AANT corporate and foundation support
Corporate support
The American Associates of the National Theatre (AANT) works in tandem with the National Theatre to deliver high profile partnerships with a number of companies headquartered in the US. We pride ourselves on our commitment to understanding and meeting the business objectives of our corporate partners.
Our approach has a focus on creativity, innovation, flexibility, professionalism, as well as return on investment and turnkey activation. Opportunities in the US include sponsorship and client entertaining around Broadway transfers of the NT’s award-winning productions, National Theatre Live, National Theatre at Home , NT Collection, and high profile Gala events. Additionally, corporate clients in the US can join the Global Corporate Partners program, and have access to National Theatre benefits all around the world.
Foundation support
The AANT provides incredible opportunities for US-based foundations to support the work of the National Theatre both in the UK, and in the US. Grants from US-based foundations play a vital role in enabling the National Theatre to make world-class theatre, for everyone, everywhere.
The National Theatre’s work in the United States includes learning programs such as free access to NT Collection in New York City public schools, as well as subsidized tickets for National Theatre productions on Broadway and on tour. The National Theatre also reaches US audiences in cinemas through NT Live, and virtually through NT at Home. AANT can also facilitate partnerships with the National Theatre in other areas that would interest you.
Case Study – Edgerton Foundation
Piloted in 2006 with the Center Theatre Group in Los Angeles, the Edgerton Foundation New Play Awards give plays in development extended rehearsal periods for the entire creative team, including the playwrights. The program launched nationally in 2007 and has awarded grants to non-profit theatres for 216 new plays to date. The Edgerton Foundation was awarded the 2011 TCG National Funder Award. The Foundation’s interest is the promotion of great new plays in the hope that other theatres will subsequently produce them.
Fostering and developing new writing is key to the mission of the National Theatre. Many plays commissioned or first performed at the National have gone on to international success, and are often performed in the US. Examples include Our Class (Wilma Theater, Philadelphia 2011), Blood & Gifts (Lincoln Center Theater, New York 2011), Happy Now? (Yale Repertory Theatre, New Haven 2008), Alan Bennett’s The History Boys and The Habit of Art, and the Broadway transfer of One Man, Two Guvnors. After winning five Tony Awards, War Horse broke box office records at the Lincoln Center Theater, and went on a national US tour. The production has also toured internationally and the National Theatre of Great Britain has co-produced a Mandarin-language version of War Horse with the National Theatre of China, for a tour of China in autumn 2015. The NT’s production of The Curious Incident of the Dog in the Night-time transferred to the Barrymore Theatre in fall 2014. This show won a record-breaking 7 Laurence Olivier Awards during its UK run and won 5 Tony Awards on Broadway, including Best New Play. It has recently announced a tour of the United States.
In 2013, the Edgerton Foundation generously supported the National Theatre production of The Light Princess, a new musical written by acclaimed singer-songwriter Tori Amos and playwright Samuel Adamson. It opened in the Lyttelton Theatre in October 2013, and was directed by Marianne Elliott whose credits include directing internationally acclaimed NT Productions War Horse and The Curious Incident of the Dog in the Night-time. The Light Princess was nominated for four Olivier Awards; won Best Musical Performance (Rosalie Craig) in the Evening Standard Theatre Awards; and, was nominated for six WhatsOnStage awards.
The Foundation also supported Behind the Beautiful Forevers. This new play by David Hare is based on the novel by Katherine Boo. It opened in the Olivier Theatre in November 2014, and was directed by Director of the National Theatre Rufus Norris.
I was swept away by the integrity of David Hare’s text and the pulsating vigour of the production by Rufus Norris. The Guardian