RADA
ROYAL ACADEMY OF DRAMATIC ART
{RADAI
Charity Registration Number 312819
Annual Report and Accounts
Year ended 31 July 2022

Annual report and accounts 2021-22
Table of Contents
Chair's review
2. Principal's review
3. About RADA
Annual report
4. Strategic aims and priorities
5. World-leading training and productions
6. Graduates and industry
7. Anti-racism and equity
8. Access and participation
9. Estate and operations
10. People
11. Finance and sustainability
12. Financial review
13. Public benefit
14
16
18
19
19
20
23
25
14. Statement of corporate governar)ce and internal control
15. Statement of trustees. responsibilities
25
31
Independent auditors, report to the trustees
33
Financial statements
Consolidated statement of financial activities
37
Group and academy balance sheets
Consolidated cash flow statement
Notes to the financial statements
39
40
41

1. Chair's review
l am delighted to be presenting this annual report after my first full year as Chair of RADA
Council. l am especially pleased to have welcomed Niamh Dowling, RADA'S new Principal, who
took up her post in June, and I would also like to pay tribute to the commitment and
professionalism of staff and students as we continued to navigate our way into a post-covid
world.
This year the graduating classes of 2021 and 2022 began to make their way into the industry,
with many already employed in theatre, film. TV, and radio. Our more established graduales
continued to be recognised at Ihe highesl level and we were delighted that Sir Kenneih
Branagh, RADA'S President, received an Academy Award for Belfast, and that an Olivier Award
went to RADA graduate and Council member Lolita Chakrabarti for her adaptation of Life of Pi.
Theatre Production graduate takis was nominated for Outstanding Achievement in Opera for
set and costume design, and RADA graduates Joshua Carr and Fly Davis were both nominated
for Tony Awards in New York. A more detailed list of our graduates, achievements is included
elsewhere in this report.
We are proud of the important contribution RADA plays to British society. Our graduates make
a huge contribution to the UK'S fast-growing £116bn creative industries. This includes, for
example, technical and creative roles in billion-dollar f ranchises like James Bond, Harry Potter,
and The Crown, helping to reinforce the UK'S reputation as a creative superpower and aff irm
our place on the woild stage.
We are delighted that our world-leading status has been officially recognised by the
Government. This is testament to the unique quality of our training, the skill of our teaching
staff, and, of course. to the success of our students and graduates.
Following the multitude of challenges presented by the pandemic, RADA'S day-to-day
operation has, thankfully, returned to normal. All our training is again delivered in person on our
Bloomsbury campus, which is a world away from 2020-21 when at least one production had to
be rehearsed outdoors in the car park to minimise the risk of Covid infection.
But while this apparent return lo pre-covid normality is a huge relief, it is not the full picture.
The last two years have brought about vital, ongoing change.
Our anti-racism and equity work, led by RADA'S firsl Director of Equity, Joan Oliver, is
delivering on our commitment to be an anti-racist institution. Although there is much more to
do. we have already carried out a review of our equity systems. with recommendations already
implemented. RADA'S Head of Film, TV and Radio, Pamela Jikiemi, chairs the IRelFraming the
Future= Decolonising Actor and Technical Theatre Training Committee. whose
recommendations will inform the development of RADA'S curriculum. This work is critical to
ensure we are a truly British institution, reflecting all parts of the United Kingdom, not only
open to all but also an inclusive organisation where everyone can feel at home.
The last two years have put RADA under significarbt financial strain and we are now rebuilding
our reserves through fundraising, income from Short Courses and RADA Business. RADA
Business had a positive year of significant growth. driven by the return of in-person and hybrid
delivery of their training. But even with diversified funding streams, sustained government
investment will always be an essential part of our future and we very much hope that specialist
funding will continue beyond 2022-23.

I would like to thank all our supporters, and especially our wonderful and long-standing
Principal Partner Warner Media, as well as our friends al Santander and AXA XL. Thank you
also to the Development Board who do so much to support our critically important fund raising.
RADA Business had a positive year of significant growth, driven by the return of in-person and
hybrid delivery of their training. They were able to make a net contribution of £686k.
I would also like to thank the Council who have selflessly given their time and expertise to
RADA. Several long-serving and much-valued Council members came to the end of their tenure
this year. and I would like to offer my sincere thanks to Zac Barratt. Josh Berger CBE, Ajay
Chowdhury. Ros Haigh, Mike Leigh OBE. Robin Soans, Andrew Sutch, and Professor Michael
Worton CBE for the committed and distinguished service they have given to RADA over many
years.
l am delighted that we have also welcomed to the Council Baroness Judith Blake, Professor
Judith 8uchanan, Helen Selwood. Shona Spence, Caroline Spicer, and Miranda Wayland, all of
whom bring great skill and expertise from a variety of different backgrounds. They are united
by a love of the dramatic arts and a belief in RADA'S future.
It was with great sadness this yearthat we said goodbye to Mona Hammond OBE. who died in
July aged 91. Mona was a ground-breaking RADA graduate and an Honorary Fellow, a much-
loved actress and co-founder of Talawa Theatre Company, who will be sorely missed.
Finally, I think it is important to return to core principles and remind ourselves of the purpose of
the arts and creative sector, which in the words of Shakespeare is "to hold as 'twere the mirror
up to nature" If that means reflecting society accurately, then despite good progress and
some high-profile examples of posilive change Ihe seclor is still too often failing in this
purpose. Sadly, less than 2% of artistic staff in English theatres are disabled and people of
colour account for only 5% of the employees in some London theatres, in a city where more
than 40% of people are from Black and Global Majority backgrounds. I see RADA as a key
pipeline in addressing this, ensuring all students irrespective of their backgrounds can fulfil
their potential and contribute positively to what I believe is the most creative nation in the
world.
I look forward to RADA continuing to be a world-leading institution for everyone.
Marcus Ryder. Chair
2. Principal's review
What an extraordinary time this is to join RADA as Principal. Having been here for five months I
have now got a sense of the outstanding calibre of this very small, unique and specialist
academy and the magnitude of its global influence. l am also acutely aware of the agendas that

are preoccupying drama schools and the industry at the moment. We have an industry
dramatically changed due to the impact of Covid and extensive periods of lockdown and
Closure of theatres. There is a demand for change in training, Coming f rom many different
agendas and a need for a much closer scrutiny of what drama schools are doing. With its
celebrated history, international reputation and profound understanding of training, RADA is
central to these conversations and resultant practices, and is perfectly positioned to face
these difficult questions head on from its place as a leader in the field.
RADA has a deeply committed staff.. talented, experienced. and knowledgeable, whose
tenacity, agility and hard work over the past two years has ensured that the boat that is RADA,
though caught in the storm. has now been rowed safely to shore.
We are now at the start of a major institutional review to ensure that RADA continues to be both
an innovator and leader in training for the 21. century and is also compliant as an HEI academy
which is sustainable and outward facing. One of the most fundamental questions we are
addressing in this process is what RADA sees as its purpose. We often know clearly wh8twe are
doing, howwe do it and sometimes shy away from looking at whywe do it. Defining our authentic
purpose is a question we are re-examining and redefining explicitly, to ensure an inclusive
training and impactful organisation that is relevant for the 21. century and beyond.
This process is being led by the Principal and Vice Principal with members of the Senior
Leadership Team and staff across the whole Academy. We have begun the process with the
aim of drafting our new five-year Strategic Plan by January 2023 including a range of areas:
sustainability. relevancy, curriculum, staff development, financial stability, facilities, and
growth of revenue generating activity.
Alongside this work on purpose, values and goals, the Director of Equity and Training Review
{Joan Oliver) is leading the Undergraduate Curriculum Review. This is a major piece of work as
it not only examines the curriculum itself and potential for cross-programme collaborations but
also the structure of the programmes. A major strand of this has been to embed principles of
equity, diversity and representation, and the Theatre Green Book, and will include the
recommendations of the IRelFraming the Curriculum committee. In this context the MA Theatre
Lab is also being reviewed.
We have an exciting and potentially challenging year ahead. Looking to stabilise our finances
and to articulate our ambitions, growth and development will keep us all very busy, not to
mention the everyday activity of the Academy. Our hard-working fundraising team and RADA
Business continue to develop their activilies, and we are exploring the potential for new
postgraduate programmes and the viability of developing RADA'S Short Courses outside of
London.
Government funding remains critical for us-. the Office for Students confirmed its Specialist
Provider Panel's final decision that RADA is world-leading in its teaching and education
activities, and we are extremely grateful for this vital funding for 2021-22 and 2022-23.
Now we are deep in preparations to set sail again for a major voyage informed by the profound
learnings of the past few years. with better understanding. clear guiding principles and a

renewed sense of direction. This will ensure that we examine our training and articulate what is
needed in training in Britain in the 21. Century, so that we continue to graduate talented, well-
trained, curious, aware, tolerant. and compassionate artists, citizens and leaders of the future.
Niamh Dowling, Principal
3. About RADA: a summary
Founded in 1904, RADA has an unparalleled record of success in training some of the world's
most renowned actors, writers. directors. and technical specialists.
With 199 students. RADA is one of the smallest providers of vocational degrees in acting and
technical stagecralt in the UK and is officially recognised as a world-leading conservatoire. Our
training, gold-rated in the Teaching Excellence Framework ITEFI, aims to foster students,
artistic, intellectual, and personal growth, creating an environment so graduates can emerge
as leaders in their field. RADA seeks to cultivate powerful creative and technical artists, highly
skilled. culturally aware and positioned to have exemplary careers and lead the future of their
profession.
RADA'S reputation as a world-renowned centre of excellence is based on attracting talent from
every part of society and delivering an outstanding training experience. We allocale places at
RADA on talent alone, regardless of background or circumstance.
RADA'S exceptional training is resource intensive. It costs nearly £26,000 per year to train a
RADA student. student fees only cover approximately 35% of the cost. and RADA has to find at
least £16,000 per student per year above the income received from student fees and grants.
World-leading training
We are formally recognised by the Off ice for Students as a world-leading institution.
We audition and interview around 4.500 applicants each year for just 28 acting and 30
technical undergraduate places.
887 applicants for the BA {Hons) in Acting qualified for a free audition, and it is free to
apply for technical courses.
Every student receives at least 35 hours of teaching each week.
RADA'S specialist training is intensely practical and in addition to their classes with our
world-leading faculiies, in 2021-22, our students also trained on:
18 stage productions across all courses
Six short films that have since won awards at film festivals around the world
An Escape Room project
A Son et Lumière project
o A scenic art and construction project

Filmed monologues
A filmed Tree showcase
A contemporary duologues showcase
Prize Fights showcase
o Two Production and Costume exhiljitions
RADA'S graduates are leaders in their fields and are recognised at major international
awards (see below for more details)
Anti-raci8m and equality, diversity and inclusion
RADA allocates places solely on the basis of talent. regardless of background or
financial circumstance.
Approximately 50% of undergraduate students receive financial support from RADA,
with an average award of £3,000 at a total cost of c.£500k.
There is an equal gender balance on our undergraduate programmes (actor and theatre
production training).
Black and Global Majority students make up 41% of our BA Acting course.
In 2021-22 22% of applicants to ourTtSM course for 2022-23 entry were Black and
Global Majority.
In 2021-22 our work to become an anti-racist organisation continued, including the
development of an Academy-wide Anti-Racism and Equity action plan.
The (Relframing the Future= Decolonising Actor and Technical Training Committee will
make recommendations that will inform the Curriculum Review during 2022-23.
We continued mandatory training across the Academy on a broad and inclusive range
of subjects.
Financial sustainability
student fees only cover a third of the cost of their training-
Our total annual income in 2021-22 was £13.5m, of which 71% was self-generated.
In order to deliver our world-leading training RADA has to find at least £16,000 per
student per year from grants, fundraising. short courses and RADA Business.
Overall we need to ask donors for at least £1.4m each year just to sustain our
commitment to excellence and diversity.
We have a robust, post-covid financial recovery strategy, including our £3.2m Stage
Critical fundraising campaign, an expansion of Short Courses. and RADA Business.

Annual re
ort
The Trustees present their report and accounts for the year ended 31 July 2022. The financial
statements have been prepared in accordance with the accounting policies set out in note 1 to
the accounts and comply with the requirements of the Royal Charter, the Charities Act 2011
and the Charities SORP IFRS1021 as well as the disclosure requirements of the Office for
Students, {OfSI 'Regulatory advice 9: Accounts direction..
4. Strategic aims and priorities
Charitable Objectives
The objectives of RADA. as def ined by the revised Royal Charter of 20 July 2020. are "to
advance the art of Drama by means of giving inslruction in and promoting the study, practice
and knowledge of dramatic literature and acting in all or any of its branches exclusively. To
promote and supervise such instruction as may be thought most conducive to the cultivation
and dissemination of the art of Drama in the United Kingdom and generally to encourage and
promote the cultivation of Drama as an Art throughout the world"
Our purpose, values, and strategic commitments
Our purpose and mission
We believe in the power of the dramatic arts to inspire transformation and growth in individuals
and society. We deliver world-leading training in the dramatic arts by cultivating exceptional
talent in a community dedicated to curiosity, creativity, and craft.
Our values
We are inclusive, rigorous, committed to our craft, collaborative and transformative.
strategic aims and priorities for 2021-22
We committed to the following strategic aims and objectives for 2021-22..
Ensuring the high standard of training is mainlained.
Developing the training meaningfully in response to changes and expectations from
industry.
Supporting staff and students as we recover and rebuild from the impact of Covid.
Continued financial recovery through growing self-generated income and managing
cosls to reslore reserves.
Continued investment in RADA'S anti-racism 2nd equity work and leadership, to
support the creation of an inclusive culture.
The key prioriti8s for 2022-23 are:
Development of a new 3-5-year strategy and business plan.
A curriculum review of RADA'S core programmes ready for revalidation in November
2023.
Ensuring the high standards of training and student experience are maintained.
A new People Strategy, which includes supporting continued development for all staff,
through training and updating professional practice.
Growing income through commercial activity and fundraising.

Development of new postgraduate programmes.
Continued investment in RADA'S anti-racism and equity work.
5. World-leading training and productions
BA Acting
2021-22 was a year of important recovery and rebuilding. For the f irst time since March 2019,
we resumed completely in-person training and by the end of the year we were able to reduce
Covid safety measures and be mask-free in classrooms, while maintaining Covid safety in
productions due to their time-sensitivity and impact on assessments should there be
cancellations. All our productions remained on schedule and full runs were achieved.
This year also revealed the resilience of the teaching body and of the students, who by the end
of the academic year were confidently progressing and reaching expected levels of
achievement. Third year students graduated as planned in July. with nine returning as
graduates to do a final show in the Aulumn.
Class, film, audio. digital and production work was achieved to a very high standard and one of
the measures of resilience is the excellent progress made by the year group who began their
training mid-covid.
Our thorough induction process for incoming directors and project leaders has supported the
development of an equitable training space, and we continue to refer to the Equity Safe Space
Statement at the start of all projects and productions. Our intimacy and consent protocols
provide confidence for young actors working on potentially challenging material. As part of our
access work, all teachers and first year acting students attended d/Deaf awareness and online
British Sign Language IBSLI training. This was in response to a d/Deaf student joining the
acting cohort and will be continued as part of our equality. diversity. and inclusion {EDII
commitment.
The appointment of a new Industry Liaison Manager in January 2022 has improved support for
students. Again, as last year, we provided bespoke support for any unsigned graduates,
continuing to support them to find their way into the industry either through signing or booking
professional work.
Staff development remains a priority and continued support for HEA fellowships and
sabbaticals has resulted in more staff taking time for research and professional development.
We have also continued the mentoring scheme, one of our Anti-Racism actions, to improve
fepresentation within RADA and within the sector.
MA Theatre Lab
Due to the impact of Covid. the MA Theatre Lab now runs within the calendar year from
January to January. Our new module on devising. Developing Performance. will take time to

settle after Covid has restricted some elements of physicality and creative freedom. However,
graduates are already having an increased impact in the theatre- making field.
In their third term, the 2021 group participated in the Bloomsbury Festival, and then presented
their own work in the new Lab Works Festival in the RADA Studios just before Christmas. In
July 2022 the group, in the week before their graduation, were able to re-mount their Lab
Works, pieces at the Notting Hill Coronet.
The impact of Covid on this year group for staff and students was sizeable as their study was
intensified over 9 months as opposed to one year. And yet despite all this, the cohort
graduated, achieving at a high level.
As the 2021 cohort was finishing, we had two MA cohorts working simultaneously for the first
time, as Lab 10 started in January. This new cohort is more culturally diverse than ever before,
a testimony to the course's new digital admissions procedures and its work with marketing to
reach out to communities who haven't traditionally entered post-graduate study. Students
joined from Egypt, India. South Africa, as well as the US. Australia. and a strong European
contingent. Applications for 2022 were up on other years and the trend has sustained for
January 2023.
MA Text and Performance
2021-22 was the last year of the MA Text and Performance course that has been jointly run by
RADA and Birkbeck, University of London.
Scene study presentations were performed in the Autumn and Spring terms. Dissertation
performances were presented at RADA in July 2021 featuring the students, work as directors
and playwrights.
We would like to thank all the staff that have worked on this course, with special thanks to Tom
Hunsinger. the MA Text and Performance Course Leaderfor RADA.
FdA and BA in Technical Theatre and Stage Management. and pgDip in Theatre Costume
Covid restrictions lessened throughout the year. and we exercised caution on productions, so
they took place safely and with minimal risk. whilst enabling students to complete and
ultimately graduate. We returned to our standard teaching schedule of two six-week blocks
each term. allowing all students to progress with the usual assessment points.
Son et Lumiere, our sound and light show. was a project undertaken by our third-year lighting
specialists in November 2021, with the support of technical management, sound. and the rest
of the lighting department students.
Our Construction and Scenic Art departments delivered a sizeable project within the workshop
spaces. This saw the construction and finishing of a Summer House. revised f rom an original
2012 design. The finished piece was displayed as part of the graduate exhibition.

There was an interactive installation based on 'Sonnet 12. by William Shakespeare, which ran in
conjunction with the Shakespeare for Young Audiences shows. The installation was led by the
Video and Sound departments with support from Lighting and Technical Management.
A number of Technical Theatre and Stage Management students also worked with SOAS to
stage an evening of international music. This project was part of a collaboration between RADA
and SOAS, enabling students to collaborate with partners from world-leading institutions and
renowned technical providers.
This year we held two Production and Costume exhibitions. These annual exhibitions feature
the work of a range of disciplines including construction, costume, property making, scenic art,
stage management and wardrobe, celebrating the next generation of you ng theatre
technicians within theatre, film, and television. Emma Trovbridge. Head Scenic Artist at the
Royal Opera House, opened the exhibition in JLbly.
Many students completed successful work placements over the course of the year. in addition
to a number of third year students on Early Release agreements entering the industry. Students
had placements at Artem Ltd, Autograph Sound Recordirbg. Bridge Theatre, Bromley-morgans
Ltd. Chickenshed. Donmar Warehouse. Libby Watson Design Ltd, Mesmer Supplies. The
National Theatre. Neg Earth Lights. Opera Holland Park, Picturehouse Theatre, Plunge
Creations Ltd, Rambert, Royal Albert Hall, Royal Opera House. Theatre by the Lake, and
Theatre Royal Stratford.
staged productions, tours, short films, show filming and captioning
Technical students stage manage. prop, crew, clothe. design, call, operate, dress, build. and
bring to life all the productions listed here with the support and expertise of the teachers
guiding them.
The 2021-22 academic year started with three productions.. Nicola Wilson's Plaques And
rangjes. directed by Sarah Bedi, Diana Son's Stop Kiss, directed by Stella Kammel, and Bryony
Lavery's Kursk directed by Philip Sheppard. The productions provided the Theatre Production
students with the usual assessment points for the Autumn 1 cycle,. however, the cast were 2021
graduates, rather than students. Due to Covid. the BA Acting course is catching up on a missed
term and the 2019-22 cohort began their third-year productions in January 2022.
Following these productions, came three Shakespeare for Young Audience productions: Che
Walker directed Julius Caesar, Natasha Rickman Much AdoAbout Nothingand Richard Ilwas
directed by Rafaella Marcus. Each production toured to a school in London. Much AdoAbout
Nothingalso toured to the Utah Shakespeare Festival in Cedar City, playing there for f ive days
in July as part ol a five-year partnership.
During the spring term, six short f ilms were produced each taking two weeks. and were
screened at The Garden Cinema, Covent Garden, and at RADA Studios. The films were Bicycle
{written by Beru Tessewnal and The Flightin the Dog{written by Katie Bonnal, both directed by
Pamela Jikiemi, God s Eye (written by Blessing Petersl directed by Jane Gull, Am I Who.
written and directed by Jane Oliver, Gym (written by current student Charles Entsiel, directed
by Daniel York Loh and Don'tmindmewritten and directed by Louis Chan.
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Five of the films have so far received laurels and won awards at film festivals that include the
Golden Horse International Film Festival won Special Jury Selection, Best student Short Film,
Phoenix Shorts- Best LGBT Short Film, Boston Independent Film Awards. London Rocks
International Film Festival, Essex Film Festival, Montreal Film Festival, Venice Film Festival,
Cornwall Fil m Festival, London Film & Television Festival. Little Wing Film Festival, an
Honourable Mention at the Kiez Berlin Film Festival and finalists and winners at The Black
Panther International Short Film Festival.
Mocap and Emerging Technologies at the Digital Future 2022 conference provided the RADA
BA (Honsl Acting students with a professional experience of motion capture.
We also captured the Screen Moments- a short, filmed piece to camera, professionally
produced and directed at RADA by Head of Film, TV and Radio Pamela Jikiemi this enabled
each graduating RADA student to create a moving image calling-card. Industry feedback to this
work has been very positive.
Audio training saw a collaboration with Leslee Udwin. Founder and Executive Chair of 'Think
Equal, charity.
In December 2021, Lab 9 presented the first edition of their new Lab Works Festival, comprised
of original student-made performance.
From January to February 2022, the MA Thealre Lab year group worked on their successful
Public Performance Lab performance, Dinner, devised from The Oresfeia and Festen, in their
extended final term up to the end of February 2022.
Throughout the first term. Lab 10 worked on integrating their physical training into a workshop
production of Aeschylus, Prometheus Bound. This piece then went to the youth festival of
Ancient Greek Drama in Messene.
There were also four productions in the Spring term: Andrew Bovell's When the Rain Stops
Fallingdirected by Lucy Skilbeck, Janice Okoh's Ihe Giftdirected by Jasmine Teo, J.B.
Priestley's fime2nd The Conwaysdirected by Chipo Chung and David Ireland's GyprusA venue
directed by Audrey Sheffield.
stephen Sondheim's Sweeney Todd, directed by Nona Shepphard, opened the summer term
productions. alongside Alexi Kaye Campbell's The Faith Machinedirected by Tim Hoare, and
Rona Munro's Bold Girls directed by Ola Ince.
There were three final productions of the year.. Sarah Delappe's The Wolvesdirected by Katie
Bonna, Sam Shepard's The Curse olthe Starvingclassdirected by Philip Dart, and Lucy
Kirkwood's NSFWdirected by Joan Oliver.
Productions were recorded and live streamed to industry standards. In the video department,
students learned to work in a capture, broadcast and livestream workflow and process and
developed skills in camera operation. editing and camera directing. In the sound department,
students developed additional skills in mixing audio for broadcast, ambient audio, and different
mix techniques for recorded audio.
li

In the 2021-22 academic year, we captioned a performance for every staged production. This
was achieved using a variely of technology such as large formal displays, projection, and LED
panels, broadening the training for video students.
Masterclassas and professional d8velopm•nt
This year our students had masterclasses and professional development sessions with more
than 60 visiting lecturers and professionals. including {among others) Alecky Blythe. Anni
Domingo, William Galinsky, Soulra Gilmore, Hyder Khalil, Bryony Jarvis-Taylor, Kristine Landon
Smith, Sibusiso Mamba, Ita O'Brien. Giles Terera, and RADA graduates Cynthia Erivo. Mike
Leigh OBE, Rob Hastie and RADA President Sir Kenneth Branagh.
Rickman breakfasts
The Rickman breakfasl series resumed in person in Spring 2022 and continues to bri ng in
speakers from a wide range of experiences and industries. During 2022, we were pleased to
welcome Nels Abbey, writer and satirisl, and Valentino Vecchietti, intersex activist and
campaigner, as speakers.
staff engagement with the sector
staff engagement with research, scholarly activity and professional practice is predominantly
based around the growth and development ol their own professional practice and the
pedagogical research practices at RADA.
Conferences attended by RADA staff include Granice W Teatrze Limits in Theatre, in Warsaw;
Making of the Actor.. Actor-Dancer Conference Practical Workshop. in Athens, and Shanghai
Theatre Academy 2. International Forum on Actor Training and Education in China. Gillian Tan,
Head of Video also recently spoke at the Digital Game Augmented Reality Conference in
London and chaired a panel at 'The Art of the Possible, at NCPA Mumbai.
This year also saw the publication of Annie Morrison's new book The Mon7ent of Speech..
Creative Articulation forActors, the latest addition to the Methuen Drama RADA Guides series.
Annie Morrison, voice and speech therapist and teacher, is also creator of the Morrison Bone
Prop.
student and Academic Services
The Student and Academic Services team incorporates course administration. timetabling,
quality assurance, admissions, student services, student records, student casework and
governance fLJnctions. During 2021-22 the team continued to manage the operational
challenges associated with the ongoing pandemic, including facilitating online and hybrid
classes and auditions. We also refined and developed a number of online processes, including
the introduction of online class registers.
A new Registrar took up post in January 2022. All statutory reporting and compliance
requirements were completed during this period and the team attended HESA training sessions
and undertook a review of student data in readiness for the introduction of Data FutLJres
12

reporting requirements in 2023. RADA also completed its Prevent Review to the satisfaction of
the Office for Students.
The team reviewed a number of regulations, policies and procedures, including RADA'S
Academic Regulations. Work was completed on the Staff-student Relationship Policy, which
was implemented in April 2022. The team also supported the provision of training and
professional development for students and staff. including the provision of training for working
with neurodiverse sludents, support for those applying for HEA Fellowships and training on
handling complaints and concerns.
student Wellbeing
The Student Wellbeing team. comprising the Head of Student Wellbeing, Wellbeing Advisor,
sessional counsellors, and placement counsellors. returned to face-to-face as well as a hybrid
service during 2021-22.
In 2021-22, a total of 154 students accessed the service, with 346 pastoral care sessions and
681 counselling sessions attended.
RADA is taking a 'whole academy approach, to mental health and wellbeing, including
prevention and early intervention strategies and ways to promote the good mental health of all
members of the RADA community. RADA is using the framework developed by Student Minds
and UUK, which includes four main areas of activity= live, support. train, work.
Work began on a mental health strategy and suicide prevention strategy for RADA and four
Mental Health First Aid courses were delivered, training staff across different teams to respond
to those in difficulty. A number of safeguarding training sessions were also delivered to staff
and Council members by the Head of Student Wellbeing- Several staff members participated in
Suicide Prevention training delivered by Papyrus. Workshops were also delivered to students,
including induction sessions and sessions on working with challenging material.
Graduate training programme 2021-22
The Graduate Training Programme is supported through fundraising. including continued
support f rom the 8ehrens Foundation. Sessions were delivered with a mixture of in-person and
online sessions.
The programme ran from May 2022-July 2022. The programme consisted of 37 Graduate
Training sessions, 27 online and 10 in person. There were 13 group sessions and 24 1..1 sessions.
Popular classes included Alexander Technique and an inlroduclion to directing with Katie
Mitchell.
Short cour8e8
RADA offered online, in-person and blended (online and in person) courses during 2021-22. In-
person courses brought in the majority of revenue during the year between April and August,
with courses that ran at capacity with high attendance f rom international students travelling to
the UK. At the end of January. we welcomed back New York University students for their
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Spring semesler Shakespeare in Performance course. Planning for 2022-23 includes the
reinstatement of RADA'S Foundation Course. paused since 2020.
student awards
Several students were the recipients of sector-wide and competitive awards=
Charles Entsie was awarded The Laurence Olivier Bursary Award - Casting Directors,
Guild Bursary.
Charlotte Luxton was awarded The Royal Victoria Hall Foundation - Lilian Baylis Award.
Hughie O'Donnell received a BBC Carlton Hobbs Bursary Award. The award is a five-
month contract with BBC Radio Drama.
Rowan Robinson won the Catholic Association of Performing Arts ICaAPAI Sir Alec
Guinness Award.
6. Graduates and industry
Graduates from 2021 have secured acting and technical roles at:
Almeida Theatre, Amblin Television, Apollo Theatre, Apple TV+, BBC TV, Bristol Old Vic, Bush
Theatre, Chichester Festival, Criterion Theatre, Finborough Theatre, Gielgud Theatre,
Glyndebourne, Kiln Theatre, King's Head Theatre, Leicester Curve, Lyceum Theatre,
Mackintosh Theatres Ltd, Netflix, New Wimbledon Theatre. Orange Tree Theatre, The Other
Place, Palace Theatre, Park Theatre, Peacock Theatre, Pulse Films, Red Anchor Films, Royal
Opera House, RSC, Sheffield Theatre, Southwark Playhouse, Waterloo East, Young Vic.
Below 18 a non-exhaustive list of graduate awards and nominations during 2021-22.
Academy Awards
Kenneth Branagh's Belfastwas nominated in six categories this year, with Kenneth
Branagh winning his first Oscar for Best Original Screenplay. Fellow RADA graduate
and Council member, Tamar Thomas who is a producer on the movie was also
nominated for Best Picture. Other nominations included Best Supporting Actor for
RADA graduate Ciaran Hinds, Best Supporting Actress, Best Director, Best Sound, and
Best Achievement in Music Written for Motion Pictures {Original Song).
Jessie Buckley was nominated for Best Supporting Actress for The Lost Daughterand
Maggie Gyllenhaal, was nominated for Best Adapted Screenplay for Ihe Lostoaughter.
BAFTA Film Awards
Selfastwon Outstanding British Film award at the BA￿AS for Kenneth Branagh and
RADA graduate and Council member Tamar Thomas. The film was nominated in six
categories, including: Best British Film, Best Film, Best Original Screenplay, Best
Editing, Best Supporting Actor for RADA graduate Ciaran Hinds. and Best Supporting
Actress.
I RADA Short Course
14

Golden Globes
Kenneth Branagh won for Best Screerbplay for 5elf8St.
Jeremy Strong won the Golden Globe for Best Television Actor in a Drama Series for
his role in Succession.
Cynthia Erivo was nominated for her portrayal as Aretha Franklin in Genius.'Areth8.
Tony Awards 2021
Adrian Lester was nominated for Best Performance by an Actor in a Leading Role in a
Play for his role in the Broadway transfer of Ihe Lehman Trilogy.
Joshua Carr who was nominated for Best Lighting Design of a Play for his work on the
Broadway transfer of Martin McDonagh's Hangmen.
Fly Davis was nominated for Best Costume Design of a Musical for Caroline, or ChAng8.
The Offies, OffFest and Oncomm
In 2022 Offie Award winners included= Ronke Adékoluejo for best Performance Piece
with Lava, at the Bush Theatre (Lighting Designer was Jai Morjarial., and MA Theatre
Lab graduate Elisabeth Gunawan won an OffFest award with Unforgettable Girl,
conceived for her Manifesto performance while Elisabeth was studying at RADA.
Olivier Awards
Life of Pi was the winner of five Olivier Awards. including Best New Play adapted
by Lolita Chakrabarti, graduate and member of the RADA Council. and graduate Hiran
Abeysekera who won for Best Actor.
Graduate Jessie Buckley was the winner for Best Actress in a Musical for Cabaret,
and Robert Lindsay was nominated for Best Actor in a Musical for Anything Goes.
Theatre Production graduate takis was nominated for Outstanding Achievement in
Opera for set and costume design of HMS Pin3fore Ly English National Opera. and Jai
Morjaria worked as Lighting Designer on Cmise which was nominated for Best New
Play.
BAFTA Television Awards
Matthew Macfadyen won Best Supporting Actor for his role in Succession (Sky Atlantic)
Sean Bean won Best Lead Actor in Tiffle{BBC One).
Black British Theatre Awards
David Jonsson won Best Male Actor in a Play at the 2021 Black British Theatre Awards
for his performance in andbreathe.. at the Almeida Theatre.
Emmy Awards
Tobias Menzies won Supporting Actor in a Drama Series for his performance of Prince
Philip. Duke of Edinburgh in historical drama. The Crown and Robert sterne won
2 RADA Short Course
15

Outstanding Casting in a Drama Series. The mulliple-award-winning Netflix series The
Crown is created by Left Bank Pictures which won a total of 11 awards on the night.
Other RADA graduates who were nominated at the 73 EMMY Awards 2021, include Cynthia
Erivo, Matthew Rhys, O-T Fagbenle, and Sophie Okonedo.
7. Anti-racism and equity
During 2021-22 the equity work focussed on continuing the root and branch change that RADA
has committed to. The Director of Equity's first piece of work was the review and analysis of
the equity systems and processes that were already in place, which resulted in
recommendations for improvements that have been implemented.
Three significant pieces of work carried out in the equity department this year were..
11 The audit and assessment of the anti-racism work done so far. A rationalisation of that
work, and the drafting of a proposal for a strategic approach to the anti-racism work
going forward.
The strategic approach involved identifying the eleven main areas of activity across the
academy, along with the eleven people responsible for leading on the activity within
those areas. This structure helped to centralise the anti-racism work. created
transparency of accountability, and provided a clear method of embedding RADA'S
anti-racism agenda across the academy.
21 The drafting of the Race Equity Policy and the Institutional Anti-Racism Action Plan IlA-
RAP). The Race Equity Policy sets out RADA'S anti-racism commitment, and the IA-RAP
outlines a strategic plan for anti-racism activity over the next 3 to 5 years. These two
documents have created a framework that sets out clear anti-racism aims, objectives,
and measurable outcomes.
31 The broadening of the scope from anti-racism to equity generally, and the inclusion of
the other protected characteristics. as outlined in the Equality Act 2010.
One of the main pieces of work around broadening the equity scope. was the creation
of the staff and student anti-racism. equity, and well-being induction training
programme. The induction training programme has been designed to ensure that all
incoming students. and new staff are aware of RADA'S anti-racism, equality. diversity
and inclusion, and welfare commitments, and what is expected of them to uphold those
commitments.
Setting out RADA'S equity plan of action in this way not only helps to ensure that RADA is
fulfilling its Public Sector Equality Duty, but it also helps to ensure that the mechanisms put in
place to embed systemic change are robusl enough lo support the process.
The end of the year saw the conclusion of RADA'S two-year partnership with Leeds Beckett
University, led by Professor Vini Lander. This partnership was invaluable and helped to shape
and form RADA'S anti-racism thinking, as well as the foundational structures on which RADA'S
anti-racism work will be based. In her final report Professor Lander provided us with the
16

following quote:
'RADA has come a long way in its ambition to make -root and branch change" wilh respect to
racism (a stated aim within the Anti-Racism tender document) in the Academy since I started
working with colleagues in September 2020. The Academy feels like a different institution for
the better with respect to anli-racism and the commitment and hard work of colleagues is to be
acknowledged and commended. There is, of course. a long way to go. The anti-racism journey
the Academy has embarked on is a long and arduous one and success can only be achieved
through hard work and endurance in order to sustain the transformation that RADA aspires to
with respect to becoming an anti-racist organisation which is a leader in this field within the
industry.
The (R8)framing th8 Future: Decolonising RADA Actorand Technical Training
The IRelFraming the Future Committee was established in March 2021, with the aim to..
scrutinise the teaching and learning environment. content and delivery in order to
ensure that all students are fairly and equally served throughout all the elements of the
training.,
establish a decolonisation process that will make the training an equitable educational
experience for all students, but in particular for those students who identify as Black
and Global Majority-
and thereafter to establish a decolonisation process, in response to the RADA Student
Anti-Racism Action Plan of 2020 that highlighted the experiences of Black and Global
Majority students in the RADA actor and technical training. The work of the committee
will explore the creation of an equilable educational and teaching experience so that all
staff and students in a future-facing RADA will be enriched by a diversity of social,
political. and economic contexts. material and experiences.
The Committee, chaired by Pamela Jikiemi, Head of Film. TV, and Audio, met regularly during
2021-22, exploring first the history of RADA to acknowledge and understand ils past in order to
¥e-assess it foi the future. Committee members have been drawn from Ihe RADA acting and
technical teaching faculty, graduates and independent individuals with a demonstrated higher
education institute and industry specialism in safeguarding, finance, facilitation. creative arts,
and technical direction. The commitlee is a cross-section of representalives and expertise
from each area of the RADA validated offer who have demonstrated a commitment towards
best practice in inclusive teaching, training and learning. The committee is reflective of the
diversity in training, thinking and research that RADA is striving towards outwardly and
inwardly. The Committee reports to Academic Board and Council and will present an interim
report in autumn 2022.
RADA Pride
RADA Pride regularly invites external speakers to give talks which are open to all LGBTQIA+
students, staff, and allies. Events this year included Tabby Lamb, writer and performer, and
Russell T Davies, writer of Dr Who, QueerasFolk, Cucumber. Banana, and It's a Sin, and a film
screening of Firebird. co-written, produced by and starring graduate Tom Prior. RADA Pride
staff and students participated in the Pride in London march, the first lime since 2019.
17

8. Access and Participation
RADA'S Access and Participation programme aims to achieve better representation in the
creative industries via access into vocational training in higher education. It has three pillars:
access into HE- subsequent success of our students,. progression into a sustainable career in
the arts. The focus in 2021-22 were Access and Success.
Access
RADA Youth Company. The Youth Company. our flagship project, has two strands..
Acting. and Theatre Production. The course is a taster of the training that we offer here.
RADA is the only drama conservatoire with a youth company.
The 2021-22 course took place back in person at RADA every Saturday, ending with a
production of A Midsummer Night's Dream. The Theatre Production course explores
design, lighting, sound, costume etc. The Acting course explores, movement, voice,
acting. stage combat etc. Both courses include EDI sessions on anti-racism, power.
consent and healthy relationships. and disability awareness. We have also just
appointed a new Youth Company Assistant who is Black and Global Majority. This will
mean the pastoral support, identity and representation is embedded within the staff
team.
Cohort details for Acting
0 75% B&GM
6% POLAR 4 Quintile 3
50% in IMD deciles1-4
0% with a disability
19% who were care experienced
Cohort details for Theatre Productio
80% B&GM
20% POLAR 4 Quintile 2- 3
60% in IMD deciles 1-4
10% with a disability
10% who were care experienced
Out of the total Youth Company. seven went on to do creative academic degrees and
one went on to drama school.
The Next stage.. Acting. In October 2021 we worked with 15 young people aged 16-19
helping them to prepare for drama school application and audition. 90% were Black and
Global Majority. 80% were from low-income households. 20% were care experienced.
One progressed to RADA. two progressed to Guildhall, one progressed to Arts Ed, and
five of them went on to other partner access projects of ours.
Originate. Origi nate Acting Course is a stage and screen acting project for 16-21-year-
olds. We worked with 18 young people in partnership with Theatre Peckham, Young and
Talented, and Guildhall. 50% of participants transitioned into drama school training and
one participant came to RADA.
Access to Acting. We ran afive-week project with Graeae Theatre Company for 16-20-
year-old disabled young people exploring interpersonal relationships. In April we ran a
one-off workshop for Deaf and Disabled 16-25-year-olds to explore acting techniques.
50% of the group were Black and Global Majority.
Acting Application Support. We Irialled a new approach where we invited participants
Irom past and current projects to come and get extra acting audition support. This
18

proved really successful and three people ended up at RADA while another got to the
linal round before having to withdraw. We learned that additional support on speeches
and pastoral support was impactful to and contributed to them getting further in the
process. We will continue these sessions this year.
Shakespeare for Young Audiences. We toured three Shakespeare productions to six
different secondary and FE schools in London. We performed to a total of 200 pupils
and delivered eight workshops on the context of the plays.
Admissions. We worked alongside the chair of the acting panel and the Director of
Actor Training to create a contextual admissions process. This policy will be developed
lor entry in 2023.
For Technical applicants we introduced a two-round practical process. After interview,
stage applicants will be invited to a practical collaborative workshop. This year 24% of
applicants for Technical Training for 2022 entry were Black and Global Majority la 15-
percentage point increase on the previous year}.
Success
Deaf student support. Last year we developed and embedded Deaf awareness across
the academy. We introduced a new role. Tutor of the Deaf, to support our student who
is profoundly Deaf to access our actor training. The Acting department have been
developi ng new models of practice that are inclusive to training deaf students, and this
year we will be focusing on how we capture and share ihis practice further.
9. Estate and operations
We returned to full on-site working for teaching and operational staff as the need to follow
Covid restrictions lifted during the year. Professional services staff are Eenerally working in a
hybrid way. While resources are limited, we have focussed expenditure to basic maintenance
and replacement of critical equipment.
10. People
Our staff are central to our success, as it is only through their talent, energy, and commitment
that we will achieve our vision to be both a leading academy and an outstanding place to
work. We are grateful to the many teams - faculty, associate teachers, operations,
administration, professional services, support staff - for the way they have worked together
through the challenges of Covid.
This year we have increased the quality of our recruitment process through the introduction of
an applicant tracking system which gives us access to a variety of recruitment metrics, which
include the diversity of applicants, through the whole process from application, shortlisting,
interviews, and offer.
During the past academic year. we have delivered training on a wide range of subjects
including anti-racism and equality, diversity and inclusion, suicide awareness and
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Business review
RADA Business started the year with significant growth driven, in part. by a return to in-person
delivery and hybrid working becoming the norm for client services and for operations. Growth
was characterised by important wins in the nature, scale and duration of client engagements
and. in contrast to 2021, where the Prime Minister's "Road Map" caused the deferral of some
client engagements, RADA Business had a strong finish to the year.
The executive Leadership Team operated throughoul the year- one NED retired, and
investment was made in improved infrastructure to support growth.
Outsourced delivery continues to be at the core of the operating model and because the supply
chain was particularly challenged by the pandemic, much has been done much to improve the
attractiveness of the supplier value proposition and enhance this capability.
In a strong supply side market, RADA Business expanded and strengthened its team.
In a strong supply side market. RADA Business expanded and strengthened its team. RADA
Business considers diversity and inclusivity as essential differentiators in building a team of
extraordinary talent. In 2022 RADA Business recruited 11 new staff, lost two and now has the
largest team on its journey to date. Client feedback demonstrates that RADA Business delivers
the highest standards of service, and we attribute this lo the outstanding capabilities of the
team.
Fundraising
During 2021-22 we raised £1.9m and are hugely grateful for our donors. old and new. for their
support.
We raised £685k in unrestricted funds, used to help to cover the costs incurred by our core
training. I n addition to this we secured £506k in restricted income that allowed us to award
£532k in student scholarships and bursaries, giving financial support in some form to over 50%
of our students. This funding also allowed us to develop and implement our access and
participation programmes. We also took part in The Big Give Christmas Challenge and raised
£65k. We also received donations and legacies that increased our endowment fund by £718k.
This October we launched our Stage Critical fundraising campaign to supporters, focusing on
new business, longstanding supporters and cultivating major gifts. We would like to thank the
Ulley Foundation, Saloko Yamaga Macdonald. CHK Foundation, Sylvia Waddilove Foundation
and The Carne Trust for their support.
RADA is proud of the long-standing Principal Partnership with Warner Media which not only
provides vital financial support focusing on RADA'S equality. diversity and inclusion objectives
but also continues to support our Film & TV department and award-winning Short Films
programme.
We continued to run a successful events programme. including a screening of Kenneth
Branagh's Belfast, a gala performance of Sweeney foddat RADA. and partnered with
Sotheby's on a summer party and dinner that recognised the Queen's significant contributiorb
to art and culture during the Platinum Jubilee Celebrations.
21

This year we were honoured to be asked to create a new bursary in memory of Trish
Monlemuro, a slage management graduate who passed away this year, and to recognise the
legacy left to RADA by Laurence Isaacson by naming a full scholarship in his name for the next
ten years.
We ensure that all restricted income is allocated to ihe specific project and used solely for the
intended purpose of that gift. RADA'S fundraising is conducted by its employees. SLJpported
voluntarily by members of RADA Council and the Development Board. RADA follows the Code
of Practice set out by the Fundraising Regulator. RADA has not received any complaints about
its fundraising in the year. RADA'S fundraising is principally with individuals who have a
personal connection to RADA, trusts and foundations and corporate organisations. RADA does
not approach the general public for funds or use intrusive or persistent approaches.
Communications and marketing
Targets for the student recruitment campaign for 2022-23 were aligned with RADA'S Access
and Participation plan and targets. seeing an increase in Black and Global Majority applicants
from 9% to 24%, from 29% to 37% for disability and from 17% to 21% for household income
under £25K.
The campaign included increased social media engagement through new content, Instagram
stories, reels and live Q&As. Working with the Admissions team, administrative processes
were streamlined for an improved experience for applicants.
The Communications and Marketing department also continued to support revenue generation
for Short Courses with targeted campaigns and new content, and focused on audience
development for productions as audiences were able to return in-person productions.
Public affair$
RADA maintained good contacts with Whilehall departments and City Hall in 2021-22. Activity
included a livestream from RADA graduate Fiona Shaw to all DCMS civil servants in an
interview with DCMS Permanent Secretary Sarah Healey.
We also had positive contact and interactions with Number 10, the Department for Education,
the London Mayor's Off ice, the Office for Students, and the office of RADA'S MP (Sir Keir
Starmer) who wrote to the Government on our behalf.
We also became active members of London Higher and The Culture Capital Exchange.
Much of the second half of the year was spent co-ordinating RADA'S submission to the Office
for Students as part of their long-awaited review into funding for specialist institutions. The
first part of this process has been completed successfully and RADA are now officially
recognised as world-leading and therefore eligible for specialist funding.
22

12. Financial review
The table below, in the form of an abridged operating income and expenditure account, is a
summary of RADA'S f inancial performance for the years ended 31 July 2022 and 31 July 2021=
2022
£000
2021
£000
RADA
student & other fees
3,103
2,464
HE grants
Bursary funding
Olher fundraising
Donations in kind
2.216
478
942
450
796
498
53
161
Investment Income
105
103
Olher income
80
65
Royalties
Total Academy income
28
25
6,859
4,708
RADA
Business
Turnover
6,087
3,331
Expenditure
Operating profit
15,271)
816
13,1411
190
Operating costs
18.090
1532)
1531
18,1301
15251
11611
Bursary costs
Donations in kind
Net deficit from principal activitiè8
(1.000)
(3.918)
Reconciliation lo SofA Ipage 371
Add endowment donations
718
610
Add TCIF capital grant
Deduct depreciatitsn & Tmpairment
Total income less tolal expenditure
12
18
(7811
{1.051)
17771
14,0671
As discussed in this Annual Report, income generating activities (Short Courses, fundraising
and RADA Business) started their recovery to pre-covid levels of contribution while we
maintained the expenditure necessary to sustain the quality of our world-leading training. We
have accrued £1.38m of specialist funding from Ofs following our recognition as 'world-
leading, The deficit has been met from reserves.
Investment Policy
RADA'S policy is to invest in total return funds that aim to protect capital and provide real
absolute returns. To spread risk. the investments are currently with three f unds that have
23

different asset mixes that include equities. bonds, gilts, gold and cash. The Academy's
investments are monitored by the chairs of the Finance and General Purposes and Audit and
Risk committees, and the Director of Finance and Operations.
Reserves Policy
The general unrestricted funds of RADA al 31 July 2022 were £0.9m12021'. £2.3m, see note 22).,
These are offset by long term liabilities relating the f inance lease {note 15}. Annual payments
towards this continue to be met from operaling income. The pension fund's assets at 31 July
2022 are estimated to be greater than the fair value of its liabilities, but no surplus has been
recognised as it is not certain at this point that any benefit will be returned to RADA.
RADA'S total reserves of £34.6m are made up of the following amounts las shown in notes 21
and 221..
2022
£m
31.4
2021
£m
32.0 Land. buildings & equipment used
for charitable purposes
6.2 Invested lo provide future income
2.3 General reserve
0.5 Specific project funding
10.5) To be mei frorn operating income
15.3) To be met from operating income
35.2
Fixed Assets
Endowment Funds
Unrestricted
Restricted funds
Pension scheme liability
Long term lease
Total
{5.2}
Council's long-term aim is to ensure that RADA has freely available unrestricted general funds
equal to its estimate of at least six months, running costs excluding depreciation. This is
currently estimated at £6.7m. The unrestricted reserves at July 2022 were £0.9m, which is
lower than target. The Principal and leadership team are committed to rebuilding RADA'S
reserves over the coming years.
Qoing Concern
Council considers that there are no material uncertainties about the Academy's ability to
continue as a going concern., although it has long-term liabilities relating to the lease under
which it occupies 20-22 Chenies St Isee note 151. the Academy expects to continue to meet
this liability from operating income as it has to date. The core Ofs grant is subject to changes in
legislation and government policy. but the Academy has the ability to adjust its other
expenditure according to funds available. The Academy has drawn on its unrestricted cash and
investment reserves as a result of the Covid pandemic since March 2020 but retains £0.9m of
unrestricted reserves {see note 211 which will be available if needed to mitigate variations in
self-generated income. Having considered RADA'S financial forecasts, the Council has a
reasonable expectation that RADA will continue in business for at least 12 months from the
date the accounts are signed.
24

Pay policy for senior staff
Members of Council, who are the charity's Trustees. the Principal and the Senior Leadership
Team comprise the key management personnel of ihe charity in charge of directing and
controlling, running. and operating the Academy on a day-to-day basis. All Council members
give of their time freely and no member received remuneration in the year for their work as
trustees. Details of Council members. expenses lif any) and related party transactions are
disclosed in note 20 to the accounts.
The pay and conditions of the Senior Leadership Team are reviewed annually by a
remuneration committee (made up of the members of the Finance and General Purposes
Committee and the Chairman of Council) and normally increase in accordance with average
earnings. When senior staff are recruited, remuneration is benchmarked against similar roles in
other educational, artistic, charitable, or commercial organisations as appropriate.
13. Public benefit
RADA'S Council members have had regard to the guidance on public benefit issued by the
Charity Commission. RADA is committed to making its training accessible to students f rom all
backgrounds. This ambition is supported by our Access and Participation programmes, and
Bursary scheme.
14. Statement of Corporate Governance and Internal Control
The Trustees of RADA acknowledge their responsibility for ensuring that a sound system of
internal control is maintained and have reviewed the effectiveness of those arrangements for
the period from 1 August 2021 to the date of signing of these accounts. Further details of
RADA'S corporate governance arrangements and approach to internal control are set out
below.
Legal Structure
RADA is a Charity registered with the Charity Commission under registration number 312819. It
is governed by a Royal Charter of Incorporation daled 16 July 1920 as amended by Orders in
Council dated 22 December 1971, 19 July 2006, and 21 July 2020. RADA has a subsidiary
company, RADA in Business Limited I'RADA Business" or "RB'I, company registration number
03999577, incorporated 12 June 2000). RADA holds 100% of the issued ordinary share capital
of RB.
From 1 August 2019, RADA became an independently registered Higher Education Provider with
the Office for Students IOfSI, registration number 10009292.
Organi$ational Structure
The primary responsibility for RADA is vested in the Council with management of RADA being
delegated to the Principal and through them to the Senior Leadership Team. The Council
operates a series of committees with relevant senior RADA staff attending and presenting
information and updates. On Niamh Dowling's appointment as Principal, she became the
25

Accountable Officer and assumed the authorities in the Scheme of Delegation that had been
delegaled to SLT in the interim.
The Finance and General Purposes Committee is responsible for recommending RADA'S annual
revenue and capital budgets to Council and monitoring performance in relation to approved
budgets. The Audit and Risk Committee is responsible for monitoring RADA'S system of internal
controls. the work of internal and external auditors and the preparation of, and proper
disclosure in. the annual Financial Statements. The Nominations Committee is responsible for
identifying potential new members of Council. The Remuneration Committee considers the pay
and conditions of senior staff and any other remuneration issues as they arise. The Training
Committee reviews and makes recommendations on any aspect of the training policy,
provision, and practice.
These committees agree financial and non-financial targets with the management of RADA and
monitor these on a regular basis on behalf of Council. RADA'S management is required to
supply further reports to the relevant committee if there is any significant change to the budget
or business plan.
The governance of RADA Business lies with the RADA Business Board and this Board monitors
the activity of RADA Business through regular board meetings. The leadership team of RADA
Business reports directly to the RADA Business Board.
Appointment of Trustees
As set out in the revised articles of the Royal Charter. members of the Council, who are
Trustees for charity law purposes, are elected by the Council at a meeting of the Council or by
written resolution signed by the majority of members.
Members of the Council hold office for a period of three years from the date of their election.
Members may be re-elected for further three-year periods provided that they do not serve for
more than ni ne consecutive years without a break of at least one year, unless the Council shall
by Special Resolution otherwise determine. A Nominations Committee exists to review
potential new members, both to replace retiring members and io reflect the needs and
Requirements of RADA going fonNard.
Trustee Induction and Training
New members are given agendas. papers. and minutes from the previous year's Council
meetings together with documents such as the events brochures, fundraising literature and
supporters. packs and a copy of the last Annual Report and Financial Statements. New
members meet key individuals in RADA and on Council to discuss their duties as members.
New and existing members are encouraged to attend key meetings, depending on their area of
expertise, and performance and fundraising events at RADA. All new membeis have an
introductory session with the Chairman and the Clerk to Council.
Risk Management
The risk management policy of RADA is to adopt best practices in the identification, evaluation,
and cost-effective control of risks to ensure that they are eliminated or reduced to an
acceptable level. It is acknowledged that some risks will always exist and cannot be
eliminated. The main risks for RADA are dependence on variable revenue streams in particular
as they have been affected by Covid and the wider economy {for example, RADA Business and
short courses) versus a relatively fixed cost base around the three main buildings, and the
effects of changes in educational policy (for example, the level and type of grants and fees).
The impact of variable income has been mitigated by developing other sources of income and
26

maintaining unrestricted reserves available. Through its professional networks, RADA is kept
informed of possible changes lo higher education policy and aims to position itself as a key
provider of world-leading learning.
At the time of writing. we believe that the material risk to staff and students arising from the
prevalence of Covid has diminished. We remain vigilant as we go into winter. and support staff
and students to maintain good health.
The risks are reviewed regularly through a risk register monitored by the Audit and Risk
Committee. Council feels that RADA is adapting satisfactorily to the current financial and
regulatory environments. The Audit and Risk Committee receives regular reports from
management and internal audit on emerging risks and their management. These are reported to
Council. The Audit and Risk Committee is responsible for reviewing the effectiveness of
RADA'S i nternal controls. supported by internal audit.
Internal Control$
RADA'S key internal financial controls, which are designed to discharge the responsibilities set
out in the Statement of Trustees, Responsibilities, include the following=
regular scrutiny of budgets through quarterly management accounts and detailed
transaction listings in meetings with key budget holders.,
two year rolling cash flow projections and reviews of medium-lerm forecasts.,
regular reviews of key budgel and Business Plan milestones by the Council's Finance
and General Purposes Committee- and
authorisation procedures, separation of incompatible duties, performance and review
of key accounting reconciliations and controls over access to systems.
Any system of internal financial control can, however. only provide reasonable, but not
absolute, assurance against any material misstatement or loss.
27

Administrative Information
Principal Office
62-64 Gower Street. London WC1E 6ED
President
Sir Kenneth Branagh
Trustees
The following have served as members of Council since 1 August 2021..
Chair
Marcus Ryder MBE
Members
S J K Barratt
Josh Berger CBE
Judith Blake, the Baroness Blake of Leeds
CBE
Professor Judith Buchanan
Lolita Chakrabarti
Ajay Chowdhury
Chipo Chung
Tim Clark 08E
Paul Clay
Sir Martin Donnelly
Buster Dover
Ros Haigh
Mike Leigh OBE
Rishi Madlani
Tanya Moodie
Maxine Peake
John Romeo
Tanya Rose
Helen Selwood
Robin Soans
Shona Spence
Caroline Spicer
Andrew Sutch
Tamar Thomas
Miranda Wayland
Professor Michael Worton CBE
Niamh Dowling {Principal and Accountable
Officer)
Helen Slater {Interim Accountable Off icerl
Mel Jessop
Dan Collins
steve Mayo
Michelle Snyder
Adrian Chelvatheebam (Acting)
to 13 October 2022
to 23 June 2022
from 1 September 2022
from 1 September 2022
to 30 May 2022
to 23 June 2022
to 23 June 2022
from 12 April 2022
to 24 November 2022
from 12 April 2022
from 12 April 2022
to 23 June 2022
from 1 September 2022
to 23June 2022
from 1 June 2022
staff Governors
to l June 2022
{Acting)
{TTSM)
to 24 September 2021
{otherl
Student
Governors
from 26 January 2022 to
16 July 2022
to 18 September 2021
to 18 September 2021
from 21 October 2021 to
16 July 2022
Jamie O'Donnell (Acting}
Jacob Steele (Technical Training)
Skylar Turnbull-Hurd (Technical Training)
28

Senior
Leadership
Team
Niamh Dowling
Axa Hynes
Fraser Jopp
Joan Oliver
Martin Prendergast
Principal and Accountable Officer (from 1 June 20221
Director of Access & Participation
Director of Finance & Operations
Director of Equity (from 1 September 20211
Director of Development & Public Affairs (to 5 September
2022)
Director of Technical Training (to 29 July 20221
Programme Director for Technical Training and Stage
Management (from S July 20221
Director of Actor Training
Interim Accountable Officer (to 1 June 2022), Vice-Principal
(from 1 August 20221 and Director of Communications and
Marketing
Registrar and Secretary (from 10 January 2022)
Mel Purves
Mark Simpson
Lucy Skilbeck
Helen Slater
Laura Witt
Sub-committees of Council
Finance and General Purposes Committee
Remuneration Committee
Chair
S J K Barratt {to 13 October 2022)
Caroline Spicer {Chair from 13 October 20221
Tim Clark
Paul Clay
Andrew Sutch {to 23 June 20221
Members
Audil and Risk Committee
Chair
Ros Haigh (to 23 June 2022)
Helen Selwood (Co-chair from 14 October 20221
Shona Spence (Co-chair from 14 Oclober 20221
Tim Clark (to 13 January 20221
Rishi Madlani
Members
Nominations Committee
Chair
Members
Marcus Ryder MBE
Lolita Chakrabarti
Tim Clark
Ros Haigh (to 23 June 20221
Robin Soans (to 24 November 2022}
Training Committee
Chair
Robin Soans (to 24 November 2022)
Tamar Thomas
Chipo Chung
Paul Clay
Joe Kloska (co-opted)
Mike Leigh OBE (to 23 June 2022)
Tanya Moodie
Members
29

Attendance
Attendance at Council and other meetings by Trustees in the year to 31 July 2022 was as
follows-
Name
Marcus Ryder MBE
S J K Barratt
Josh Berger CBE
Lolita Chakrabarti
Ajay Chowdhury (to 30 May 2022}
Chipo Chung
Tim Clark
Paul Clay
Sir Martin Donnelly
Buster Dover
Ros Haigh
Mike Leigh OBE
Rishi Madlani
Tanya Moodie
Maxine Peake
John Romeo
Tanya Rose
Helen Selwood (from 12 April 2022)
Robin Soans
Shona Spence (from 12 April 20221
Caroline Spicer (from 12 April 2022)
Andrew Sutch
Tamar Thomas
Professor Michael Worton CBE
Coun¢ll F&GP
414
414
114
214
213
414
414
114
314
414
414
314
314
214
114
214
214
111
314
111
111
414
214
414
Audlt
Training
515
213
113
515
515
111
113
313
313
313
013
111
313
111
111
515
313
staff Governors
Niamh Dowling (Principal. from 1 June 2022)
Helen Slater Ilnterim Accountable Officer)
Mel Jessop
Dan Collins
Michelle Snyder
111
414
314
213
314
Student Governors
Adrian Chelvatheebam {from 26 January 2022)
Skylar Turnbull-Hurd
313
314
RADA recognises that many of its Council members in the profession may not be able to attend
all meetings due to their professional commitments. All members receive all relevant papers in
advance of meetings and are able to discuss issues with the Chair, the Principal or members of
Senior Leadership Team at any time.
30

Professional Advisers
Auditors
Saffery Champness LLP
Chartered Accountants
71 Queen Victoria Street
London
EC4V 4BE
Bankers
National Westminster Bank plc
250 Bishopsgate
London
EC2M 4AA
Solicitors
Womble Bond Dickinson LLP
1 Whitehall Riverside
Leeds
LS14BN
Mills& Reeve
Botanic House
100 Hills Road
Cambridge
CB2 1PH
Investment Managers
Mclnroy & Wood Ltd
Easter Alderston
Haddington
East Lothian
EH413SF
15. Statement of Trustees, Responsibilities
Council is responsible for preparing the Report of the Members of Council and the Financial
Statements in accordance with applicable law and United Kingdom Accounting Standards
{United Kingdom Generally Accepted Accounting Practice). The law applicable to charities in
England and Wales requires the members of Council (who are Trustees for the purposes of
charity lawl to prepare Financial Statements for each financial year which give a true and fair
view of the state of affairs of the charity and of the incoming resources and application of
resources ol the charity for that period. In preparing these financial statements, the Trustees
are required to=
select suitable accounting policies and then apply them consistently-
observe the methods and principles in the Charities Statement of Recommended
Practice I"SORP"I-
make judgments and estimates that are reasonable and prudent;
state whether applicable accounting standards have been followed, subject to any
material departures disclosed and explained in the financial statements., and
prepare the Financial Statements on the going concern basis unless it is inappropriate
to presume that the charity will continue in business.
31

Council is responsible for keeping proper accounting records that disclose with reasonable
accuracy at any time the financial position of the charity and enable it to ensure that the
Financial Statements comply wilh Ihe Charities Act 2011, the Charity (Accounts and Reports)
Regulations 2008, the Office for Students I"OfS") 'Regulatory advice 9.. Accounts direction,.
and the provisions of the Royal Charter. Council is responsible for safeguarding the assets of
the Charity and hence for taking reasonable steps for the prevention and detection of fraud and
other irregularities. Council also has regard to the voluntary code of practice of the Committee
of University Chairs. Guide for Members of Higher Education Governing Bodies in the UK.
Council has taken steps to=
ensure that funds received from the Ofs are used only for the purposes for which they
have been given and in accordance with the funding agreements and other conditions
which each funding body may f rom time to time prescribe.
ensure that there are appropriate financial and management controls in place to
safeguard public funds and funds from other sources.
safeguard ihe assets of RADA and prevent and detect fraud- and
secure the eff icient and effective management of RADA'S resources and expenditure.
For and on behalf of the Members of Council
Marcus Ryder MBE
32

ROYAL ACADEMY OF DRAMATIC ART
Independent Auditors, Report to the Trustees
Opinion
We have audited the financial statements of the Royal Academy of Dramatic Art {the 'parent
charity'l and its subsidiary {the 'group'l for the year ended 31 July 2022 which comprise the
Consolidated Statement of Financial Activities, Balance sheets, Consolidated Cash Flow
statement and notes to the financial statements, including significant accounting policies. The
financial reporting framework that has been applied in their preparation is applicable law and
United Kingdom Accounting Standards, including Financial Reporting Standard 102, the
Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom
Generally A¢¢epted Accounting Practice).
In our opinion the financial statements..
give a true and fair view of the state of the group and parent charity's affairs as at 31
July 2022 and of the group's incoming resources and application of resources for the
year then ended-
have been properly prepared in accordance with United Kingdom Generally Accepted
Accounting Practice.,
have been prepared in accordance with the requirements of the Charities Act 2011., and
meet the requirements of the Accounts Direction 2019 issued by the Off ice for
students.
Basis for opinion
We conducted our audit in accordance with International Standards on Auditing {UK) IISAS
{UK}) and applicable law. Our responsibilities under Ihose standards are further described in
the Auditor's responsibilities for the audit of the financial statements section of our report. We
are independent of the group and parent charity in accordance with the ethical requirements
that are relevant to our audit of the financial statements in the UK, including the FRC'S Ethical
standard. and we have fulf illed our other ethical responsibilities in accordance with these
requirements. We believe that the audit evidence we have obtained is sufficient and
appropriate to provide a basis for our opinion.
Conclusions relating to going concern
In auditing the financial statements. we have concluded that the trustees, use of the going
concern basis of accounting in the preparatiorb of the financial statements is appropriate.
Based on the work we have performed, we have not identified any material uncertainties
relating to events or conditions that. individually or collectively, may cast significant doubt on
the group or the parent charity's ability to continue as a going concern for a period of at least
twelve months from when the financial statements are authorised for issue.
Our responsibilities and the responsiljilities of the trustees with respect to going concern are
described in the relevant sections of this report.
other information
The trustees are responsible for the other information. The other information comprises the
information included in the annual report, other than the financial statements and our auditor's
report thereon. Our opinion on the financial statements does not cover the other information
and, except to the extent otherwise explicitly stated in our report, we do not express any form
of assurance conclusion thereon.
33

Independent Auditors, Report to the Trustees (cont)
Our responsibility is to read the other information and, in doing so, consider whether the other
information is materially inconsistent with the financial statements, or our knowledge obtained
in the course of the audit or otherwise appears to be materially misstated. If we identify such
material inconsistencies or apparent material misstalements. we are required to determine
whether this gives rise to a material misstatement in the financial statements themselves. If,
based on the work we have performed, we conclude that there is a material misstatement of
this other information,. we are required to report that fact.
We have nothing to report in this regard.
Report on other legal and regulatory requirements
We are requi red to report on the following matlers by the Accounts Direction 2019 issued by
the Office for Students IOfSI.
In our opinion, in all material respects=
funds f rom whatever source administered by the provider for specific purposes have
been properly applied to those purposes and managed in accordance with relevant
legislation.,
funds provided by the Ofs and Research England have been applied in accordance with
the relevanl lerms and conditions- and
the requirements of the Ofs's accounts direction have been met.
Matters on which we are required to report by exception
We have nothing to report in respect of the following matters in relation to which the Charities
{Accounts and Reports) Regulations 2008 require us to report to you if, in our opinion..
the information given in the Trustees. Annual Report is inconsistent in any material
respect with the financial statements. or
Ihe parent charity has not kept sufficient accounting records- or
the parent charity's financial statements are not in agreement with the accounting
records and returns- or
we have not received all the information and explanations we require for our audit.
We are required to report by exception. the following matters by the Accounts Direction 2019
issued by the Office for Students=
Grant and fee income, as disclosed in the notes to the accounts. has been materially
misstated- or
Expenditure on access and participation activities for the financial year has been
materially misstated.
We have nothing to report in these respects.
Responsibilities of trustees
As explained more fully in the Trustees, Responsibilities Statement set out on pages 31-32, the
trustees are responsible for the preparation of the financial statements and for being satisfied
that they give a true and fair view. and for such internal control as the trustees determine is
necessary to enable the preparation of f inancial statements that are f ree from material
misstatement, whether due to fraud or error.
34

Independent Auditors, Report to the Trustees (cont)
In preparing the financial statements, the trustees are responsible for assessing the group and
the parent charity's ability to continue as a going concern, disclosing, as applicable. matters
related to going concern and using the going concern basis of accounting unless the trustees
either intend to liquidate the group or the parent charity or to cease operations, or have no
realistic alternative but to do so.
Auditors, responsibilities for the audit of the financial statements
We have been appoi nted as auditors under the Charities Act 2011 and report in accordance
with regulations made under that Act.
Our objectives are to obtain reasonable assurance about whether the group and parent
financial statements as a whole are free from material misstalement, whether due to fraud or
error, and to issue an auditor's report that includes our opinion. Reasonable assurance is a high
level of assurance, but is nol a guarantee that an audit conducted in accordance with ISAS IUKI
will always detect a material misstatement when it exists. Misstatements can arise from fraud
or error and are considered material if. individually or in the aggregate. they could reasonably
be expected to inf luence the economic decisions of users taken on the basis of these financial
statements.
Irregularities, including fraud, are instances of non-compliance with laws and regulations. We
design procedures in line with our responsibilities. outlined above, to detect material
misstatements in respect of irregularities. including fraud. The specific procedures for this
engagement and the extent to which these are capable of detecting irregularities, including
f raud are detailed below.
Identifying and a88e8sing risks related to irregularities
We assessed the susceptibility of the group and parent charity's financial statements to
material misstatement and how fraud might occur, including through discussions with the
trustees and informed management, discussions within our audit team planning meeting,
updating our record of internal controls, and ensuring these controls operated as intended. We
evaluated possible incentives and opportunities for fraudvlenl manipulation of the financial
statements. We identified laws and regulations that are of significance in the context of the
group and parent charity by discussions with trustees and informed management and updating
our Understanding of the sectors in which the group and parent charity operate.
Laws and regulations of direct significance in the context of the group and parent charity
include the Education Reform Act 1988, the Ofs Accounts Direction 2019, the Charities Act
2011, the Charities (Accounts and Reports) Regulations 2008 and guidance issued by the
Charity Commission for England and Wales
Audit response to risks identified
We considered the extent of compliance with these laws and regulations as part of our audit
procedures on the related financial statement items including a review of f inancial statement
disclosures. We reviewed the parent charity s records of breaches of laws and regulations,
minutes of meetings and correspondence with relevant authorities to identify potential
material misstatements arising. We discussed the parent charity's policies and procedures for
compliance with laws and regulations with members of management responsible for
compliance.
35

Independent Auditors, Report to the Trustees (cont)
During the planning meeting with the audit team, the engagement partner drew attention to the
key areas which might involve non-compliance with laws and regulations or f raud. We enquired
of management whether they were aware of any instances of non-compliance with laws and
regulations or knowledge of any actual, suspected, or alleged fraud. We addressed the risk of
fraud through management override of controls by testing the appropriateness of journal
entries and identifying any significant transactions that were unusual or outside the normal
course of business. We assessed whether judgements made in making accounting estimates
gave rise to a possible indication of management bias. At the completion stage of the audit, the
engagement partner's review included ensuring that the team had approached their work with
appropriate professional sceplicism and thus the capacily to identify non-compliance with
laws and regulations and Iraud.
There are inherent limitations in the audit procedures described above and the further removed
non-compliance with laws and regulations is from the events and transactions reflected in the
financial statements. the less likely we would become aware of it. Also, the risk of not
detecting a material misstatement due to fraud is higher than the risk of not detecting one
resulting from error, as fraud may involve deliberate concealment by, for example, forgery or
intentional misrepresentations, or through collusion.
A further description of our responsibilities is available on the Financial Reporting Council's
website at.. www.frc.org.uklauditorsresponsibilities. This description forms part of our
auditor's report.
U8e of our report
This report is made solely to the parent charity's trustees. as a body, in accordanee with Part 4
of the Charities (Accounts and Reports) Regulations 2008. Our audit work has been undertaken
so that we might state to the parent charity trustees those matters we are required to state to
them in an auditor's report and for no other purpose. To the fullest extent permitted by law, we
do not accept or assume responsibility to anyone other than the parent charity and the parent
charity's trustees as a body, for our audit work, for this report, or for the opinions we have
formed.
CATssLLP
Saffery Champness LLP
Chartered Accountants
Statutory Auditors
71 Queen Victoria Street.
London. EC4V 4BE
Date: 23 December 2022
Saffery Champness LLP is eligible lo act as an auditor in terms of section 1212 of the
Companies Act 2006
36

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E G * % . /  Y Z ^ _ V ] i Y Y ] W e ^ W W V _ W ^ Z ] W V d a \ X V W ^ d V d V X Y i Z \ W V ] ^ _ _ U V X ` d d V Z _ m ^ \ d a ^ [ ` V x Š [ [ W ` X U ] Y Z ^ _ \ Y Z W ^ d V d V X Y i Z \ W V ] ^ W ] Y Z ^ _ \ Y Z \ Z X Y { V e ^ Z ] ] V b \ _ V ] _ Y V  c V Z ] \ _ ` d V Y d m \  V ] ^ W W V _ W ^ W ^ c c d Y c d \ ^ _ V x 0 1 2 3 4 3 5 6 7 5 2 8 9 3 : ; 9 1 5 — = 5 : > 3 9 ? 7 5 1 : ; 1 1 > 6 8 : > 6 5 7 ˜ 3 4 5 6 = 7 1 ˜ 3 > 5 > 9 1 9 < 5 ™ 4 8 > 5 P š A . % & + ( * ) * & ( & D - * C ž * - * ) * . / C ( F .  , . ( F * ) ' E . 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( / * & ( / Q F . D * ( . F % & ( ) E * ž ' ) * & ( / % M . J . / T U V Š X ^ ] V { y Y c V d ^ _ V W ^ ] V m \ Z V ] X Y Z _ d \ b ` _ \ Y Z c V Z W \ Y Z W X U V { V x t Y Z _ d \ b ` _ \ Y Z W ^ d V X U ^ d i V ] _ Y _ U V j _ ^ _ V { V Z _ Y m g \ Z ^ Z X \ ^ [ Š X _ \ a \ _ \ V W ^ W _ U V y b V X Y { V c ^ y ^ b [ V \ Z ^ X X Y d ] ^ Z X V f \ _ U _ U V d ` [ V W Y m _ U V W X U V { V x ¤ . ( / * & ( / Q F . D * ( . F ž . ( . D * ) / % M . J . / T U V Š X ^ ] V { y Y c V d ^ _ V W ^ ] V m \ Z V ] b V Z V m \ _ c V Z W \ Y Z W X U V { V o T U V h Y y ^ [ Š X ^ ] V { y Y m  d ^ { ^ _ \ X Š d _ p € ‚ † h V _ \ d V { V Z _ g ` Z ] e ’ _ U V j X U V { V ’ s x j X U V { V ^ W W V _ W ^ d V { V ^ W ` d V ] ` W \ Z i { ^ d  V _ a ^ [ ` V W x j X U V { V [ \ ^ b \ [ \ _ \ V W ^ d V { V ^ W ` d V ] ` W \ Z i _ U V c d Y  V X _ V ] ` Z \ _ a ^ [ ` ^ _ \ Y Z { V _ U Y ] ^ Z ] ^ d V ] \ W X Y ` Z _ V ] ^ _ _ U V X ` d d V Z _ d ^ _ V Y m d V _ ` d Z Y Z ^ U \ i U Ž ` ^ [ \ _ y X Y d c Y d ^ _ V b Y Z ] Y m V Ž ` \ a ^ [ V Z _ _ V d { ^ Z ] X ` d d V Z X y _ Y _ U V [ \ ^ b \ [ \ _ y x Š Z y \ Z X d V ^ W V \ Z _ U V c d V W V Z _ a ^ [ ` V Y m [ \ ^ b \ [ \ _ \ V W f \ _ U \ Z _ U V j X U V { V V  c V X _ V ] _ Y ^ d \ W V m d Y { V { c [ Y y V V W V d a \ X V \ Z _ U V c V d \ Y ] ^ Z ] Z V _ \ Z _ V d V W _ \ W X U ^ d i V ] _ Y _ U V j _ ^ _ V { V Z _ Y m g \ Z ^ Z X \ ^ [ Š X _ \ a \ _ \ V W f \ _ U \ Z _ Y _ ^ [ V  c V Z ] \ _ ` d V x t U ^ Z i V W _ Y _ U V c [ ^ Z [ \ ^ b \ [ \ _ \ V W ^ d \ W \ Z i m d Y { X U ^ Z i V W _ Y ] V { Y i d ^ c U \ X ^ Z ] m \ Z ^ Z X \ ^ [ ^ W W ` { c _ \ Y Z W ^ d V W U Y f Z \ Z Y _ U V d d V X Y i Z \ W V ] i ^ \ Z W ^ Z ] [ Y W W V W x T U V V  c V X _ V ] d V _ ` d Z Y Z _ U V j X U V { V Œ W ^ W W V _ W ^ Z ] ^ Z y ] V X d V ^ W V ] ` d \ Z i _ U V c V d \ Y ] \ Z _ U V c d V W V Z _ a ^ [ ` V Y m _ U V j X U V { V Œ W [ \ ^ b \ [ \ _ \ V W ^ d \ W \ Z i m d Y { _ U V c ^ W W ^ i V Y m _ \ { V ^ d V \ Z X [ ` ] V ] \ Z _ U V j _ ^ _ V { V Z _ Y m g \ Z ^ Z X \ ^ [ Š X _ \ a \ _ \ V W x j X U V { V W ` d c [ ` W V W e _ Y _ U V V  _ V Z _ _ U ^ _ _ U V y ^ d V X Y Z W \ ] V d V ] d V X Y a V d ^ b [ V e Y d ] V m \ X \ _ W ^ d V d V X Y i Z \ W V ] \ Z m ` [ [ ^ Z ] c d V W V Z _ V ] Y Z _ U V m ^ X V Y m _ U V b ^ [ ^ Z X V W U V V _ x £ * C ž * - * ) N ) & ) C  C ) * & ( Š W ^ d V i \ W _ V d V ] X U ^ d \ _ y e h Š  Š \ W V  V { c _ m d Y { \ Z X Y { V ^ Z ] X Y d c Y d ^ _ \ Y Z _ ^  _ Y _ U V V  _ V Z _ _ U ^ _ \ _ W \ Z X Y { V ^ Z ] i ^ \ Z W ^ d V ^ c c [ \ V ] _ Y f ^ d ] W \ _ W X U ^ d \ _ ^ b [ V Y b  V X _ W ^ Z ] m Y d Z Y Y _ U V d c ` d c Y W V x ¥ ^ [ ` V Š ] ] V ] T ^  \ W Z Y _ X Y { c [ V _ V [ y d V X Y a V d ^ b [ V b y _ U V h Š  Š e ^ Z ] _ U V \ d d V X Y a V d ^ b [ V ^ { Y ` Z _ \ W _ U V d V m Y d V \ Z X [ ` ] V ] \ Z _ U V d V [ V a ^ Z _ X Y W _ W \ Z _ U V j _ ^ _ V { V Z _ Y m g \ Z ^ Z X \ ^ [ Š X _ \ a \ _ \ V W x 


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Annual Report and Accounts 2022-12-21
Final Audit Report
2022-12-22
creat￿..
20T2-12-21
By..
Fraser Jcw lfraserD￿rada.80Uk
Slalu8.'
Transaction ID".
CBJCHBCAABAADaEmEfxeU28FXEb9jKG 12B￿]86R87l
"Annual Report and Accounts 2022-12-21" History
Document cTrated by Fraser Jopp {fraseriopp@rada.ac.ukl
2022-12-21- 12'.13'.59 GMT- IP address.. 80.6.21.123
. Document emailed to niamhdowling@rada.ac.uk for signature
20L-12-21- 12..16..42 GMT
. Do(#Jment emailed to Marcus Ryder {marcus@mryder.net} for signature
2022-12-21- 12".16".42 GMT
Document emailed to carol1ne.spi￿r49@gmai1.¢OM lor signature
20￿-12-21 12..16..42 GMT
Email viewed by caro1ine.spi￿r49@g￿81l.cOM
2022.12_21 . 15..13."10 GMT_ IP ￿dress.. 86.140.168.53
Signer carol1ne.spi￿r49@gmai1.￿)M entered name at signing as Caroline spI￿r
2022-12-21- 15'.14'.40 GMT. IP address.. 86.140.168.53
Document e-signed by Caroline SpI￿r {caroline.spicer49@gmail.coml
Signature Date.. 2022-12-21 - 15..14..42 GMT- Tirne Soutce.. S￿Ver- IP addtess.. 86.140.168.53
Email viewed by niamhdowling@rada.ac.uk
2022-12-21- 18'.03.'21 GMT- IP address.. 82.20.71.114
LS(• Signer niamhdowling@rada.ac.uk entered name al signing as niamh dovAing
2022-12-21- 18..22..56 GMT- IP &dres5'. 8220.71.114
LSO Do(xJment e-signed by niamh dovAing Iniamhdowling@rada.aoukl
Signature Date." 2022-12-21- 18."22."58 GMT- TIMÈ &XIr￿." Sel￿- IP athjress." 82.20.71.114
Email viewed by Marcus Ryder 1marcus@mryder.nell
2022-12-22- 13..04..39 GMT. IP address.. 72.252.192.230
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Do(xJment e-signed by Marc4Js Ryder (Mar￿$@mryder.neI)
Signature D8t*." 2022-12-T2- 13".06".37 GMT- TIMÈ &xIr￿." IP atkjress." 72.252.192230
Agreement completed.
2022-12-22- 13..06..37 GMT
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