My research explores how the Royal Shakespeare Company’s epitexts (programmes, posters, and financial reports) reflect the ideological and economic pressures of Thatcherite Britain. Focusing on the tension between the creatives and the institutional framing that surrounded them, it examines how the RSC’s dependence on public and private sponsorship shaped the way performances of dissent were framed. The project ultimately investigates the extent to which theatrical productions can be radical while remaining within neoliberal systems of ideology.