QUEENSHALL ANNUAL REPORT A4 16pg-proof

ANNUAL REVIEW
1st April 2011 - 31st March 2012
Scottish Charity SCO12294
www.thequeenshall.net
Steven Osborne
Performing at the Edinburgh International Festival 2010
Photo: Claudine Quinn
The Queen’s Hall is a leading international
venue, promoting all kinds of music-making,
by and for all kinds of people.
CONTENTS:
1.0 Introduction: Adrian Harris Chief Executive
2.0 Directors’ Report
3.0 Our Organisation
.1 Structure and Legal Status
.2 Making Decisions
4.0 Memory, unique occasions with Andrew Greig
5.0 Our Artistic Programme
.1 Our Aims
.2 Our Programme
6.0 Corporate Supporters
7.0 Support ~ Keep It Live Membership
8.0 Endorsements
9.0 Chart of Accounts
Photography: Andy Catlin
1.0
Introduction Adrian Harris
Chief Executive
Although this report covers the period April 2011 to March 2012 it would be remiss of me not to comment on the recent decision by
Creative Scotland not to support our capital application for funding to refurbish and renew the building.
We have shared our plans with many of our supporters and their feedback has helped us to develop and refine our ideas. Indeed,
many of them have contributed funds to enable us to bring in the specialist skills required to demonstrate the viability of our plans.
Despite Creative Scotland’s decision we remain convinced that the current proposal is the best option for the future of The Queen’s
Hall. It allows us to develop new strands of work and to modernise our facilities for artists and audiences, all within a viable and
sustainable financial framework for the Hall.
We are currently seeking feedback from both the City of Edinburgh Council and Creative Scotland on our bid with a view to
re-applying in 2013. We are determined to secure the future of the Hall for the city, for audiences and for all the artists who love
performing here. We shall keep you in touch with developments.
2011-12 has been another busy and successful year for the Hall featuring the range and quality of work for which the Hall is justifiably
famous. Regular users of the Hall including the Scottish Chamber Orchestra, the Scottish Ensemble, the Scottish National Jazz
Orchestra, the New Town Concerts Society, DF and Regular Music amongst others provided us with an all year round programme
of rich musical diversity and high quality.
Our 2011 Fringe Festival was one of our most successful ever and we were particularly pleased to feature in our programme a new
generation of Scottish artists who are making waves worldwide including Rachel Sermanni, The Burns Unit and Withered Hand.
We also welcomed the Scots Fiddle Festival to the Hall for the first time in November featuring a wonderful weekend of workshops
and performances. We are delighted that they will be back with us in 2012.
Festivals are a cornerstone of the city’s cultural life and in addition to those already mentioned we hosted a highly successful season
of morning concerts for the Edinburgh International Festival and gigs for the Edinburgh Jazz and Blues Festival.
Many of the festivals that take place in Edinburgh are dependent upon the city’s all-year-round cultural infrastructure. If The Queen’s
Hall and other venues were not here and in rude good health then festival activity would be severely limited. Which takes me back
to where this introduction began......
Many thanks to all our supporters and particularly to our audiences for contributing to another great year at The Queen’s Hall.
Adrian Harris
2.0 Directors’ Report
“Equally intoxicating was the Queen's Hall venue itself. Packed out and heavy with an expectant atmosphere, the cabaret tables and church
pews were closely spaced and gently lit by candles, creating an exclusive, intimate-feeling gig.”
Edinburgh Evening News
“For a certain type of atmosphere, you need a certain type of venue. The Queen’s Hall with its churchy austerity of décor but cosy size, fits the
bill for yearning singer-songwriters and any band going through an acoustic phase. It’s the civilized face of gig-going. The fact that standing in
the front row puts you about 2m from the feet of your idol ...”
The Scotsman
Apart from the fact that the live music-making I hear at the Queen's Hall is, for me, one of the reasons why life in Edinburgh is so much more
attractive than almost anywhere else, I pick out for particular comment the night when I attended The Lindsay Quartet's farewell appearance a privileged experience that I shall carry with me for the rest of my life.
Alan Hill Queen’s Hall Member
The Resonate series of concerts provides the talented youngsters at The City of Edinburgh Music School many new
exciting opportunities and experiences:
They get to feel the excitement of performing on the main stage of a major city centre venue.
They also benefit from being part of large ensembles with other musicians from across the city.
Even being backstage with all their friends is a new and thrilling experience for many
– and the whole event is also a memorable one for their proud parents, families and friends.
Building confidence through public performance is of vital importance to our young people especially if they wish to make a career in music.
The Queen’s Hall project is a brilliant opportunity for them in this regard.
Tudor Morris Director The City of Edinburgh Music School
2.1 Directors’ Report
The Directors are pleased to present their review of activity in The Queen's Hall over the 2011 -2012 financial year. We aim to
provide the Hall's facilities for hire to the widest possible number of groups, organisations and individuals and build and sustain
relationships with key music promoters and other partners in order to develop the use of the Hall. We provide opportunities for
many amateur as well as professional organisations to access the Hall's facilities through the offer of discounted rates. Our own
artistic programme complements activity generated by other users. The Queen's Hall is piloting music projects with a focus on
young people as performers. Through these projects we are seeking to establish the foundations for a more extensive programme
of performance and participatory activity for young people that will be based in a new second space that forms a key element in
our refurbishment plans for The Queen's Hall.
The major areas of activity are hires by outside promoters, Queen’s Hall promotions and hosting and supporting the work of Edinburgh’s Festivals.
Approximately 80% of the Hall’s concert output is the result of hires by outside promoters across a wide range of musical styles. In 2011-12 this included series
presented by the Scottish Chamber Orchestra, the Scottish Ensemble, the New Town Concerts Society and the Hebrides Ensemble. The range of music extends
beyond classical to embrace jazz from the Scottish National Jazz Orchestra and a host of rock and pop music promoted by Regular Music, DF Concerts, PCL and
others. Amateur organisations are well represented by the Meadows Chamber Orchestra, the Edinburgh Light Orchestra and Edinburgh Grand Opera. The Hall
hosted recording sessions for Delphian records and celebrations for Greentrax Records, a major label supporting Scottish traditional music and for the Indian
Consulate. Outwith the summer Festivals period the Hall supported events for the Hispanic Festival and Edinburgh’s Fiddle Festival.
The principle behind The Queen’s Hall’s own promotions is to complement and enhance the programme of hire activity rather than to duplicate it. In 2011-12 the
Hall presented 19 own-promotions embracing jazz, traditional and contemporary Scottish music with performances from amongst others, Phil Cunningham and Aly
Bain, Fiddlers’ Bid, Chris Stout and Catriona McKay, the Ukelele Orchestra of Great Britain, Tord Gustavsen, Sierra Maestra and the Graeme Stephen Quintet.
The Hall’s own promotions reinforce its pro-active role as a contributor to the cultural life of the city. Many of the concerts were critically acclaimed and most of the
artists would not have visited Edinburgh unless invited by The Queen’s Hall. The Directors are pleased to note that the structures put in place to mitigate risk around
the Hall’s own promotions have proved successful and achieved a break even position in what was a very challenging trading environment.
Edinburgh’s summer and winter Festivals define the topography of Edinburgh’s cultural landscape. As the key mid-scale live music venue in the city the Hall
continues to play a role in all of its leading Festivals. In 2011-12 The Queen’s Hall hosted programmes for the Edinburgh International Jazz and Blues Festival, the
Edinburgh International Festival, Edinburgh’s Winter Festivals and Ceilidh Culture. The Hall promotes its own Fringe programme in partnership with the Acoustic
Music Centre with a focus on contemporary and traditional Scottish music.
Achievements and performance/ 2.1 Contd
Attendances at the Queen’s Hall reached 90,808. This represented an increase of 7% on the previous year which given the difficult trading conditions resulting from the
recession is deemed a positive performance by the Directors.
The Hall continued its collaboration with the Acoustic Music Centre on our 2011 Fringe programme featuring successful concerts from, amongst others the Burns Unit,
Withered Hand, Dougie MacLean, Eliza Carthy, Heidi Talbot and Rachel Sermanni. The Queen’s Hall series of morning concerts, programmed and presented by the
Edinburgh International Festival, attracted over 15,000 customers to the venue for a series of the very highest quality.
The Hall’s ability to deal with artists from different traditions and the diverse demands of their audiences is seen at its best at Festival time. The staff’s expertise at
managing a world class chamber recital for the International Festival and then transforming the Hall to meet the needs of a sell-out Fringe event is one of the key strengths
of the venue. Praise from the public and from promoters for the Hall’s front-of-house, box office and bar staff is a regular feature at Festival time and, indeed, all year
round.
The Hall was particularly pleased this year to host four concerts in partnership with the City of Edinburgh Council’s Instrumental Music Service featuring the work of some
of Edinburgh’s finest young musicians. Pupils from various school bands and ensembles as well as the 100 strong Edinburgh Secondary Schools Orchestra presented
a varied musical programme across a range of styles and genres of music. The series was supported by the Tay Trust and the Inches Carr Trust to whom the Directors
are very grateful for creating these opportunities for Edinburgh’s young musicians.
The series was also supported by a number of Queen’s Hall Members. This is a group of approximately 400 individuals who offer regular financial support to the Hall.
Without their generosity the Hall could not offer the range and depth of activity we currently put on stage nor could we carry out the regular maintenance tasks that
inevitably arise in a building that is nearly 190 years old. Their support for the maintenance and upkeep of our A-listed building ensures that its architectural heritage
remains accessible to all.
The Hall also made an investment in enhancing its stock of sound equipment, vital for maintaining the Hall’s competitiveness with other venues in the city and beyond.
The Directors are grateful for funding received towards this new equipment from the Foyle Foundation and from Creative Scotland.
3.0 Our Organisation
3.1 Structure and Legal Status
The Queen’s Hall is a key venue in Edinburgh’s cultural life and is owned and run
by a private Trust. It was converted from a fine ‘A’ Listed Georgian Church and
opened in 1979. The Hall seeks to present work of the highest quality across all
musical genres and styles and to create opportunities for audiences from all
sectors of society to access this work.
The Queen’s Hall is a registered charity and a not-for-profit company limited by
guarantee, with a trading subsidiary whose principal activity is the running of the
Hall’s café/bar operation. The Hall is governed by a volunteer Board of Directors:
Roderick Wylie – Chair Roderick is a Chartered Secretary and former Chief
Executive of a legal firm. He has been Chair of the Queens Hall since 2010,
having previously been Vice Chair.
Maggie Wright – Vice Chair Maggie is an award-winning PR specialist. Maggie
brings skills in communication strategy, crisis management and publicity to the
Board.
Richard Finlayson – Richard is a Chartered Accountant who brings almost
20 years of charity and business advisory experience to the QH board.
He is currently Financial Controller, Programmes and Projects at The British
Council.
Mark Mackie – Mark is Managing Director of Regular Music, one of Scotland’s
largest and longest-running concerts promotions companies.
John Preston – John has recently returned to Edinburgh following a successful
career in the music industry as Chairman of BMG Entertainment UK
Campbell Whyte – Campbell is a Chartered Surveyor with over 20 years
experience in the UK property market
There are three observers on the Board reflecting the Hall’s beginnings:
Thorben Dittes
General Manager The Scottish Ensemble
Roy McEwan
Managing Director of the Scottish Chamber Orchestra
Rebecca Peppiette
Arts Strategy and Funding Manager,
City of Edinburgh Council
Adrian Harris
The Queen’s Hall Chief Executive,
is also a Director of the Company.
3.2 Making Decisions
The Board meets six times a year. There are currently three Board/staff
working groups:
- Finance
- Fundraising
- Programming
Each working group has the opportunity to consider in-depth issues and
challenges facing the Hall.
Alister Steele – Alister is Managing Director of Castle Rock Edinvar Housing
Association
Councillor Norma Austin Hart – Norma was elected in 2007 to represent the
Liberton Gilmerton ward in South Edinburgh. She is currently vice convenor of
the Culture and Sport committee and the Labour group spokesperson for this
area.
"Such a lovely space" Fairport
Convention
4.0 Author Andrew Greig fondly remembers times spent at The Queen’s Hall
Author Andrew Greig
fondly remembers times spent in
The Queen’s Hall
Size does matter, size and proportion. Take the
Scottish hills. The Alps are magnificent, but too big,
too hard, too much to know and truly relate to.
Having done three Himalayan expeditions, I can
report that the Himalayas are mind and
eye-bogglingly big, extra-ordinary but not lovable.
English hills are bonnie, but are not quite big enough
to take us beyond the daily human. Whereas the hills
of my country (my hard climbing days done, I have
tramped up some 252 Munros) are just the right size
to love, to relate to, to rise out of oneself among.
So it is with the Queens Hall. Ever since I first went
in as a student in the 70s to hear Haydn chamber
music, it has been my favourite venue in Scotland.
Less grandiose than the Usher or the Albert Hall,
Andrew Greig
bigger and more stylish than any pub, club or village
hall, it is exactly the right size. It is at the high end of intimate. With its gallery, main floor space below,
the stage at what feels like the altar end, it is perfectly proportioned. It is elegant, more than functional,
does not overwhelm its users. It combines the sociable while hinting at the sacred – which is what
music is to me.
For my first visits I was in the gallery, looking down at the musicians who were not too far away,
studying the audience below. An evening with the Roches (a wonderful American vocal trio of, yes,
sister singer-songwriters, witty, hilarious, emotional) sticks in my mind from the 80s, partly for the music
and partly because it was my first time sitting downstairs cabaret-style at a table. This remains my
favoured way of enjoying music: a drink at hand, sitting with friends, feeling the sound resonate, close
enough to the musicians pick up every grin, chuckle and exhalation.
An unforgettable evening of jazz in the 90s by Jan Garbarek (outstanding saxophonist, very Northern,
clear, glacial), and Eberhard Weber taking upright bass to new dimensions) was a cabaret table-event.
So too the other month were the Tord Gustavson Quartet – as big fans, my wife and I had seats at the
central front table for what turned out to be one of the great musical experiences of my life.
Towards the end of the evening, the compère Sheena MacDonald asked ‘Norman, would you like to
say anything?’ He stood up, waited for silence. ‘No,’ he said, then sat down. Poetry, it’s in the timing.
He did say one more thing. Presented with a crate of malt whisky he said ‘If I die before I finish it all, do
I have to give it back?’
The benefit evening for the Haiti earthquake in 2010 was astounding. In three days flat Catherine
Lockerbie, Carol Ann Duffy and Don Paterson organised fifteen leading Scottish poets to read for free. It
was sold out within hours, tickets gold-dust. Astonishing atmosphere, audience and performers buzzing,
the cause good. Everyone knew this was a one-off, and that number and quality of poets would never
be heard together again short of Independence Day. When my turn came, with legs a bit shaky, heart
banging inside my ribs, I climbed the steps for the first time onto that stage and looked out. It seemed I
could see and feel everyone there. We felt gathered.
We all have heroes, people whose art has entered into us. The Incredible String Band did that for me.
So it was weird and wonderful to finally do a set with Mike Heron and his band in the Upper Hall this
March. (I do a spoken word poem set and a song, then play banjo and sing closing numbers with Mike
and the band). Dressing rooms! A modest rider - wine, beer, fab homemade quiche by the promoter’s
skeelly hand! Posters out in the street! Very good sound, intimate and close, more club than concert hall.
As my father would murmur ‘Wha’d hae thocht it!’
Ours is a small country, and just the right size for connections. Thinking about that MacCaig evening,
I trace a pattern. It was through Norman that I first met Billy Connolly, and introduced them to each other.
It was on account of Billy’s enthusiasm for Norman’s poetry and my book ‘At the Loch of the Green
Corrie’, that the TV documentary got made about our fishing trip, which got me to meet Aly Bain. Now
Aly and I are looking at doing an event swapping poems, Border Ballad songs and tunes in an intimate
downstairs setting – like he and MacCaig did at the old Traverse Theatre.
I love these patterns of connection. Memory, unique occasions, delights and friendships - the QH
bears so many of them for so many of us. It is my favourite music venue. I keep meeting people who say
the same. It is very special. It is exactly the right size.
Andrew Greig
www.andrew-greig.weebly.com
At the interval I kept bumping into friends in the bar, everyone buzzing with astonishment, wonder,
elevation, and it reminded me that shared response is part of the joy of live music. At home one may
listen alone, but in a concert hall one is part of an audience – and the size, proportion, lay-out,
architecture, greatly condition what it is to be that audience.
I associate the QH with a number of unique occasions. It was the venue for one of Norman
MacCaig’s birthday celebrations – his 85th, I think. Sold out, the audience were excited, convivial.
When Norman hirpled in, we rose spontaneously to our feet and applauded that kenspeckled, witty,
marvellous poet.
‘Stop it,’ he commanded. ‘You’re embarrassing me.’ Then that quick lizard grin. I knew he was loving it.
Mike Heron Band & Andrew Greig
5.0 Our Artistic Programme
The Queen’s Hall is Edinburgh’s only mid-scale (up to 1038 capacity) live
music venue. From rock gigs to world class classical recitals via cutting
edge jazz and orchestral concerts, the Queen’s Hall presents the best in live
music to around 100,000 people each year.
The programme is delivered through a series of partnerships some of which
have been in place since the Hall opened in 1979. Each of our partners in
whatever style of music has been chosen because of the quality threshold
that they impose upon their own work or the artists with whom they choose
to work. The oldest of these relationships is with the Scottish Chamber
Orchestra who presents 20-25 concerts a year at the Hall. In addition, the
venue is used as the orchestra’s rehearsal base.
The Scottish Ensemble is an equally long-standing partner presenting 4-6
concerts a year at the Hall. The Hall has commissioned music education
projects from the Ensemble which have then been toured to other venues
across the UK.
The Queen’s Hall Series of morning concerts has become one of the
programming cornerstones of the Edinburgh International Festival. The
Hall’s sympathetic acoustic and intimate atmosphere is particularly well
suited to the world-class recital programme presented by EIF.
The relationships we foster and nurture embrace artists, managers,
promoters, producers – people and organisations who we believe can play
a role in bringing world class music to Scotland’s capital city.
The Queen’s Hall promotes around 30 concerts a year mainly in the fields
of traditional and roots music, jazz and world music. They are selected to
complement rather than compete with the activities of our partners. The
programme features both established as well as emerging artists or artists
who are new to Scotland.
The Hall’s own promotions are central to the Hall’s artistic identity; in many
cases if the Queen’s Hall did not promote the work in Edinburgh then no
one else would.
"The Queen’s Hall in Edinburgh is one of the most magical places I’ve ever
performed. In a world that is filled with franchises and cookie-cutter repetition, the
history and vibe of a place like The Queen’s Hall is a rare treasure."
Beth Nielsen Chapman
"What a lovely venue... I'd happily do a residency here" PJ Harvey
6.0 Corporate Supporters
The Queen’s Hall is grateful to the following organisations for their support over the past financial year
Best Trust
Inches Carr Trust
Plum Trust
Binks Trust
Gordon Fraser Trust
Sir Maxwell Harper Gow Trust
Nancie Massey Trust Martin Connell Trust
Cruden Foundation
Janelaw Trust
Tekoa Trust
Russell Trust
Hope Scott Trust
Tay Trust
Bacher Trust
Sir James Miller Charitable Trust
McInroy and Wood
The Misses Barrie Trust
Greengold Music
Inches Carr Trust
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David
Mrs
Margaret
Miss
Sylvia
Mr
Allan
Mr
CRG
Mr
Michael
Mrs
Christine
Garth & Lucy
Mr
Dominick
Ms
Camilla
Mr
Mike
Mr
John
The Rt Hon Lord
Mrs
Helen
McArthur
McGhee
McGhie
McGovern
McIlwrick
Millar
Wood
MacGregor
MacKInder
MacTaggart
Mcintosh
McKee
McLellan
McLeod
McNeill
McNeill
Meikle
Millar
Miller
Morley
Motion
Morrison
Mowbray
Murray
Murray
Nelson
Ness
Newis
Nicholson
Oberlander
Ogg-Rauchwerger
Palmer
Parker
Parker
Parkin
Parma
Paterson
Paul
Pentland
Phillip
Pollard
Pollard
Pollock McCall
Porter
Powell
Prosser
Quigley
Mr
Mr
Dr
Mr
Ms
Ms
Sir
Dr
Miss
Mrs
Dr
Dr
Mrs
Dr
Miss
Mr
Ms
Mr
Mrs
Ms
Prof
Ms
Mr
Mrs
Mr
Miss
Mr
Mrs
Mrs
Mr
Mr
Mr
Ms
Mr
Dr
Dr
Prof
Dr
Mr
Mr
Mr
Mr
Mr
Mr
Miss
Mrs
Hugh
AL
Thomas
Robin
Robin
Dorothy
Thomas
Anna
Sheila
M.J.
Alan
Elizabeth
Hilary
Carole
Catherine
Alan
Brenda
Theodore
Irene
Linda
Eric
Francesca
M
Stella
Hamish
Elizabeth
Alan
Jill
Jennifer
Gordon
Richard
Patrick
Fiona
Ian
Susan
Margaret
Mary
Christine A
Gordon
David
Karl
Vivien
Eric
David
Douglas
Margaret
MJ
Raymond
Reid
Renouf
Rice
Rice
Riley
Risk
Ritchie
Robertson
Robertson
Robertson
Rogers
Ross
Ross
Ross
Roy
Rowan
Rubens
Russell
Ruxton
Salzen
Saunders
Scobie
Scott
Scott
Scott
Searl
Shanks
Sharp
Shiach
Simon
Simpson
Skinner
Skinner
Sladden
Small
Smallwood
Smith
Smith
Smith
Stern
Stern
Stevenson
Stevenson
Stewart
Stewart
Stewart
Mr
Mrs
Ms
Mr
Mrs
Dr
Mr
Mrs
Ms
Mr
Mr
Dr
Miss
Mr
Mr
Mrs
Mr
Mr
Mr
Miss
Miss
Ms
Mr
Mrs
Mr
Mr
Dr
Mr
Dr
Miss
Mr
Mrs
Mr
Mr
Ms
Mr
Mr
Mr
Mr
Mr
Mrs
Mrs
Mr
Mr
Mc
David
Gloria
Gill
Grant
Lyn
St Clair
Peter
Beth
Irene
GHG
Robert
Mary
Margery
Mark
Colin
Jean
Michael
Bryan
Michael
Julia
Selby
Ingeborg
Owen
AR
James
Alastair
Martin
Gordon
Norman
Elizabeth
RH
VA
Nicholas
Robert
Julia
Peter
John
Ian
Alexander
George
Pat
Patricia
Roderick
Brian
Stobie
Strang
Stuart
Sutton
Sutherland
Tarlton
Taylor
Thierfeldt
Thomas
Thomson
Tilling
Todd
Trevelyan
Turnbull
Turner
Tyre
Urquhart
Vickers
Wade
Walker
Wallace
Wands
Wanless
Watkins
Watson
Wastle
Weatherston
Weaver
Weston
Wetherick
Whitelaw
Wightman
Williamson
Whytock
Whytock
Wilding
Wilkes
Wilson
Wilson
Wilson
Wilson
Wimbush
Wotherspoon
Wylie
York
Plus several anonymous donors
8.0 Endorsements
’I've used the Queen's Hall over the last 22 years for much of my music-making, both with The Scottish Chamber Orchestra and with my
own ensemble, Mr McFall's Chamber. As well as having a very good acoustic for chamber music, it is also characterful and offers the
perfect opportunity for artists and audience to mingle after performances. I owe the place a huge debt…’ Robert McFall
‘The atmosphere and acoustic in The Queen’s Hall is ideal for our morning concert series, making it one of the most distinctive and special
strands of the Festival programme…’ Jonathan Mills Festival Director Edinburgh International Festival
‘An iconic hub of great music and performance. I know I’m only one of many performers who have such a great affection for the place…’
Phil Cunningham MBE
‘It’s really a wonderful place . It rates with me alongside The Wigmore Hall, The Konzerthaus in Vienna and the small hall in the
Concertgebouw in Amsterdam – one of my four favourite Halls in Europe, It’s the right size, the right shape and the acoustic is fantastic …’
Accompanist Malcolm Martineau speaking on the Radio Café, BBC Radio Scotland
‘There are very few halls where one feels truly inspired and moved just being in the space. The Queen’s Hall is definitely worth every
investment for the future of culture in Edinburgh and Scotland and for persevering and securing the future of a national treasure. The space
should remain untouched as much as possible…’
Ilan Volkov Chief Conductor, BBC Scottish Symphony Orchestra 2003 - 2009
’The perfect place for music….and pianos to die for…’ Ricky Ross Deacon Blue
‘There are very few venues in the UK as good as The Queen’s Hall for roots, jazz and acoustic music. A lot of new venues just don’t have the same
atmosphere….’ Donald Shaw Capercaillie Artistic Director Celtic Connections
9.0 Chart of Accounts
HALL INCOME
HALL EXPENDITURE
Hire of Hall 52%
Operation of
Hall 80%
Public Funding
13%
Bar & Catering
16%
Bar & Catering
22%
Fundraising
2%
Fundraising 13%
Governance
2%