bairnsfather will open in the PACCAR Room in the autumn.

Swan Theatre: 6 October 2014 – 7 March 2015

The RSC continues to stage the plays of Shakespeare's contemporaries in the Swan Theatre. Extending the 'Roaring Girls' season, Gregory Doran will direct Eileen Atkins in a new production of the rarely-performed Jacobean domestic tragedy by Dekker, Ford and Rowley, The Witch of Edmonton, which will play in repertoire with an extended run of The White Devil, directed by Maria Aberg.

Eileen Atkins returns to the RSC in the title role of Elizabeth Sawyer, who is derided by her neighbours and accused of being a witch until she seeks revenge on those who have wronged her. Eileen last performed with the RSC in 1997 in The Unexpected Man with Michael Gambon. Her many credits include Cranford, for which she won a BAFTA and Emmy as well as Gosford Park. Her latest stage appearance is in Ellen Terry with Eileen Atkins at the Sam Wanamaker Playhouse in London. The production will be designed by Nikki Turner, with lighting by Associate Artist, Tim Mitchell, and music by Associate Artist, Paul Englishby.

The RSC's winter season in the Swan continues with a very different Jacobean classic and the premiere of a new commission.

Thomas Dekker's festive comedy The Shoemaker's Holiday, produced for the first time by the RSC, will be directed by Phillip Breen, who directed The Merry Wives of Windsor for the Company in 2012. Written in 1599, in the dying years of Queen Elizabeth's reign, it depicts a nation overshadowed by foreign wars and explores class, conflict and cobblers in love. When his father sends him to war to reform his ways, Rowland Lacy must take drastic action to avoid any chance of injury whilst secretly pursuing his love. He goes from riches to rags; losing himself among the craftsmen of London as he assumes the guise of a Dutch shoemaker at the shop of the larger-than-life Simon Eyre and his wife Margery, who are on their way from rags to riches.

The production will play in repertoire with Oppenheimer, a major new play written by Tom Morton-Smith about 'the father of the atom bomb', J. Robert Oppenheimer. As fascism spreads across Europe in 1939, theoretical physicists in California recognise the horrendous potential of atomic fission. The charismatic Oppenheimer spearheads the largest scientific undertaking in human history and races to win the battle of the laboratories to create a devastating weapon which could bring an end not only to the Second World War, but to all wars.

A history play for our times, Tom Morton-Smith's Oppenheimer looks into the heart of the Manhattan Project, exploring the tension between scientific advances and the justification of their use during wartime and reveals the personal cost of achieving greatness. Tom Morton-Smith is a former writer in residence at Paines Plough, whose play In Doggerland, produced by Box of Tricks, toured the UK last autumn. His play Everyday Maps for Everyday Use was produced at the Finborough Theatre in December 2012. Angus Jackson, Associate Director at Chichester Festival Theatre, will direct his first production for the RSC.

Shakespeare's 450th birthday: 23 April 2014

Taking inspiration from Ben Jonson's 'Star of Poets' description of William Shakespeare, the RSC will launch its Shakespeare birthday festivities with a fireworks display from the top of the Royal Shakespeare Theatre after the evening performance of Henry IV Part I from 10.30pm. Emergency Exit Arts, one of the country's best and most experienced providers of pyrotechnics, will create this special anniversary event. .

The Other Place at The Courtyard Theatre: 'Midsummer Mischief' Festival 14 June – 12 July 2014

This month-long Festival of new plays is inspired by the ethos of the original The Other Place, which began life in a tin shed in 1974 under the visionary leadership of its founding director, Buzz Goodbody. The Company has commissioned writers to respond as radically as they would like to the provocation that 'well behaved women rarely make history', in order to complement the 'Roaring Girls' season in the Swan Theatre.

The programme will include four plays, staged in pairs over two evenings, playing in repertoire with a shared cast in a purpose-built temporary studio on the current Courtyard Theatre stage. Further details of the productions and supporting activities over the festival weekends will be announced soon. There will be an exhibition to remember 40 years of The Other Place and opportunities to meet the writers and other theatre artists in residence.

As part of the Festival programme, the RSC and The Ohio State University have also commissioned a co-production of The Tempest directed by Kelly Hunter and especially developed for children and young people with autism. The project builds on the long term partnership between the RSC and Ohio State which includes work with teachers and students across Ohio.

Kelly Hunter has been developing a research project with children with autism at the University's Nisonger Centre, a centre dedicated to exploring the causes and cures for autism. An actor and director, Kelly has developed the “Hunter Heartbeat Method”, a unique approach which uses Shakespeare's rhythmic language and physical gesture to release communicative blocks within children with autism. Her most recent RSC credits include Goneril and Hermione in David Farr's productions of King Lear and The Winter's Tale in Stratford, London and New York in 2009. The hour-long, specially-adapted production will feature actors from the UK and from the USA. It will premiere at the RSC in June 2014 and then tour to The Ohio State University. The initiative builds on the programme of 'relaxed' performances that the RSC has been running since 2013.

Gregory Doran, RSC Artistic Director, said:

“2014 is a year of important anniversaries. We will kick off the Stratford celebrations of Shakespeare's 450th birthday with a fireworks display acknowledging Shakespeare as the 'Star of Poets'. In June, we celebrate the 40th anniversary of The Other Place studio theatre and the extraordinary vision of its founder, Buzz Goodbody, with 'Midsummer Mischief', a prologue to our plans to reinstate The Other Place in 2015.

The Winter Season forms our contribution to the events commemorating the First World War and is the next stage of our journey through the entire First Folio over the next six years.

We have paired, for the first time, two Shakespeare comedies, Love's Labour's Lost and Much Ado About Nothing. It's always struck me that these plays belong together and so strong is my sense that I am sticking my neck out to say that Much Ado About Nothing may also have been known as Love's Labour's Won in Shakespeare's lifetime. We know he wrote a play under this name and scholars have debated whether it is indeed a 'lost work' or an alternative title to an existing play. To test my theory, Christopher Luscombe will direct both with a single company of actors.

Alongside these two plays, set just before and after the First World War, we have commissioned a new family production, The Christmas Truce. This story is rooted in local history, drawing on the stories of the Warwickshire Regiment and the memoires of the famous wartime cartoonist, Bruce Bairnsfather, who also happened to have begun his career installing electric light into the Shakespeare Memorial Theatre for the first time. I am delighted that Erica Whyman will direct her first production in the Royal Shakespeare Theatre.

In the Swan Theatre, we conclude our 'Roaring Girls' season with my production of The Witch of Edmonton and I am so pleased that Eileen Atkins will rejoin the Company after a gap of 16 years. We will follow this with The Shoemaker's Holiday directed by Phillip Breen, and Tom Morton-Smith's powerful play, Oppenheimer, about J. Robert Oppenheimer, which reflects the ambition and epic sweep of Shakespeare as it asks tough questions about the ethics of science. We have asked Angus Jackson, who himself studied nuclear physics at university, to direct.

We had a hugely positive response to our recent live broadcast of Richard II, particularly from people who would not ordinarily get to see us in Stratford or London. As well as staging work in Stratford-upon-Avon, we will continue to broadcast our Shakespeare productions live to cinemas worldwide and stream them for free into schools across the country. I want us to respond to the demand by making as much of the canon available in this way.”

Erica Whyman, Deputy Artistic Director, said:

“40 years ago, Buzz Goodbody set up The Other Place in an old tin shed with masses of inspiration and very little budget, practically inventing the idea of studio theatre. She talked about making sure the RSC's work included new and radical thinking with a political conscience and she staged plays of all scales in this memorably intimate space. The Other Place was part of the Company's lifeblood for the next three decades and we have felt its loss since 2005 when it closed to create our temporary Courtyard Theatre.

We now have planning permission to retain the Courtyard Theatre structure and are working hard to raise the money to install a studio theatre, rehearsal rooms and costume store to create a new, multi-functional Other Place by the end of 2015.

In the meantime, I'm delighted we're responding to Buzz's spirit with a festival of specially-commissioned new plays, responding to the 'Roaring Girls' season in the Swan and to the question of whether 'well behaved women seldom make history'. This teasing quote (by Laurel Thatcher Ulrich) raises important questions about gender in the 21st Century and is ensuring we explore big ideas on our smallest stage. We are looking forward to announcing the details and inviting people to join us for a summer of 'Radical Mischief.”

Catherine Mallyon, RSC Executive Director, said:

“We continue to take our work to the widest possible audience. Our live broadcasts worldwide of Henry IV Parts I & II will be followed by an extensive national tour and transfer to the Barbican in London this winter. A Life of Galileo, which first opened in the Swan Theatre, tours the UK this spring, co-produced with Theatre Royal Bath and Birmingham Repertory Theatre; our National Theatre Scotland co-production of Dunsinane, visits China and Russia; The Rape of Lucrece continues to tour internationally; and in the US, Antony and Cleopatra, co-produced with GableStage and the Public Theater, plays in Miami before visiting New York. And, of course, we are delighted that Matilda The Musical enjoys packed houses on both sides of the Atlantic, having welcomed its millionth visitor in London in November.

Following the success of our schools broadcast of Richard II to 30,000 young people, we continue to stream Shakespeare productions direct into the classroom. These broadcasts are the centrepiece of our Young Shakespeare Nation initiative. In collaboration with the Prince's Foundation for Children and the Arts, this programme works with schools up and down the country, giving a new generation the chance to step outside the traditional exam-focused diet of Shakespeare plays and experience the full range of his work.

We are committed to making our work as accessible as possible to everyone and it is great we are continuing with 'relaxed' performances for our family productions. I am especially pleased we will be working with Kelly Hunter and our partners, The Ohio State University, on The Tempest, developed for children with autism.
Closer to home, we acknowledge the support of our Stratford neighbours as we begin our new £10 ticket offer for local residents in March. And we are grateful to our supporters everywhere for their continuing championing of our work. Whether it's a ticket top-up donation or the funding of the 'Roaring Girls' season by a syndicate of generous donors, every contribution counts, helping us to put more work on our stages and reach an ever wider audience.”

RSC Education

The RSC continues Young Shakespeare Nation (YSN) to give a new generation of children and young people unprecedented access to the RSC's work and enable more of them to enjoy the challenge of Shakespeare's plays. Young Shakespeare Nation, in partnership with The Prince's Foundation for Children & the Arts (CATA), supports schools, teachers, children and young people to explore the broadest and more ambitious range of plays and teaching approaches.

The RSC was the first theatre company to broadcast its work directly to schools with Richard II in 2013. 87% of the schools audience was new to the RSC's work and 99% reported that they would now consider going to the theatre. The series continues with broadcasts of Henry IV Parts I & II, Love's Labour's Lost and Love's Labour's Won (Much Ado About Nothing).

Also as part of YSN, the RSC invites primary and secondary school teachers to Stratford-upon-Avon in November to participate in our first Young Shakespeare Nation teachers' conference which will build on their existing knowledge and help them to teach more of the canon and make more adventurous choices.

Schools from Blackpool, Bradford, Canterbury, Cornwall, London and Newcastle will join the RSC's 400-strong Learning and Performance Network. The Company also deepens its partnerships with ten regional theatres across the country, working with teachers, children and young people sharing high quality performances of Shakespeare in and with local communities.

The RSC also launches a new series of masterclasses providing entry points into the RSC's artistic and teaching practices. Students and teachers will connect with artists who are the heart of the Company's repertoire such as Erica Whyman, Phil Porter, Hilary Mantel and Mike Poulton.


Henry IV Parts I & II, UK national tour and London:

After their run in the Royal Shakespeare Theatre in Stratford, both parts of Henry IV tour the UK during autumn/winter 2014. Full tour dates and booking information will be issued next week. Both parts of Henry IV will then perform in repertoire at the Barbican from 29 November 2014 – 24 January 2015. See editors' notes for booking information.

A Life of Galileo

Theatre Royal Bath and Birmingham Repertory Theatre presents the RSC's production of A Life of Galileo, by Bertolt Brecht, translated by Mark Ravenhill and directed by Roxana Silbert, which tours to Birmingham, Cheltenham, Bath, Kingston and Cambridge from 28 February to 5 April. Further details at


The National Theatre of Scotland and the RSC present Dunsinane by David Greig and directed by Roxana Silbert, which tours to Beijing, Shanghai, Hong Kong, Taiwan and Russia from 26 April to 18 May 2014, supported by the Scottish Government International Touring Fund with additional support from the British Council. For further information see

Antony and Cleopatra

Antony and Cleopatra, directed by Tarell Alvin McCraney and co-produced with The Public Theater, New York and GableStage, Miami, is currently playing at Miami's Colony Theatre until 9 February and then tours to New York from 18 Feb – 23 March 2014. The Royal Shakespeare Company in America is presented in collaboration with The Ohio State University. Further information at

Live from Stratford-upon-Avon

The next live screenings from the Royal Shakespeare Theatre in Stratford-upon-Avon are the two parts of Henry IV, directed by Gregory Doran and The Two Gentlemen of Verona directed by Simon Godwin. These will be followed by a free schools' streaming direct into classrooms around the UK.

Live screenings of both Love's Labour's Lost and Love's Labour's Won will follow in early 2015. Encore screenings in the UK and worldwide will also be available. See editors' notes for dates and booking information.


Press Contact information

For further information, please contact on 01789 412667 or Amy.belson@rsc, on 01789 412622.
For press ticket requests, please contact on 01789 412660

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Media can download high res images by registering at

Booking information for Royal Shakespeare and Swan Theatres

PUBLIC BOOKING: from Wednesday 19 March

Priority Plus booking opens from Wednesday 19 February
Full RSC Members' web booking opens from Monday 24 February
Full RSC Members' phone booking opens from Wednesday 26 February
Associate RSC Members' postal booking opens from Monday 10 March
Associate RSC Members' phone booking opens from Wednesday 12 March

To book call 0844 800 1110 or online at

Ticket schemes

£5 tickets for 16-25s gives access to £5 tickets for all RSC productions whether we are performing in Stratford-upon-Avon, London or on tour. Tickets can be booked in advance on the phone, online or in person with some available for sale on the day of performance. The scheme is supported by Project Partner, BP.

Launch of the RSC CV37 Ticket scheme begins on 18 March for the first performance of the Summer 2014 season. Everyone who lives in the CV37 postcode area will be able to benefit from this new stand-by ticket scheme which allows them to buy best available seats for that day's performance for £10, subject to availability. The offer is made in recognition of the support the Company receives from its neighbours and applies to all of the RSC's productions in the Royal Shakespeare and Swan Theatres.

Subject to availability, tickets can be purchased on the day of performance, in person or by telephone, with proof of address required at the time of booking or on collection of tickets.

Booking information and screening dates for Live from Stratford-upon-Avon:

Henry IV, Part I 14 May 2014
Henry IV, Part II 18 June 2014
The Two Gentlemen of Verona 3 September 2014
Love's Labour's Lost 11 February 2015
Love's Labour's Won 4 March 2015

International screening dates to be confirmed.

For details of participating cinemas, go to

Priority booking at Picturehouse Cinemas opens to Picturehouse Members and RSC Members from 12 March 2014.

Public booking for Live from Stratford-upon-Avon screenings at all UK supporting cinemas opens 19 March 2014.

Picturehouse Entertainment are the RSC's international distribution partner.

Booking Information for Barbican

Barbican Booking for Henry IV Parts I & II:
Priority Plus - from Monday 24 March
RSC Full and Barbican Red Members - online and telephone from Wednesday 26 March
RSC Associate and Barbican Orange Members - online and telephone from Friday 28 March
Public booking and Barbican Yellow Members - from Friday 4 April, 020 7638 8891


Royal Shakespeare Theatre, Stratford-upon-Avon

Love's Labour's Lost Wed 15 October, 1pm
Running 23 September 2014 -14 March 2015

Love's Labour's Won (Much Ado About Nothing) Wed 15 October, 7pm
Running 3 October 2014 – 14 March 2015

The Christmas Truce Tues 9 December, 7pm
Running 29 November 2014 – 31 January 2015

Swan Theatre, Stratford-upon-Avon

The Witch of Edmonton Wed 29 October, 7pm
Running 23 October – 29 November 2014

The Shoemaker's Holiday Thur 18 December, 7pm
Running 11 December 2014 – 7 March 2015

Oppenheimer Thur 22 January 2015, 7pm
Running 15 January 2014– 7 March 2015

Barbican Theatre, London

Henry IV Parts I & II Thur 11 December, 1pm & 7pm
Running 29 November 2014 – 24 January 2015

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The RSC Literary Department is generously supported by THE DRUE HEINZ TRUST

The RSC in America is presented in collaboration with THE OHIO STATE UNIVERSITY

RSC workshops, conferences and professional development courses for students and teachers are generously supported by THE CLORE DUFFIELD FOUNDATION

The Learning and Performance Network is generously supported by the Paul Hamlyn Foundation

The 'Roaring Girls' season is generously supported by Miranda Curtis

Live from Stratford-upon-Avon is generously supported by the Sidney E. Frank Foundation

Live from Stratford-upon-Avon is generously supported by the CHK Charities Limited

Young Shakespeare Nation

RSC Education is committed to building long-term relationships with schools, teachers and young people across the UK – and particularly those who might not ordinarily experience our work. Young Shakespeare Nation is our vehicle for providing future generations with unlimited opportunities to enjoy and be inspired by Shakespeare and the RSC's work. Supported by The Prince's Foundation for Children & the Arts, through teacher professional development, live broadcasts, live performance, special events, workshops and a whole host of online support materials, Young Shakespeare Nation will give more young people than ever before more ways to enjoy and relish the challenge of all 36 of Shakespeare's plays.

For more information and ways to get involved visit:

The Prince's Foundation for Children & the Arts was founded by HRH The Prince of Wales with the fundamental belief that every child has the right to be inspired by the arts. The charity takes children on a journey into their local arts venue and unlocks the arts for those who need to be inspired by them the most, raising children's self-esteem and confidence, and nurturing their communication skills. Through the work of Children & the Arts, children learn that cultural venues are welcoming, accessible places to visit and since 2006 Children & the Arts has introduced over 300,000 children to life-changing arts experiences.

The Ohio State University

Founded in 1870, The Ohio State University is a world-class public research university and the leading comprehensive teaching and research institution in the state of Ohio. With more than 63,000 students, a major medical center, 14 colleges, 80 centers, and 175 majors, the university offers its students tremendous breadth and depth of opportunity in the liberal arts, the sciences, and the professions.

The Ohio State University and Royal Shakespeare Company have significantly broadened their international relationship, supporting Ohio State's aspiration to be a destination for the innovative teaching, research, and performance of Shakespeare. Royal Shakespeare Company productions, including Antony and Cleopatra in New York and Miami and last spring's Julius Caesar in New York and Columbus, stem from an international presenting partnership between the two world-class organizations. Under the agreement, Ohio State helps bring more of the RSC's work to American audiences.

Ohio State also supported the RSC's unprecedented six-week New York City residency in summer 2011, presented by Lincoln Center Festival and Park Avenue Armory, and supported Young People's Shakespeare (YPS) performances of Hamlet and King Lear in New York and Columbus.

Ohio State and the RSC collaborate on an educational partnership as well, providing K-12 teacher professional development programs inspired by the RSC's Stand Up for Shakespeare manifesto, which calls for students to: Do Shakespeare on their Feet, See it Live, and Start it Early. At the heart of the professional development program are active teaching approaches drawn from the RSC's rehearsal room practice.

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