In December 2025, the Royal Shakespeare Company performed its annual carol concert at Holy Trinity Church in Stratford-upon-Avon. Normally a time of celebration, this year felt different. The RSC staged 'Fairytale of New York' in the style of Haydn's Farewell Symphony, where musicians gradually left the stage as a protest against the company's decision to cut its music department.
Haydn's Historic Protest
In 1772, Joseph Haydn composed the Farewell Symphony for his employer, a Hungarian prince. As musicians grew eager to return to their families, Haydn wrote a finale where each musician finished their part, extinguished their candle, and left the stage. The hint was understood, and the musicians were allowed to return home.
A Modern Twist
Two and a half centuries later, the RSC musicians used a similar tactic. During the concert, musician after musician stopped playing until only the piano remained, echoing the final notes of the Christmas anthem. The staging was a deliberate nod to a disagreement between the musicians and their employer, the RSC, which faces a £5 million shortfall.
Redundancies and Cuts
Last year, the RSC announced an 11% workforce reduction through voluntary and compulsory redundancies. The music department was hit hardest: former head of music Bruce O'Neil took voluntary redundancy, and the last two in-house musicians, along with a music manager and assistant, were made redundant, effectively dissolving the department.
John, a freelancer who wished to remain anonymous, described the concert's awkward atmosphere. He recalled that while compulsory redundancies had been announced, no final decisions were made, leaving attendees uncertain about their jobs after Christmas. The concert was particularly poignant as it was O'Neil's final performance. "Bruce called the band 'last orders'," John said. The dramatic rendition was uploaded to YouTube as part of a petition to reverse the cuts.
Cultural Shift at the RSC
The RSC is undergoing drastic changes, with insiders noting a shift in culture. John observed a clear "us and them" feeling between staff and upper management. The RSC's executive team acknowledged the strength of feeling and said they had taken on board feedback about alternatives.
There is also a move away from long-term contracts towards freelancers, mirroring a national trend away from the repertory system. This shift has implications for West Midlanders, who already face limited opportunities in what Stephen Brown of the Musicians' Union calls the "worst-funded region in England for the arts."
Blame has been placed on co-artistic directors Tamara Harvey and Daniel Evans. One freelancer commented that previous leaders had added their own spin while maintaining a through line, but the new directors "just snip that line and started again." The RSC responded that structural changes affected every area of operations and were necessary to build a sustainable financial model for long-term growth.
Whether these decisions ensure the RSC's survival or change the theatre beyond recognition remains a point of contention.
