Core Values Mission

Transcription

Core Values Mission

Core Values
Contents
Core Values & Mission
Chairman’s Report
Executive Report
Seasons 2010
Touring 2010
Education
Malthouse Theatre is committed
to a theatre which is:
• Contemporary Australian
• Adventurous
• High risk, high quality
and high impact
• Collaborative and cross artform
• Responsive to our times
To achieve this, we acknowledge that:
Mission
Theatre is by definition dangerous,
often revealing what is yet to be
acknowledged and penetrating the
farthest reaches of the imagination;
Additional Activities
Artistic Development
Board, Staff & Partners
Key Performance Indicators
Financial Report
Malthouse Theatre aims
to engage in Australia’s cultural
and imaginative life.
Malthouse Theatre produces and
presents Australian contemporary
theatre, a broadly defined program
of work conceived and created
in collaboration with writers,
directors, designers, choreographers,
audio artists and performers – a
contemporary theatre where the
combined possibilities of all the
theatre arts are offered centre stage.
Theatre is a collaborative act
apprehended through all
of the senses;
Theatre is contradictory in its power
to simultaneously amuse and provoke,
clarify and disorient;
Theatre is a collective experience
in real time;
Theatre is inherently and profoundly
sexual;
Theatre is of itself political, binding
us into all history;
Theatre does not seek permission
to squarely face the contemporary.
Alive to the changing dynamics of a
theatre in contest with contemporary
life and the contemporary
imagination, we undertake this
challenge as an offering to the past,
a witnessing of the present and as a
manifestation of our hopes and fears
for the future.
2011 ANNUAL REPORT/ 1
Chairman’s
report
2010 was a year of farewells.
It marked the end of the tenure
of outgoing Artistic Director Michael
Kantor, Executive Producer Stephen
Armstrong and Associate Producer
and Business Manager, Catherine
Jones. The extent to which these
three renewed the fortunes and
reputation of the company – as
well as reshaped the landscape
of contemporary Australian
theatre – cannot be underestimated.
They gave birth to, christened and
raised a theatrical prodigy of
great character and significant
achievement and I pay tribute to
their extraordinary contribution
on behalf of all Malthouse staff,
stakeholders and audiences.
“Kantor leaves the Malthouse an
empowered and optimistic company.
He has provided a glimpse of a possible
future of Australian theatre” The Australian
It’s fitting, then, that the year
passed off so well, despite its
melodramatic beginnings with
the fiercest deluge in living Melbourne
memory – inside our rusty tin
shed, as well as outside it. Across
16 productions, 255 performances,
8 commissions and over 55,000
attendances through national
and international seasons in London,
Darwin, Perth, Brisbane, Adelaide
and Sydney, box office income was
up by 5%, paid attendance was over
65% and reserves were built for the
fourth year running via a small but
hard-earned surplus. We were also
particularly proud of augmenting
our reach into educational and
regional communities via the
inaugural Happiness Project,
Of course, such achievements
are not won alone. Malthouse Theatre
would wither on the vine were it not
for the expertise and generosity
of passionate board members, loyal
government stakeholders, our
much-loved family of volunteers,
and its many private, commercial
and philanthropic donors, sponsors
and supporters; my heartfelt gratitude
to you, one and all. Malthouse takes
very seriously its obligations to find
new sources of income, wherever
they might be available, and I’m
delighted to record a 54% increase
in Muse donors and a new corporate
partner during 2010.
They joined major partner, Victoria
University, and sponsors Sofitel
Melbourne, Investec Specialist Bank,
Allens Arthur Robinson, Medina
Apartment Hotels, John Mullen &
Partners and Sweet Design. We also
particularly thank our much-valued
government partners, Arts Victoria,
the Major Performing Arts Board of
the Australia Council and the City of
Melbourne; and a myriad of private
philanthropic friends thanked more
specifically in the body of this report.
However, I would like to recognize
here those foundations associated
with the Kantor family, whose
extraordinary generosity we are as
ever humbled and touched by.
In closing, I want to honour the work
of our incredibly committed staff, our
hugely talented family of artists and
our fabulously creative national and
international body of collaborators.
I know that all of them are already
hugely inspired in their work with
new Artistic Director Marion Potts
and Executive Producer Jo Porter.
To steal Marion’s words at her
2010 Rex Cramphorn Lecture – the
high point of last year’s Things on
Sunday program:
‘This is a beginning. Like all beginnings
it’s borne of the past and reaches
towards the future’.
I commend to you the fruits of this
past in 2010 and look forward to the
future with excitement and vitality.
Simon Westcott
EXECUtive
report
2010 saw the final year of
programming and company
leadership by the ‘original’ Malthouse
Theatre executive team of Michael
Kantor, Stephen Armstrong and
Catherine Jones. It was, fittingly,
a year of artistic vitality and
success locally and abroad,
exciting initiatives and new and
reinvigorated partnerships.
First and foremost, we pay tribute
to the creative teams, performing
artists, support crews and technicians
for an incredible year of daring,
imagination and skill.
Over 2010, Malthouse Theatre
presented two hundred and forty five
performances in sixteen productions
on our Melbourne mainstage. Eight
were original commissions and a
further two were ‘re-commissions’ of
new work developments. The balance
included Australian premieres of
new productions by national
and international artists and
re-presentations from the Malthouse
repertoire and Australia’s most
exciting independent theatre makers.
Formally, the 2010 mainstage
program embraced a theatre of
striking diversity and outstanding
craft, typically reaching out to
contemporary artists from a broad
culture of performance making
including opera and music theatre,
the best of the next generation
of Australian dramatists, nouvelle
cabaret artistes, and some of the
most confronting and original
interpreters of contemporary culture,
its ancient life-blood and its living
mythologies.
Performance activity in 2010 also
included six national seasons and the
UK premiere of our international
co-commission, 1927’s The Animals
and Children Took to the Streets.
Outside Victoria, Malthouse Theatre
productions and co-productions
played to a further fifty five thousand
patrons in Darwin and London, Perth,
Brisbane and Adelaide, and across
five seasons in Sydney.
Paid attendances in Melbourne grew
by 5% with 65% of all available seats
sold across the year. Proceeds from
net ticket sales increased by 10%.
Average ticket prices for the year
dropped 1%, reflecting withheld
price increases owing to the global
financial crisis and the sharp uptake
in student and youth ticket sales
which accounted for 22% of all
paid attendances to the mainstage
program. A ticket pricing review
will see some adjustments
introduced from 2011.
Subscriber tickets represented
31% of all ticket sales. Subscribers
individually purchased, on average
across both seasons, 6.6 productions.
Online sales increased by 5%
and website visitation by 33%. The
company currently manages over
10,000 active online records.
We are pleased to report
consecutive years of growth in our
Education Program participation,
and the significant success of our
commissioned initiative
The Happiness Project, a pilot
program produced in 2010 which has
been scheduled for a return season
in the 2011 Education Program. With
ongoing support from philanthropic
trusts and donors, Regional Access
and Artist Development activities
were widespread, targeted and
effective (not least in creating
opportunities for disadvantaged or
under-represented participants).
The 2010 Melbourne seasons included
three international productions:
1927’s stunningly original premiere
The Animals and Children Took to
the Streets (co-commissioned by
Malthouse Theatre and the Battersea
Arts Centre), Ursula Martinez’s
wonderfully taut yet flamboyant
My Stories, Your Emails, and Meg
Stewart’s intensely moving Maybe
Forever. All were made possible
with the generous participation
of international cultural agencies,
being the British Council and The
Goethe Institut. The impact of these
residencies was extended through
public forums, master-classes and
workshops for local artists.
High activity levels in 2010 were
well supported by the company’s
talented and committed staff. Our
production and presentation partners
continue to add inestimable value
to our work – building creative
and investment capacity into our
repertoire. Our partnerships with local
companies and groups continued
to flourish and this hallmark of
Malthouse Theatre’s approach to
cultural leadership continues to set a
national benchmark for cross-sector
collaborations – investing in artistic
practice and broadening audience
exposure for the most dynamic work
by independent artists.
Our national producing
and presenting partners in 2010
are, literally, legion, and are
identified alongside the various
productions atomised in this
report. The Executive would like to
acknowledge their inestimable thanks
for the confidence which so many
of our colleagues and friends have
placed in us. From national festivals
to local project groups, we cannot
aspire to imagine, let alone achieve
what we do without you.
The company’s workshop
and wardrobe departments continued
to produce astonishing numbers of
sets and costumes with incredible
flair, uncompromising quality and with
uncomplaining cost-efficiency! The
company’s building management,
technical teams and backstage
support, under Production Manager,
David Miller, and Venue Manager,
Frank Stoffels, deserve every
thanks and applause. Melbourne’s
devastating hail storm early in
2010 caused extensive damage to
the theatres, administration and
production infrastructure. The front
of house and production crews
working on the day of the storm
not only managed the safety of over
five hundred patrons in a ‘live building’
with courage and professionalism,
they acted fast to contain the flood
damage in a steadily worsening
situation. Much was learned
from the experience and the
company’s emergency strategies
and procedures have benefited from
the severity of the test.
Adjustments to core staffing
were minor. Overall wage increases
matched CPI except where position
adjustments or Award increases
superseded this.
The Malthouse Bar enjoyed
robust patronage and the Malthouse
Kitchen, managed by Entourage,
provided outstanding service
for staff and patrons.
In recent years, better than
budgeted for results have helped
grow the company’s reserves.
These, however, remain modest
as a proportion of turnover and
the balance between investing in
dynamic, labour intensive programs
and fast outmoded infrastructure
presents a significant challenge.
In 2010, Playbox Theatre Company
(trading as Malthouse Theatre)
posted a surplus of $75,575. This
compares to end of year results of:
$0.04m in 2009, $0.5m in 2008,
and $0.25m in 2007.
In 2010, controlled costs and
break-even or better than budgeted
income across a range of cost centres
(ticket sales, production fees, bar
sales, production workshop contracts,
and hospitality) offset additional
investments in marketing, executive
recruitment and incidental initiatives.
Front desk ticketing operations have
not enjoyed significant cost savings in
line with an annual increase in online
sales. Nonetheless, Malthouse’s much
valued in-house ticketing service,
MTix, remains an important income
stream and marketing tool.
Management restructure and
a renewed focus in fundraising
and development delivered
significant results in both
maintaining and sourcing new
support for artistic programs,
including two highly successful new
corporate sponsorships.
Infrastructure investment in 2010
focused on:
• Master Plan Review
• Theatre Equipment
• Backstage Improvements
• IT Services
• Ticketing Software
• Signage
The Australia Council and
Arts Victoria continued to support
Malthouse Theatre above our
base-line funding with special
initiative and project funding
for which we are exceedingly
grateful. These initiatives included
succession planning and professional
development for workshop
personnel, national collaborations,
and development of new works
with independent companies. Our
third government partner, the City
of Melbourne provides welcome
annual program support.
The company’s many corporate
and institutional supporters are
identified throughout this report
and in the introduction by
Chairman, Simon Westcott.
On behalf of the artists and patrons
of Malthouse Theatre, the Executive
would particularly like to draw
attention to the following private
institutions and individuals for
their grace, their vision and their
investment in the imaginative life of
the theatre: the Slome-Topol Family
Charitable Trust for their annual
support of our Education activities;
Annamila Pty Ltd for their loving
advocacy and ongoing support for
the Artists in Residence program;
the Poola Foundation and Dara
Foundation (Tom Kantor Fund) who
have extended their commitment to
the Indigenous Theatre Program for
an additional three years from 2011;
the Besen Family Foundation, Sidney
Myer Fund, Ian Potter Foundation
and Helen Macpherson Smith Trust
have been instrumental in our artist
development activities, regional
outreach, education and Tower
Theatre programs since 2007.
The Dara Foundation’s annual
support for the artistic program
beats at the very heart of
the Malthouse enterprise.
The Malthouse Muse program
continues to win more supporters
and the enthusiasm of our individual
donors is a genuine source of
encouragement as well as capacity.
The Executive of Malthouse Theatre
is grateful, as ever, to our wonderfully
talented and fantastic staff - and our
big brained and big hearted Board.
To our volunteers and supporters,
we salute you!!
Thank you for guaranteeing that
2010 would be such a rewarding
close to the out-going Executive’s
greatly enjoyed tenure. And no less
a strong, febrile and exciting creative
platform for the future innovations of
Marion Potts and Jo Porter and their
team in the years ahead.
Michael Kantor
Stephen Armstrong
Catherine Jones
ARTISTIC
PROGRAM
From an institutional
perspective, Kantor and
Stephen Armstrong have left a
shining legacy to Melbourne’s
cultural life, transforming a
moribund company with an
exclusively Australian focus
into a vibrant, outward-looking
and progressive theatre hub.
Cameron Woodhead, The Age
In 2010, Malthouse Theatre’s
mainstage program continued
to invest in high impact, high risk
productions across a range of theatre
forms, often in collaboration.
Over 245 performances on our home
stages, paid attendances for the
mainstage program increased to 65%
of overall capacity: a total of 41,904
tickets sold, a 5% increase on 2009.
Of sixteen productions, the 2010
program included nine Malthouse
Theatre commissioned world
premieres. Of the remaining seven:
one was a new production of an
international classic with a text
adapted by an Australian writer;
four were remounts of local,
independent productions;
and two were international buy-ins.
Commissions and artform
development remained a priority with
at least six new commissions entered
for future repertoire programming.
Participation in the company’s
Education program grew by
more than 11% and a new work
commissioned exclusively for
secondary students was
produced and presented.
Malthouse Theatre productions
were also presented in Sydney (five
seasons), Adelaide (one season),
Perth (one, a second is scheduled for
early 2011), and Darwin (one season).
SEASON ONE
The world premiere of Furious
Mattress, Melissa Reeves’ tragi-comic
tale of a rural community motivating
itself through righteous delusion into
an act of unspeakable cruelty was in
equal parts disarming and terrifying.
This four-hander play was stunningly
realised in the Beckett Theatre with
a design by Anna Cordingley and Paul
Jackson and an outstanding central
performance from Kate Kendall.
Alongside Furious Mattress, in the
Merlyn Theatre, Chunky Moves’ brilliant
Mortal Engine again proved its class
and broad audience appeal with
a sold out return season.
We followed with our Indigenous
Theatre Program commission,
Ngurrumilmarrmiriyu (Wrong Skin)
a coproduction with Adelaide Festival,
Sydney Opera House, Performing
Lines and Darwin Festival. After its
very short technical rehearsal for
the Adelaide Festival premiere, this
complex new work was afforded a
full week of technical rehearsals and
previews before opening to strong
houses in the Merlyn Theatre - the
benefits of this strategy were all too
apparent in realising a high standard
work of cultural collaboration and
artistic daring. Collaborating with
Nigel Jamieson and the Chooky
Dancers and Elcho Island community
was a memorable and rewarding
experience for the entire company.
For the Melbourne Comedy Festival
we invited nouvelle burlesque artist,
Ursula Martinez to perform her
outrageous and poignant My Stories
Your Emails, a bare-all self-portrait
(in conversation with unsolicited
correspondents). Direct from its
opening season at London’s Barbican,
Martinez performed her hilarious,
genre-busting work to capacity
houses in an extended season.
Louise Fox and Luke Devenish’s
adaptation of Dario Fo’s Italian
language political burlesque,
Elizabeth: Almost By Chance A
Woman was originally commissioned
by Malthouse in 2006. When the
perfect cast finally became available
- a flawless ensemble cast led by
Julie Forsyth – we let loose our
resident artistic team to create a
spectacular production which realised
the theatrical anarchy and satire
of Fo’s original without sacrificing
the emotionally charged portrait
of an ageing and loveless absolute
monarch. This was intelligent,
moving, and disorienting
chicanery of a high order.
In the Tower Theatre, the world
premiere of Declan Greene’s Moth,
an Arena Theatre co-commission,
featured an unforgettable
performance by Dylan Young as
the teenage anti-hero, Sebastian.
Director, Chris Kohn’s meticulous
production of this highly unorthodox
play of isolation and fantasy, played
to capacity houses before transferring
to the Sydney Opera House. Moth
will have a return Malthouse season
in 2011. Another highly successful
collaboration with a key organisation.
Malthouse Theatre’s coproduction
with Victorian Opera, The Threepenny
Opera directed by Michael Kantor
with Music Direction by Richard
Gill, achieved popular ‘event’
status virtually selling-out all 23
performances prior to opening.
A major undertaking with 19 artists
on stage and the largest support
crew yet contracted for a single
presentation, the partnership
with Victorian Opera was extremely
fruitful, both artistically and as
an example of artform and major
organisation collaboration. We
were thrilled with the production
and it has since been bought by
the Sydney Theatre Company
who will present it in their 2011
Subscription Season for four weeks
at the 900 seat Sydney Theatre.
Season One delivered a program
of high calibre, overwhelmingly
new-work productions across a
generous spectrum of theatre genres.
Contemporary dance, cabaret,
opera/music-theatre, local drama,
reinterpreted international classics,
and Indigenous story-telling and
performance - all attracting a broad
audience base in a program unique
to Australian mainstage theatre.
Season Two
Full marks to the Malthouse
team for their tremendous
program of restaging
independent works, giving
them new life and new
audiences. Martin Ball, The Age
With principal support from the
Goethe Institute, Maybe Forever
by radical American choreographer,
Meg Stuart, played for four
performances in a season much
anticipated by the contemporary
dance and performance cognoscenti
but, it must be admitted, a largely
underwhelmed general public.
In collaboration with Perth Festival
and Lucy Guerin Inc, Malthouse
Theatre commissioned Lucy Guerin to
create Human Interest Story,
a sublime but rigorous imaginative
expression through dance, text, media
and sculpted space exploring our
emotional and social response to
the omnipotence of media and
24 hour news coverage. Collaborating
with some of the country’s best
dancers and creative artists,
including a design by Gideon
Obarzanek and Paul Jackson – and
a stunning original score by Jethro
Woodward - Human Interest Story
has since been programmed by
Belvoir and is expected to have
an extensive touring life.
Sappho… in 9 Fragments,
written and performed by Jane
Montgomery Griffiths, was originally
presented at Stork Theatre, a small
independent space in Melbourne.
Re-commissioned with a full script
development, design and production
support, Sappho… in 9 Fragments
was presented in the Beckett
Theatre in partnership with
Monash University’s ARC project,
Investigating New Methodologies
in Performance Reception. Anna
Cordingley’s exquisite design
and Jane Griffith’s witty text and
scrupulous performance, staged by
Marion Potts, was extremely well
received. Neither didactic nor afraid
of its intellectual investigation, the
performance was as theatrically
entertaining as it was beguiling.
Louise Fox’s adroit adaptation
of Kafka’s novel, The Trial was
a coproduction with ThinIce and STC.
Matthew Lutton’s assured direction
of his ensemble cast - led by Ewen
Leslie - drew mixed critical responses
but enjoyed good attendances
most notably in Sydney. With
seventy-three performances
nationally, this was a major
under-taking for Malthouse Theatre
and an excellent example of creative
and capital capacity building through
collaboration between two MPAB
companies and the small independent
company, ThinIce. Malthouse’s
Company in Residence program
proved wildly successful for the
third year in a row with The Hayloft
Project’s scarifying interpretation of
Seneca’s Thyestes. Critically lauded
for its outstanding performances,
sound and visual design, the
production played to capacity houses
and enjoyed an extended season,
winning the Melbourne Fringe prize
for Best Production. National seasons
are in discussion for 2012.
After an extensive development
and rehearsal period, our Melbourne
Festival co-commission with
Ranters Theatre company enjoyed
a sell-out season and excellent, if
occasionally qualified, critical acclaim.
A follow up to our successful 2008
programming of Ranter’s Holiday, the
company have continued to develop
their highly unique style: a gentle
and unpretentious theatre of
hyper-real conversation placed in a
highly theatrical frame – the result
was tender and often profound.
The remarkable UK performance
group, 1927 returned to Malthouse
with The Animals and Children Took
to the Streets, a follow up to their
2008 sell-out Between The Devil and
The Deep Blue Sea. This new work
was a commission between Malthouse
Theatre and Battersea Arts Centre,
and utilises their trademark vintage
style of live music, storytelling and
remarkable animation and projection.
The deceptively naïve story is actually
a wonderfully subversive and twisted
morality fable. Playing to strong
houses of delighted audiences, the
company also offered a Workshop
Intensive on the subject of artistic
and technical integration of animation
in live performance. Janice Muller’s
A Woman in Berlin is a finely charged
solo performance by Meredith
Penman who delivers a riveting
performance. This remount of an
indie Sydney production was fully
supported through re-rehearsal,
redesign and a fully underwritten
season. The production played
to 100% capacity and enjoyed
excellent reviews.
A return season of Malthouse
Theatre’s production of Barrie Koksy’s
The Tell Tale Heart fittingly closed
the year and Michael Kantor’s tenure
as Artistic Director. First presented in
Melbourne in 2007 before touring to
the Edinburgh Festival and Sydney
Festival, the performance of Austrian
actor and singer, Martin Niedermair
stunned audiences. Niedermair was
accompanied by Michael Kieren
Harvey (replacing Barrie Kosky) under
rehearsal director Michael Kantor:
“Quite simply one of the best works
of theatre I have ever seen.”
(Alison Croggon, Theatrenotes).
2010 Season One
2010 Season One
FUrious Mattress
MORTAL ENGINE
FEBRUARY 19 – MARCH 13
March 3 – March 13
A Malthouse Theatre Production
By Melissa Reeves
Director Tim Maddock
Set and Costume Design Anna Cordingley
Lighting Design Paul Jackson
Composer and Sound Design Jethro Woodward
Dramaturge Maryanne Lynch
Cast Rita Kalnejais, Kate Kendall, Robert Menzies,
Thomas Wright.
Besen Family Artist Programme
Katie Sfetkidis (Lighting Design)
Shortlisted for the NSW Premier’s
Literary Award Melissa Reeves
“ a deeply disconcerting play... This is a superbly
written work - spare, intelligent, unpretentious
and bold - that shows Reeves to be one of our
most accomplished playwrights...” The Australian
A Malthouse Theatre and Chunky Move Production
Director and Choreographer Gideon Obarzanek
Interactive System Designer Frieder Weiss
Lazer and Sound Artist Robin Fox
Composer Ben Frost
Costume Design Paula Levis
Lighting Design Damian Cooper
Set Design Richard Dinnen and Gideon Obarzanek.
Cast Kristy Ayre, Sara Black, Amber Haines, Lee Serle,
James Shannan and Jorijn Vriesendorp.
“Technology rules in Chunky Move’s Mortal
Engine and the outcome is visually amazing...
Here Robin Fox’s laser and video images are
the real stars of the show, and when they
organically work with an ensemble of dancers,
it’s mesmerising.” Herald Sun
Ngurrumilmarrmiriyu
(Wrong Skin)
My Stories,
Your Emails
March 18 – March 28
March 23 – April 3
Writer Designer and Director Nigel Jamieson
Associate Director/Movement Gavin Robins
Associate Director/Community and
Cultural Liaison Josh Bond
Associate Designer Mathew McCall
Visual Designer Scott Anderson
Video Producer Mic Gruchy
Lighting Designer Trudy Dalgleish
Composer and Sound Designers Basil Hogios
and David Page
Cinematographers Gavin Robins,
Scott Anderson, Nigel Jamieson
Produced by Performing Lines.
Cast The Chooky Dancers
Created and Performed by Ursula Martinez.
Directed by Mark Whitelaw
“as brutally honest as it is jaw-dropping funny,
forcing an almost-too-close-for-comfort look
at our real, imagined and cyber relationships.
If you trust what you read on this little
patch of the internet, book your ticket now.”
AussieTheatre.com
“Without question, Wrong Skin is a vibrant
celebration of the ingenuity and energy of
youth. The playful, outward-looking tone and
the ebullient dynamism of its performers make
for a lively cultural spectacle.” The Age
Venue
Beckett Theatre
Venue
Merlyn Theatre
Venue
Merlyn Theatre
Venue
Beckett Theatre
Total No of Performances
20
11
11
16
Total Paid Attendances
1,883
3,487
3,124
2,077
All Attendances
2,472
All Attendances
4,167
All Attendances
3,999
All Attendances
2,536
Net Box Office
$52,055
Net Box Office
$87,434
Net Box Office
$95,285
Net Box Office
$54,976
2010 Season One
2010 Season One
Elizabeth: Almost By
Chance A Woman
2010 Season two
Moth
The Threepenny Opera Maybe Forever
May 13 – May 30
May 28 – June 19
JUNE 23 – June 26
A Malthouse Theatre and Arena Theatre Production
A Malthouse Theatre and Victorian Opera Production
By Bertolt Brecht and Kurt Weill
Text Raimondo Cortese
Lyrics Jeremy Sams
Director Michael Kantor
Conductor Richard Gill
Set Designer Peter Corrigan
Costume Designer Anna Cordingly
Lighting Designer Paul Jackson
Cast Casey Bennetto, Paul Capsis, Judi Connelli,
Jolyon James, Melissa Langton, Amy Lehpamer,
Anna O’Byrne, Eddie Perfect, Dimity Shepherd,
Grant Smith and John Xintavelonis
Besen Family Artist Programme
Cameron Menzies (Direction)
Chloe Greaves (Wardrobe)
A Malthouse Theatre and Goethe-Institut Production
April 3 – April 24
Writer Dario Fo
Translators and freely adapted by
Luke Devenish and Louise Fox
Set and Costume Design Anna Cordingly
Composer Mark Jones
Sound Design Russell Goldsmith
Choreographer Tony Bartuccio
Cast Billie Brown, Julie Forsyth, Mark Jones,
Chris Ryan, Nikki Shiels and David Woods
“Kantor’s production is visually stunning: surely
one of the most visually luscious works you’ll
see on stage this year, it achieves a classic
simplicity that is unexpectedly faithful to the
spirit of Fo.” The Australian
Writer Declan Green
Director Chris Kohn
Set and Costume Design Jonathon Oxlade
Lighting Design Rachel Burke
Composer Jethro Woodward
Cast Sarah Ogden and Dylan Young
Green Room Awards: Lighting Design Rachel Burke
Sound/Composition Jethro Woodward
Best New Original Writing for the
Melbourne Stage Declan Greene
Malcom Robertson Prize for Writing Declan Greene
“...a superbly performed and keenly directed
reminder of the brutalities we ignore, with
enough wit and compassion to lift it above
the standard precautionary tale.”
Sunday Herald Sun
“The Malthouse, to its eternal credit, often
tries to be brave with its theatre, avoiding
traditional narrative or reinterpreting classical
texts. This time it has succeeded.”
Choreographed and Performed by Meg Stuart
and Philipp Gehmacher
Live music by Niko Hafkenscheid
Dramaturge Myriam Van Imschoot
Lighting Design Jan Maertens
Set and Costume Design Janina Audick
Sound Design Vincent Malstaf
Assistant Choreographer Sigal Zouk
Production Manager Tanya Thomsen
Set and Costume Assistant Inga Timm
“Nobody would mistake Maybe Forever
for an uplifting piece of art, and perhaps its
greatest value is a cathartic one. Apart from
some beautifully crafted moments of profound
sadness, its slow development, excessive length
and use of repetition makes this work
an ultimately frustrating one.” The Age
Sunday Herald Sun
Venue
Merlyn Theatre
Venue
Tower Theatre
Venue
Merlyn Theatre
Venue
Merlyn Theatre
20
22
22
4
5,120
1,362
9,211
476
All Attendances
6,149
All Attendances
1,727
All Attendances
10,339
All Attendances
809
Net Box Office
$151,812
Net Box Office
$25,070
Net Box Office
$271,704
Net Box Office
$13,244
2010 Season TWO
2010 Season TWO
Human
Interest Story
Sappho…
in 9 fragments
July 23 – August
July 30 – August 21
1
A Malthouse Theatre and Lucy Guerin Production
Choreographed by Lucy Guerin
Set Design Gideon Obarzanek
Realising Designer Anna Cordingley
Costume Design Paula Levis
Composer and Sound Designer Jethro Woodward
Performed by Stephanie Lake, Alisdair Macindoe,
Talitha Maslin, Harriet Ritchie and Stuart Shugg
with newscast by Anton Enus
Written and Performed by Jane Montgomery Griffiths
Staging by Marion Potts
Set and Costume Design Anna Cordingly
Composer and Sound Design Darrin Verhagen
“...this is overall a topical, evocative and
entertaining work, cleverly conceived, clearly
expressed and performed with precision and
conviction.” The Australian
Shortlisted for the NSW Premier’s Literary Awards
Jane Montgomery Griffiths
“Marion Potts re-staging at the Malthouse
replaces this literal image with the sensuous
metaphor of a bath of golden ambrosia, slowly
draining onto the stage. Full marks to the
Malthouse team for their tremendous program
of restaging independent works like this, giving
them new life and new audiences.” The Age
The Trial
Thyestes
August 13 – September 4
September 16 – October 3
plus extension to October 9
A Malthouse Theatre, Sydney Theatre Company
and ThinIce Production
Adapted by Louise Fox
from the novel by Franz Kafka
Director Matthew Lutton
Set Design Claude Marcos
Costume Design Alice Babidge
Assistant Costume Design Mel Page
Composer Ash Gibson Greig
Sound Design Kelly Ryall
Cast John Gaden, Peter Houghton, Rita Kalnejais, Ewan
Leslie, Belinda McClory, Hamish Michael and Igor Sas
Besen Family Artist Program
Sarah John (Direction)
“Fox’s lucid adaptation is almost sternly faithful
to Kafka’s story but avoids deadly reverence.
Lutton’s direction is swift, almost cynical, in how
it moves the story from its banal opening into
the logical absurdity of a nightmare, with the
help of Claude Marco’s minimalist revolving set
and Kelly Ryall’s brilliant sound deign.”
A Malthouse Theatre and Hayloft Production
Co-written and Directed by Simon Stone after Seneca
Co-written and Performed by Thomas Henning,
Chris Ryan and Mark Winter
Set and Costume Design Claude Marcos
Lighting Design Govin Ruben
Sound Design Stefan Gregory
Besen Family Artist Program
Anne-Louise Sarks (Dramaturgy)
Green Room Awards: Best Production, Best Ensemble,
Best Adaptation for the Melbourne Stage
“Thyestes is rock ‘n’ roll theatre: confronting,
transgressive, uncomfortably hilarious, obscene,
horrifying and beautiful.” The Australian
The Australian
Venue
Merlyn Theatre
Venue
Beckett Theatre
Venue
Merlyn Theatre
Venue
Towert Theatre
9
19
22
1,440
2,219
4,403
24 (16 plus 8 in season
extension)
All Attendances
2,058
All Attendances
2,655
All Attendances
5,461
1,772
Net Box Office
$40,891
Net Box Office
$67,404
Net Box Office
$129,855
All Attendances
1,993
Net Box Office
$37,150
2010 Season TWO
2010 Season TWO
Intimacy
The Animals and
Children Took
to the Streets
October 1 – October 23
A Woman In Berlin
November 16 – November 28
The Tell
Tale Heart
November 19 – December 2
November 9 – November 28
A Malthouse Theatre,
Melbourne International Arts Festival
and Ranters Production
Devised and Directed by Adriano Cortese
Text by Raimondo Cortese
Set and Costume Design Anna Tregloan
Lighting Design Niklas Pajanti
Sound Design David Franzke
Video Design Keri Light
Company Manager Alison Halit
Co-devised and Performed by Beth Buchanan,
Paul Lum and Patrick Moffatt
“What Intimacy does so well is to make
naturalism seem easy. Adriano Cortese’s
restrained and sharp direction is right on the
money. All of the elements; staging, lighting,
sound; are unobtrusive and perfectly pitched,
This is one of the cleverest and most enjoyable
shows you’ll see in a while.” ABC 774 Online
Malthouse Theatre, The British Council and 1927
Writer, Director and Performer Suzanne Andrade
Film Animation and Design Paul Barritt
Costume Design and Performer Esme Appleton
Composer and Performer Lillian Henley
Adapted and Directed by Janice Muller
and Meredith Penman from the anonymous diary
A Woman In Berlin: Eight Weeks In The Conquered City
Set and Costume Design Gabrielle Logan
Lighting Design Matt Cox
Composer and Sound Design Russell Goldsmith
Performed by Meredith Penman
Adapted and Directed by Barrie Kosky
after Edgar Allan Poe
Performed by Martin Niedermair
and Michael Kieran Harvey
Original music Barrie Kosky
Design Adaptation Anna Tregloan (Set and Costume)
and Paul Jackson (Lighting)
Return Season Director Michael Kantor
Songs by Bach, Purcell and Wolf
“For all its gestures towards the fantastic and
its sharp comic wit, The Animals & Children
delivers a bleak picture of contemporary life. In
tandem with the headlines about the biggest
government cuts in Britain since the 1920s,
increasing economic divisions between the rich
and the poor and a worldwide drift to the right,
its brutalised world begins to seem more literal
truth than fantasy.” Theatre Notes
“Meredith Penman plays this role with great
sincerity and sensitivity. The key is creating a
character that commands not just our pity, but
our respect. In each scene Penman offers us a
different nuance, carefully balanced to give the
show structure and rhythm. A powerful story,
powerfully told.” The Age
“A macabre sense of humour runs through this
show’s dark heart. Sensory overload is this
show’s aim and an indulgence in its own sticky
grimness is its game... Kosky’s treatment packs
a sharp punch in just 50 minutes and leaves you
reeling - then begging for more.”
ABC Arts Online
Venue
Beckett Theatre
Venue
Beckett Theatre
Venue
Tower Theatre
Venue
Merlyn Theatre
20
20
15
12
2,686
2,663
1,055
1,614
All Attendances
3,155
All Attendances
3,183
All Attendances
1,191
All Attendances
2,357
Net Box Office
$80,434
Net Box Office
$76,929
Net Box Office
$20,295
Net Box Office
$47,177
2010 ON TOUR
2010 ON TOUR
Ngurrumilmarrmiriyu
(Wrong Skin)
MOTH
the trial
A Malthouse Theatre, Adelaide Festival,
Sydney Opera House and Darwin Festival Commission
A Malthouse Theatre and Arena Company Co-production
A Malthouse Theatre, Sydney Theatre Company
and ThinIce Production
A joint commission with Battersea Arts Centre
and Sydney Opera House
Sydney
Wharf 1 at Sydney Theatre
9 – 16 October
Sydney Opera House
The Studio, Sydney Opera House
20 October – 6 November
Perth
Subiaco Arts Centre
22 – 30 October
London
Battersea Arts Centre
13 December – 18 January
Adelaide Festival
Her Majesty’s Theatre
11 – 14 March
Sydney Opera House
The Playhouse, Sydney Opera House
2 – 12 September
Sydney Opera House
The Studio, Sydney Opera House
19 – 23 July
The Animals and
Children Took
to the Streets
Darwin Festival
The Playhouse, Darwin Entertainment Centre
27 – 28 August
Education Program and
Youth Access Program
I would just like to thank you
for hosting one of the most
enjoyable theatre experiences
I have ever had at school. I
applied for work experience
at the Malthouse a while back
but this has worked just as
well! Just a big thanks to
you and the cast, and all the
lighting and backstage crew,
you’ve definitely spurred me
on to continue my interests in
theatre! Student, Wesley College
In 2010, Malthouse Theatre Education
welcomed over 6,000 students and
teachers to the program to attend
productions, participate in seminars
and workshops, and undertake artistic
and professional development.
The range of opportunities
included workshops developed to
assist teaching and learning in VCE
Drama and Theatre Studies. These
workshops are designed to support
VCE course requirements and to
provide students with practical and
experiential learning with professional
artists. Separate workshops were
also held for Teachers. Areas
of investigation included:
•
•
•
•
Ensemble Theatre Making
Solo Performance
Performing Monologue
Solo, Monologue and Generative
Writing workshops for teachers.
For students in Year 10, we
collaborated with ACCA and Chunky
Move to provide an all day ‘arts
immersion’ which takes students
through the possibilities of expressing
idea and concept through the visual
arts, movement, dance and theatre.
This initiative is offered to government
schools only and transport assistance
is provided for regional schools. A
professional development opportunity
is also offered to teachers.
Throughout the year, student groups
also spend an entire day observing
rehearsals and attending workshops
conducted by Malthouse personnel
in the areas of design, technical
support and scenic construction.
The Happiness
Project
In 2010, over 500 participants from
33 schools across the state were
involved in the pilot of The Happiness
Project, an extended classroom and
in-theatre initiative developed by
Malthouse Theatre. Student groups
selected an episode from a specially
commissioned, multi-episode script
exploring social response in an age
of anxiety, rehearsed and developed
their interpretation of it at school,
and then performed it in Malthouse’s
Tower Theatre. Their audience were
other school groups and professional
practitioners who then participated in
‘response’ sessions. The students’ day
at Malthouse concluded with a fully
produced, professional performance
of the entire script. This was followed
by a group discussion about the
creative decisions and responses
made by the artists at every level of
performance and theatre making,
from physical interpretation and vocal
choices, to lighting and sound.
The Happiness Project offered the
students an intensely rich and unique
learning experience, which I am sure
will be secure in their memories
for years to come. Not only were
they engaged in stimulus material
that challenged their thinking, they
recognised that they had a voice and
they were able to make a difference
in their everyday lives towards a more
secure future for the planet.
Their experience with
preparation was paramount
to their further studies
in Drama or Theatre Studies.
Or, in fact, anyone embarking
on VCE studies; as they
need to develop discipline
in a collaborative task. The
students developed more
effective study skills as well
as expressive skills relevant
to performance based
study. Their exploration
of non-naturalistic theatre
also gave them the means
to create an ensemble that
was suited to the task.
Teacher, Sandringham College
This innovative initiative was designed
to develop flexible thinking in young
people to encourage preventative
action in dealing with the most
worrying issue of their generation,
namely climate change. By examining
such a complex issue through
the multi-faceted mechanisms of
theatre making - over the sustained
timeframe of two terms - students
developed flexible responses and
attitudes along with interpretive
and expressive skills, encouraging
them to ‘take control’ over otherwise
overwhelming concepts. Through
this specialist program, the medium
of theatre engenders responsibility
alongside awareness for Year 9, 10
and 11 students as they begin
to make impactful decisions
as young adults and global citizens.
During the in-school period
of Happiness, individuals and groups
were able to connect with their peers
at other schools through a specially
developed internet ‘NING site’ where
they shared comments and reflections
with one another and the Malthouse
team. Through working as a group,
connecting with other groups
through NING, performing to other
school groups, and responding to
other performances, the students’
level of engagement in the
project was profound.
The Happiness performance
day was a triumph and
you need to be thanked for
your vision. My kids loved the
venue, design and opportunity
to watch other students
performing the same script
with alternative concepts.
The positive support and
feedback from the Malthouse
team and other students
really made the day special.
My students particularly
enjoyed the ‘professional’
performance in the
afternoon and finally felt the
script came to life and made
sense, most pointedly, from an
environmental level. We would
love to participate again.
Two Malthouse Theatre mainstage
productions were selected by the
VCAA (Victorian Curriculum and
Assessment Authority) for study
by VCE Theatre Studies students,
Elizabeth: Almost by Chance
A Woman and The Threepenny
Opera. Targeted performances were
accompanied by Schools Forums
with the principal artists, and
teachers were provided with detailed
Education Resource Notes prepared
by the Education Manager.
In 2010, Malthouse Theatre Education
presented Performing Arts Awards
to the top drama students in 29
secondary schools across Victoria.
These awards consisted of free
double subscriptions to the 2011
Malthouse Season. Commenced in
2007, these awards have become
a prized incentive for students and
an important addition to Malthouse
Theatre’s Youth Access program.
For an analysis of the Youth Access
Program, please refer to the Audience
Development and Access section.
Teacher, Caulfield Grammar
Additional
Activities
Things on Sunday
Things on Sunday is a public program
of presentations and conversations
inspired by the artists, genres and
thematic ideas behind current
seasons. These events are free for
subscribers and $10 for door sales.
On Passion Cate Blanchett reads
poet Dorothy Porter’s posthumously
published essay On Passion.
In partnership with University
of Melbourne Press
Host
Michael Kantor
Guests
Cate Blanchett
ARTISTIC
Development
Wild Things Melbourne City Lord
Mayor, Robert Doyle reveals what
works of the imagination strike his
flint.
Host
Sian Prior
Guests
Robert Doyle, Lord Mayor
Host
Attendances
Maryanne Lynch and
Tony MacGregor
83
PROJECT ARTISTS
Like Mother, Like Daughter?
A fantastic rapture about what went
on between mothers and daughters
through the ages. In association
with Malthouse Theatre and Monash
University’s Conference: Investigating
New Methodologies in Performance
Reception.
Attendances
Host
497
Maryanne Lynch
Guests
A Short History of the Merkin
A visual lecture journeying us through
the infinitely bizarre and occasionally
most sensible accoutrements of the
Elizabethan wardrobe.
Dr Margaret Reynolds,
University of London
Guests
Robyn Healy,
Fashion Program Director, RMIT
Attendances
141
Tom Morton and Tony MacGregor
Performers
Tom Morton, Richard Piper
and Heiner Muller (dec.)
Attendances
147
Ear Play A rehearsed reading of
Duncan Graham’s, A Love Play with
sonic accompaniment In partnership
with ABC Radio National
Host
Attendances
Maryanne Lynch
165
PROJECT ARTISTS
David Pickvance, Sarah John and
Duncan Graham
Host
Maryanne Lynch
A Drink With Heiner Mueller
An interview with the dead; a
performance and a record of
conversation between Heiner Mueller,
journalist Tom Morton and readings
from The Hamlet Machine. In
partnership with ABC Radio National
and Goethe Institut’s Berlin Dayz
Rex Cramphorn Memorial
Lecture Incoming Artistic Director,
Marion Potts surveys the theatrical
landscape with an eye to the future.
Performers
Host
Ian Bliss, Matt Furlani,
Brigid Gallacher, Anita Hegh,
Tony Llewellyn Jones,
and Deirdre Rubenstein
Michael Kantor
Attendances
Guests
154
Marion Potts
Attendances
231
Time to Talk
Time to Talk engages the cast and
creative team of select productions
in post-performance discussions with
the audience. Often as enlightening
for the audience’s responses as
they are for revelations about the
artistic process and experience, these
performances are among the most
popular in each Season. Time to Talk
is a free event. Time to Talk sessions
were held for Furious Mattress,
My Stories Your Emails, Elizabeth,
Moth, The Threepenny Opera,
Human Interest Story, Sappho… in 9
Fragments, The Trial and Intimacy.
“The Malthouse, to its eternal
credit, often tries to be brave
with its theatre, avoiding
traditional narrative or merely
reinterpreting classical texts.”
Sunday Herald Sun, Kate Rose
As a company dedicated to the
creation and presentation of new
work, resourcing and scheduling our
commissions and new work program
is a priority. During 2010, workshops
were held in Melbourne (unless
otherwise indicated) for the following
script/concept developments and
pending productions. In-house
readings were also conducted
to assess programming readiness
and/or potential of works-in-progress
and extant texts.
Identified are the authors/project
leaders. Workshops can be between
two days and two weeks in length
and commonly involve the principal
creative team and performers
for some or all of the period.
Malthouse Executive and Artistic
Team are in attendance
at appropriate times.
Inhouse workshops were held for the
following projects:
The Story of Mary MacLane…
as told by herself
Director Tanya Goldberg
Designer Anna Cordingley
Dramaturg Campion Decent
Cast Bojana Novakovic, Tim Rogers
Musicians Xani Kolak, Dan Witton
A Golem Story
Second Workshop
Writer Lally Katz
Dramaturg Maryanne Lynch
Music/Cast Mark Jones
Cast Jacek Koman, Dan Spielman,
Greg Stone, Yael Stone
Wrong Skin
Devisor/Director Nigel Jamieson
Asst Dir Josh Bond
Choreographer Gavan Robbins
Cast The Chooky dancers
Sappho… in 9 fragments
Writer / Cast
Jane Montgomery Griffiths
Director Marion Potts
LX Designer Paul Jackson
Tis Pity She’s a Whore
– First Workshop
Composer Andree Greenwell
Singer Siobhan Stagg
Tis Pity She’s a Whore
– Second Workshop
LX Designer Paul Jackson
Composer Andree Greenwell
Sound Designer Jethro Woodward
Cast John Adam, Julia County,
Laura Lattuada, Elizabeth Nabben,
Richard Piper, Chris Ryan,
Benedict Samuel, Alison Whyte,
Anthony Brandon Wong
The Henning saga
Writer Thomas Henning
Dramaturg Mark Winter
Cast Elisa Gray, Meredith Penman,
Richard Piper, Alison Whyte,
Dylan Young
A Golem Story
First Workshop
Writer Lally Katz
Cast Nicholas Bell, Elisa Gray,
Gabriel Partington, Yael Stone,
Mark Winter
Besen Family
Artist Program
The Besen Family Artist Program is a
twelve-month program of professional
development for theatre-makers
initiated by Malthouse Theatre as (1)
a bridge between educational life and
professional practice for emerging
theatre-makers and, (2) for mid career
and mature artists skills development
in their area of expertise.
Initiated by Malthouse Theatre in
2005, the Besen Family have since
resourced this remarkably successful
program annually. The program
provides bursaries for performers,
creative artists, technicians, writers,
dramaturgs and associated theatre
workers to pursue “attachments”
inside the company’s activities. It
provides high level professional
development for the recipient and,
as significantly, a point of contact
with the company, its culture and
operations (regularly leading to future
engagements).
The Program sequesters a number
of opportunities annually for regional
practitioners, including a special
Festivals Access initiative. This
initiative enables regional artists
to immerse themselves over an
extended time in a given festival by
the provision of accommodation,
per diems, travel expenses and
ticket packages. In 2010 the Festival
initiative was aimed at young people
in relation to the Next Wave Festival,
in conjunction with our regional artist
program State of Play.
International State of play
Masterclass
As in 2009, the Company also
supported the George Fairfax
Memorial Regional Schools Theatre
Festival in Swan Hill. This year our
support was extended to funding
a one-day excursion to Melbourne
of a regional school group from
the Sunraysia area, with a focus on
theatre design. The activity will take
place in 2011 and comprise attendance
at a Malthouse production and a
workshop with the designer of this
production.
2010 Metropolitan recipients
• Katie Sfetkidis Lighting Design
Furious Mattress
• Tom Doig Acting
Elizabeth
• Chloe Greaves Wardrobe
The Threepenny Opera
• Cameron S. Menzies Direction
The Threepenny Opera
• Liza Dennis Acting
Intimacy
• Halcyon Macleod Writing
Happiness
• Anne-Louise Sarks Dramaturgy
Thyestes
Regional recipients
• Sarah John Direction
The Trial
• Eloisa Tripodi Direction
Happiness
• Kim Chalmers Sound design
The Love Play
• George Fairfax Memorial Regional
Schools Theatre Festival
Next Wave Festival
Packages (Regional)
• Caitlyn Barclay from Swan Hill
• Emily Noonan from Birchip
• Jacinta Jones from Swan Hill
• Janette Vallence from Swan Hill
• Josh Taylor from Sale
• Phoebe Anderson from Sale
• Lauren Reid from Sale
• Eloisa Tripodi from Traralgon
Malthouse’s integration
of the cream of the indie
scene through residencies,
workshops, and coproductions has yielded some
electric performances: The
Hayloft Project’s scarifying
Thyestes, directed with
surgical precision by Simon
Stone; Jane Montgomery
Griffiths’ Sappho… in 9
Fragments, which started life
at the Stork Theatre; Declan
Greene’s gossamer exploration
of teen depression, Moth; and
Meredith Penman’s superbly
studied performance as a rape
survivor, A Woman In Berlin.
Cameron Woodhead, The Age
A notable feature of the
Malthouse under Kantor
and Armstrong has been its
fostering of younger talent,
giving proper support and
productions in the main
season, rather than fobbing
them off with workshops
and readings.
Alison Croggon, Theatre Notes
Malthouse Theatre partners with the
Melbourne International Arts Festival
to coordinate and host workshops
and masterclasses with guest artists
from the festival. This remains an
ongoing project but for logistical
reasons did not take place in 2010.
State of Play is a Malthouse initiated
program aimed at linking professional
theatre artists, organizations and
communities across Victoria. It
receives support from the Helen
MacPherson Smith Trust and the
Besen Family Foundation and at times
is integrated into Regional
Arts Victoria programs.
Stage 3 built on the previous
stages by way of skills development,
mentorship and other assistance
deemed appropriate for the group.
Three organisations (two in Gippsland
and one in Sunraysia) were provided
with skills-based workshops
incorporating generative strategies
towards the creation of work.
The program has the goals of
building a dialogue between regional
and metropolitan theatre makers,
developing a context for creative
exchange and creating opportunities
for artistic collaboration. Its core aim
is to support, develop and extend the
practice of regional theatre artists.
These included:
• Groundwork Youth Theatre, a
youth theatre group based in Sale,
Gippsland, facilitated by Deirdre
Marshall, ran a two-day physical
theatre workshop with Suzuki and
Viewpoints practitioner Hannah Fox.
In 2010 the program successfully
focused on youth theatre in the
Gippsland and Sunraysia regions and
divided into three stages:
• A weekend of professional exchange
and development for adult theatre
artists from Gippsland and Sunraysia
in Melbourne. (7-9 May)
• Next Wave Festival packages for 3
young people (+ one adult) from
each of these regions (28-30 May)
• A project-based activity in each
region. (September onwards)
• Traralgon local theatre group
Break a Leg presented a two-day
workshop for young people with
Melbourne ensemble Born in
a Taxi, a group specializing in
ensemble improvisation and
dance-theatre practice, in a
partnership between La Trobe
City Council and Malthouse Theatre.
• Swan Hill Youth Theatre Ensemble,
in Swan Hill, contracted
writer-director and youth arts
facilitator Petra Kalive to conduct
a series of devising workshops, in a
partnership between Swan Hill Rural
City Council and Malthouse Theatre.
… it was interesting to note
Malthouse had commissioned
the work from small
independent theatre company
the Hayloft Project, which in
turn was working with actorwriters from another small
Melbourne outfit, the Black
Lung Theatre. Collaboration
and cross-fertilisation appear
to be very much the go in
theatre circles at present and
it feels as if the drive is
towards what will be
stimulating and creative,
not about building and
preserving competing empires.
Deborah Jones,
The Weekend Australian
Board
& Staff 2010
Board of Directors
Simon Westcott (Chair)
Frankie Airey
John Daley
Michele Levine
Ian McRae
Neil Smart
Thea Snow
Sigrid Thornton
Leonard Vary
Artistic Director Michael Kantor
Executive Producer
Stephen Armstrong
Associate Producer &
Business Manager Catherine Jones
Company Managers Nina Bonacci
& Julian Hobba
Dramaturge in Residence
Maryanne Lynch
Assistant to Dramaturge
Kate Sulan (to 30th June)
Petra Kalive (from 1st July)
Artist in Residence - Design
Anna Cordingley
Artist in Residence - Lighting Design
Paul Jackson
Education Program Manager
Fiona James
Finance Manager Mario Agostinoni
Finance Assistant Liz White
Philanthropy Manager
Tamara Harrison
Marketing & Communications Manager
Brad Martin
Marketing & Communications
Coordinator Brett Steel (to 3rd Feb)
Nicole Smith (from 1st Feb)
Communications Coordinator
Jaclyn Birtchnell
Media Manager Annette Vieusseux
Media Assistant Dani Venn
Ticketing Manager Sonja Fea
Assistant Ticketing Manager
Emma Howard
Executive Assistant Angela Flood
Building Manager Frank Stoffels
Bar Manager Carl Thompson
(1st Feb to 3rd April), Cherry Rivers
(from 10th June)
Malthouse Muse
Donors 2010
Front of House Managers
Tristan Watson & Sean Ladhams
Production Manager David Miller
Technical Manager Baird McKenna
Operations Manager Dexter Varley
Production Coordinator
Lucy Birkinshaw
Head Electricians Tom Brayshaw
& Stewart Birkinshaw Campbell
Head Mechanist Andy Moore
Workshop Supervisor David Craig
Head of Wardrobe Amanda Carr
Wardrobe Assistant Chloe Greaves
Steel Fabricator Goffredo Mameli
Workshop Staff Dan Talbot
Angela Dufty, Darryl Cordell
Nicholas Dunand
Scenic Artist Patrick Jones
Props Master
Ross Murray (lifetime recognition)
Front of House/Bar Staff
Matt Adair, Milo Adler-Gillies
Mira Adler-Gillies, Rebecca Bower
Jacqui Brown, Pablo Calero
Rowan Michael Davie
Nadine Dimitrievitch, Alice Dixon
Graham Downey, Tanja George
Kate Golding, Chloe Greaves
Kate Gregory, Simon Jeanes
Paula Lay, Gabrielle Lowe
Bridie McCarthy, Daniel Newell
Cynthia Nolan, Ruby Nolan
Sarah Ogden, Felix Preval
Sara Retallick, Claire Richardson
Caleb Shea, Mimosa Schmidt
Kathryn Stuckey, Jade Thomson
Lee Threadgold, Pete Walker
Andy Wall, Janine Watson
Box Office Staff
Liz Bastian, Mark Byrne, Mark
Doggett, Cindy Elliott, Rachel
Gelzinnis, Kate Gregory, Michelle
Hines, Annalise Hooper, Michael
Lindner, Fiona Wiseman, Liz White.
Technical Staff
Jennifer Abbott, Nicola Andrews
Kevin Batchelor, Michael Baxter
Tristan Bourke, Scott Bowie
Nathanial Bristow, Simon Burfield
Christopher Cody, Benjamin
Coe, Angela Cole, Darren Cooper
Rebecca Daley, Marc Dunand
Brian Easteal, Adam Froling
Russell Goldsmith, John Grant
Blair Hart, Luke Hawley, Jy Hildred
Julian Hill, Ryan Hodge
Travis Hodgson, Linda Hum
Natasha James, Mitchell Jones
Lewis Kelly, Grant Kennelly
Christopher Leary, Benjamin Leeks
Shane Lee, Anthony Ludwig
Marcus Macris, Daniel Madrigali
John Maher, Edward Marshall
Thomas McDonald, Paul McKercher
Donal McNinch, Malcolm Mitchard
Melissa Page, Ryan Paine, Erin Palmer
Matthew Perry, Phillip Pietrushka
Helen Ridley, Michael Sammonds
David Scully, Shep Shepard
Perry Smith, Clinton Sorenson
Alistair Stobo, Robert Stout
Gabriel Townsend, Sarah Trevorrow
James Tulczyn, Rodolphe Villevieille
Alasdair Watson, Jeremy West
Laura Whalley, Cail Young
URANIA (Muse of the Stars)
Anonymous (1)
CLIO (Muse of History)
Berry Liberman & Daniel Almagor
THALIA (Muse of Comedy)
John & Lorraine Bates
Daniel & Danielle Besen
Eva Besen AO & Marc Besen AO
Debbie Dadon
Roger Donazzan & Margaret Jackson
Colin Golvan SC
John & Janet Calvert-Jones
Neilma Gantner
Richard Leonard
Philanthropy Squared
Trawalla Foundation
MELPOMENE (Muse of Tragedy)
Beth Brown & Tom Bruce AM
Terry Cutler
D.L & G.S Gjergja
Peter & Anne Laver
Tim & Lynne Sherwood
Neil & Barbara Smart
EUTERPE (Muse of Music)
Ingrid Ashford
Carolyn Floyd
Scott Herron
Ian Hocking & Rosemary Forbes
Michael Kingston
Naomi Milgrom AO
Dame Elisabeth Murdoch A.C.
D.B.E. Rae Rothfield
Elisabeth & John Schiller
Marshall Segan
The Bardas Foundation
The Pratt Foundation
Leonard Vary & Matt Collins
Simon Westcott
Phil & Heather Wilson
Anonymous (2)
TERPSICHORE (Muse of Dance)
Graham & Anita Anderson
Sally Browne
Diana Burleigh
Min Li Chong
Sieglind D’Arcy
Rev Fr Michael Elligate
Taleen Gaidzkar
Brian Goddard
Brad Hooper
Susan Humphries
Graeme & Joan Johnson
Ann Kemeny & Graham Johnson
K & J Lindsay
Pamela McLure
James Penlidis & Fiona McGauchie
Robert Peters
Rosemary Ricker
Robert Templar
Gina Stuart
Jenny Schwarz
Fiona Sweet
Robert Sessions & Christina Fitzgerald
Dr. Victor & Dr. Karen Wayne
Angelika & Peter Zangmeister
ERATO (Muse of Love)
John Carruthers
Diane Clark
Chris Clough
Patricia Coutts
Callum Dale
Doreen Dempster
Peggy Hayton
Shirley Hickey
Leonie Hollingworth
Irene Irvine
Irene Kearsey
Ruth Krawat
Anna Lozynski
Gael & Ian McRae
Dr. Kersti Nogeste
John & Margot Rogers
Karen Russell
John Thomas
Ann Tonks
Rosemary Walls
Bruce Wapshott & Daryl Moon
Jan Watson
Joanne Whyte
Dr. Roger Woock & Fiona Clyne
Barbara Yuncken
Anonymous (13)
OUR
PartnerS
PRINCIPAL GOVERNMENT
PARTNERS
2008-2010 KEY
Performance Indicators
CORPORATE
PARTNERS
TRUSTS &
FOUNDATIONS
The Malcolm Robertson
Foundation
Slome-Topol Family Charitable
Trust
Key Performance Indictators
Status
Investment of not less than $100,000 per annum in
commissions, workshops and the development of new works
ü
Programming at least 50% world premieres on the Company’s
main stage over the triennium
ü
Securing at least 3 major collaborations per annum
ü
Commission at least four works annually
ü
Increase the Artist in Residence program by a minimum of
two additional artists by the end of the triennium
MAJOR
PARTNER
CORPORATE
ASSOCIATES
COMPANY IN
RESIDENCE PROGRAM
EDUCATION & YOUTH
ACCESS PROGRAM
Ngurrumilmarrmiriyu Major Festivals Initiative,
Victorian Opera Threepenny Opera
co-production, Human Interest Story coproduction with Perth International Arts
Festival
Ongoing
Audience Development Key Performance Indicators
Secure a minimum of 6,000 school visits to the mainstage
program annually
X
Attract a minimum of 2,000 individual patrons with a
subscription package, per annum
ü
Increase second and third time attendances by 5% per annum
ü
ü
ü
Increase number of new patrons by 5% per annum
PRODUCTION
PARTNERS
Comment
Artistic Vibrancy Key Performance Indicators
Increase the online share of la carte ticket sales
by 5% per annum
4,270 Education Group Attendances achieved
Financial Viability / Governance /
Management Key Performance Indicators
ARTISTS PROGRAM
INDIGENOUS
THEATRE PROGRAM
The Dara Foundation
Budget a surplus of between $50K- $85K per annum
for each year of the triennium
ü
Majority of box office targets met or exceeded annually
ü
New naming rights sponsor for the Malthouse
in place by the end of the triennium
Surplus of $79,575 posted
Ongoing
Net increase of donors by 10% annually
X
At least one new philanthropic or trust
relationship created annually
ü
Achieve a carbon positive result of at least 20%
per annum as determined by an independent annual audit
Ongoing
Complete all-of-company contracts review
by the end of the triennium
Ongoing
ARTISTS IN
RESIDENCE PROGRAM
ANNAMILA PTY LTD
FINANCIAL
STATEMENTS
FOR THE YEAR ENDED 31st DECEMBER 2010
DIRECTORS’
REPORT
The directors present this report on
the Company for the financial year
ended 31st December, 2010.
The names of the directors in office at
any time during, or since the end of
the year are:
Contents
Directors’ Report
Auditor Independence Declaration
Statement of Comprehensive Income
Statement of Changes in Equity
Statement of Financial Position
Statement of Cash Flow
Notes to the Financial Statements
Directors’ Declaration
Independent Auditor’s Report
Simon Westcott (Chairman)
Frankie Airey
Sigrid Thornton
Ian McRae
Thea Snow
Neil Smart
Michele Levine
John Daley
Leonard Vary
Directors have been in office since the
start of the financial year to the date
of this report unless otherwise stated.
Company Secretary
The following person held the
position of Company Secretary at
the end of the financial year: Ms
Catherine Jones. Ms Jones was
appointed on 4 April 2010.
Principal Activities
The principal activities of the
Company during the financial
year were the production and
presentation of live theatre.
To further improve the Company’s
presence within the national
arts environment the following
objectives have been determined
and strategies are intended to be
implemented in the future:
Short Term Objectives
• Promote and sustain
development of new works
• Program at least 50% world
premieres on the Company’s main
stage per year
Information on Directors
Simon Westcott
Managing Director
Mr & Mrs Smith Asia Pacific.
Responsibilities:
Chairperson, Venue committee,
Development committee
• Secure at least 3 major
collaborations per year
Frankie Airey
• Strengthen our revenue base
to a level suitable to support
the risk taking programming
Director Philanthropy Squared
Responsibilities:
Short Term Strategies
AUDITOR’S
INDEPENDENCE
DECLARATION
Meetings of Directors
During the financial year, six
meetings were held. Attendances
by each director were as follows:
Number
Number
eligible Attended
to attend
Simon Westcott
6
6
Frankie Airey
6
6
Sigrid
Thornton
6
5
Sigrid Thornton
Ian McRae
6
4
• Connect with the Victorian
and national artistic communities
to attract new works and artists
Actor
Responsibilities:
Neil Smart
6
6
Thea Snow
6
5
• Commission a range of works and
provide development opportunities
Michele Levine
6
5
Ian McRae
John Daley
6
6
Arts Consultant
Responsibilities:
Venue committee
Leonard Vary
6
5
• Engage with third parties interested
in becoming financial partners in the
Company’s productions
• Expand fundraising activities
to support the increased risk taking
of the Company’s programming
Neil Smart
Consultant
Responsibilities:
Finance & Audit committee
Long Term Objective
• Strengthen the artistic model
through the creation of a group
of resident artists
• Create a solid audience base
to provide box office stability
• Create a endowment fund designed
to generate income to support the
Company’s operations
Long Term Strategies
• Engage private donors to support
the resident artists’ program for
3 years or longer
• Improve our audience
management model to secure
increased subscription numbers
and repeated single tickets sale
• Engage all the Company resources
to raise enough capital for the
endowment fund that when invested
will generate a significant income
• No significant changes in the nature
of the Company’s activities occurred
during the financial year.
Thea Snow
Social Policy Branch,
Department of Premier
& Cabinet Responsibilities:
Michele Levine
CEO, Roy Morgan Research
Responsibilities:
Leonard Vary
Executive Director, General Counsel
& Company Secretary, Linfox
Responsibilities:
John Daley
The company is incorporated under
the Corporations Act 2001 and is
a Company limited by guarantee.
If the company is wound up, the
Memorandum and Articles of
Association states that each member
is required to contribute a maximum
of $10 each towards meeting any
outstanding obligations of the
Company. As at 31st December,
2010, the total amount that members
of the Company are liable to
contribute if the Company is
wound up is $140 (2009: $140).
Auditor’s
Independence Declaration
The lead auditor’s independence
declaration for the year ended 31st
December, 2010 has been received
and can be found on page 5
of the financial report.
Signed in accordance with a
resolution of the Board of Directors:
Auditor’s Independence Declaration
under section 307c of the
corporations Act 2001
To the directors of Playbox Theatre
Company Limited
I declare that, to the best of my
knowledge and belief, during the year
ended 31 December 2010 they have
been:
(a) no contraventions of the auditor
independence requirements as set
out in the Corporations Act 2001
in relation to the audit; and
(b) no contraventions of any
applicable code of professional
conduct in relation to the audit.
Name of firm
WHK Horwath
Name of Partner
Margaret D. Crossley Principal
Date
28 March 2011
Address
CEO, Grattan Institute
Responsibilities:
S. Westcott
Director
N. Smart
Director
FINANCIAL
STATEMENTS
STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31ST DECEMBER 2010
Notes
STATEMENT OF FINANCIAL POSITION AS AT 31st DECEMBER 2010
2010
2009
$
$
Notes
2010
$
2009
$
Current Assets
Revenues from continuing operations
2
6,604,274
6,396,600
Cash and cash equivalents
4
1,234,777
1,111,204
Production and touring expenses
3
(2,667,114)
(2,690,158)
Trade and other receivables
5
711,681
772,176
Marketing and publicity expenses
3
(556,990)
(537,422)
Inventories
6
23,400
30,602
Other current assets
Total Current Assets
7
63,086
2,032,944
88,757
2,002,739
Property plant & equipment
8
406,250
321,608
Incentive Scheme Reserve Deposit
4
353,547
340,473
759,797
2,792,741
662,081
2,664,820
119,237
153,312
Other expenses from continuing operations
3
Profit before income tax
Income tax expense
1(l)
(3,300,595)
(3,124,718)
79,575
44,302
-
Non-Current Assets
Profit for the Year
79,575
44,302
Other comprehensive income for the year, net of tax
-
-
Total comprehensive income for the year
-
-
79,575
44,302
Total Non-Current Assets
Total comprehensive income attributable to members of the company
Current Liabilities
STATEMENT OF CHANGES IN EQUITY FOR THE YEAR ENDED 31st DECEMBER 2010
Accumulated Surplus
Reserves
Total
Balance at 1 January 2010
407,392
556,432
963,824
Transfer to Incentive Scheme Reserve
(20,941)
20,941
-
88,500
(88,500)
-
Profit attributable to the company
Balance at 31 December 2010
79,575
554,526
488,873
79,575
1,043,399
Balance at 1 January 2009
380,000
539,522
919,522
(16,910)
16,910
-
Profit attributable to the company
Balance at 31 December 2009
44,302
407,392
556,432
44,302
963,824
Transfer to accumulated surplus
The accompanying notes form part of these financial statements.
Total Assets
Trade and other payables
9
Short-term provisions
10
121,045
110,689
Borrowings
12
215,000
-
Other current liabilities
Total Current Liabilities
11
1,267,430
1,722,712
1,201,756
1,465,757
Long Term Borrowing
12
-
215,000
Long-term Provisions
Total Non-Current Liabilities
10
Non-Current Liabilities
26,630
20,239
26,630
235,239
Total Liabilities
1,749,342
1,700,996
Net Assets
1,043,399
963,824
Equity
Retained earnings
13
554,526
407,392
Reserves
Total Equity
14
488,873
1,043,399
556,432
963,824
FINANCIAL
STATEMENTS
STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31st DECEMBER 2010
Notes
2010
2009
$
$
Receipts from government grants
2,199,388
2,062,630
Receipts from patrons, sponsors
4,413,868
4,213,661
(6,429,621)
(6,386,695)
117,187
92,670
(17,734)
Cash flows from operating activities
Payments to creditors and employees
Interest received
Net cash provided by operating activities
18(b)
300,822
Cash flows from investing activities
Payment for plant and equipment
Net cash used in investing activities
Net increase (decrease) in cash held
Cash and cash equivalent held at the beginning of the year
Cash and cash equivalent held at the end of the year
18(a)
(164,175)
(164,175)
(29,377)
(29,377)
136,647
(47,111)
1,451,677
1,498,788
1,588,324
1,451,677
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR
The financial statements are for
Playbox Theatre Company Limited as
an individual company, incorporated
and domiciled in Australia. Playbox
Theatre Company Limited is a
Company limited by guarantee.
1.
SUMMARY OF SIGNIFICANT
ACCOUNTING POLICIES
Playbox Theatre Company Limited
has elected to early adopt the
pronouncements AASB 1053:
Application of Tiers of Australian
Accounting Standards and AASB
2010-2: Amendments to Australian
accounting Standards arising from
Reduced Disclosure Requirements
to the annual reporting period
beginning 1 January 2010.
The financial statements are
general purpose financial
statements that have been
prepared in accordance with
Australian Accounting Standards Reduced Disclosure Requirements
of the Australian Accounting
Standards Board and the
Corporation Act 2001.
Australian Accounting Standards
set out accounting policies that
the AASB has concluded would
result in financial statements
containing relevant and reliable
information about transactions,
events and conditions. Material
accounting policies adopted in
the preparation of these financial
statements are presented below
and have been consistently
applied unless otherwise stated.
ACCOUNTING POLICIES
(a) Revenue
Grant revenue is recognised in the
results when the Company obtains
control. When there are conditions
attached relating to the use of
those grants they are recognised
on statement of financial position
as a liability until such conditions
are met or services provided.
Income from sponsorships and
donations is identified with
specific projects to which it
relates. Where income received
from
the above sources relate to
projects in future periods such
income is written back as income
received in advance and included
in the statement of financial
position as a liability.
Revenue from the rendering
of a service is recognised upon
the delivery of the service
to the customer.
All revenue is stated net
of the amount of goods
and services tax (GST).
(b) Inventories
Inventories of bar and set
construction supplies have been
valued at the lower of cost or
estimated net realisable value.
(c) Plant and Equipment
Each class of plant and equipment
is carried at cost or fair value
less, where applicable, any
accumulated depreciation and
impairment losses.
Plant and Equipment
Plant and equipment are
measured on the cost basis less
depreciation and impairment
losses.
The carrying amount of plant and
equipment is reviewed annually
by directors to ensure it is not in
excess of the recoverable amount
from these assets. The recoverable
amount is assessed on the basis of
the expected net cash flows that
will be received from the assets
employment and subsequent
disposal. The expected net cash
flows have been discounted to
their present value in determining
recoverable amounts.
The cost of fixed assets
constructed within the company
includes the cost of materials,
direct labour, borrowing costs and
an appropriate proportion of fixed
and variable overheads.
Subsequent costs are included
in the asset’s carrying amount or
recognised as a separate asset,
as appropriate, only when it is
probable that future economic
benefits associated with the
item will flow to the company
and the cost of the item can be
measured reliably. All other repairs
and maintenance are charged to
the statement of comprehensive
income during the financial period
in which they are incurred.
The financial statements have
been prepared on an accruals
basis and are based on historical
costs, modified, where applicable,
by the measurement of fair
value of selected non-current
assets, financial assets and
financial liabilities.
FINANCIAL
STATEMENTS
Depreciation
The depreciable amount of all
fixed assets is depreciated on
a straight line basis over their
useful lives to the Company
commencing from the time
the asset is held ready for use.
Depreciation rates used for each
of depreciable assets are:
Furniture & equipment 10%-20%
Theatre fixtures & fittings 5%-20%
Workshop improvements 5%-10%
The assets’ residual value and
useful lives are reviewed, and
adjusted if appropriate, at the end
of each reporting period.
Asset classes’ carrying amount is
written down immediately to its
recoverable amount if the asset’s
carrying amount is greater than its
estimated recoverable amount.
Gains and losses on disposals
are determined by comparing
proceeds with the carrying
amount. These gains or losses
are included in the statement of
comprehensive income.
(d) Financial Instruments
Initial recognition
and measurement
Financial assets and financial
liabilities are recognised when
the Company becomes a party
to the contractual provisions to
the instrument. For financial
assets, this is equivalent to the
date that the Company commits
itself to either purchase or sell the
asset (ie trade date accounting is
adopted). Financial instruments
are initially measured at fair value
plus transaction costs except
where the instrument is classified
“at fair value through profit or
loss” in which case transaction
cost are expensed to the
statement of comprehensive
income immediately.
Classification and
subsequent measurement
Financial instruments are
subsequently measured at fair
value, amortised cost using the
effective interest rate method or
cost. Fair value represents the
amount for which an asset could
be exchanged or a liability settled,
between knowledgeable, willing
parties. Where available, quoted
prices in an active market are
used to determine fair value. In
other circumstances, valuation
techniques are adopted.
Amortised cost is calculated as:
(a) The amount at which the financial
asset or financial liability is
measured at initial recognition;
(b) Less principal repayments;
(c) Plus or minus the cumulative
amortisation of the difference,
if any, between the amount initially
recognised and the maturity
amount calculated using the
effective interest method; and
(d) Less any reduction for impairment.
The effective interest method is
used to allocate interest income
or interest expense over the
relevant period and is equivalent
to the rate that exactly discounts
estimated future cash payments
or receipts (including fees,
transaction costs and other
premiums or discounts) through
the expected life (or when this
cannot be reliably predicted, the
contractual term) of the financial
instrument to the net carrying
amount of the financial asset
or financial liability. Revisions
to expected future net cash
flows will necessitate an
adjustment to the carrying
value with a consequential
recognition of an income
or expense in profit or loss.
Loans and Receivables
Loans and receivables are
non-derivative financial assets
with fixed or determinable
payments that are not quoted
in an active market and are
subsequently measured
at amortised cost.
Held to maturity investments
Held to maturity investments are
non-derivative financial assets
that have fixed maturities and
fixed or determinable payments,
and it is the company’s intention
to hold these investments to
maturity. They are subsequently
measured at amortised cost.
Financial liabilities
Non-derivative financial liabilities
are subsequently recognised
at amortised cost.
Impairment
At the end of each reporting
period, the Company assesses
whether there is objective
evidence that a financial
instrument has been impaired.
Impairment losses are
recognised in the statement
of comprehensive income.
Fair Value
Fair value is determined based on
current bid price for all quoted
investments. Valuation techniques
are applied to determine the
fair value of all unlisted securities,
including recent arm’s length
transactions, reference
to similar instruments and
option pricing models.
(e) Impairment of Assets
At the end of each reporting
period, the Company reviews the
carrying values of its tangible and
intangible assets to determine
whether there is any indication
that those assets have been
impaired. If such indication exists,
the recoverable amount of the
asset, being the higher of the
asset’s fair value less costs to sell
and value in use, is compared to
the asset’s carrying value. Any
excess of the asset’s carrying
value over its recoverable amount
is expensed to the statement of
comprehensive income.
Where an impairment loss on a
revalued asset is identified, this
is debited against the revaluation
reserve in respect of the same
class of asset to the extent
that the impairment loss does
not exceed the amount in the
revaluation reserve for the
same class of asset.
(f) Employee Benefits
Provision is made for the
Company’s liability for employee
benefits arising from services
rendered by employees to the
end of the reporting period.
Employee benefits that are
expected to be settled within
one year have been measured
at the amounts expected to be
paid when the liability is settled.
Employee benefits payable
later than one year have been
measured at the present value
of the estimated future cash
outflows to be made for those
benefits. In determining the
liability, consideration is given
to employee wage increases
and the probability that the
employee may not satisfy vesting
requirements. Those cash flows
are discounted using market yields
on national government bonds
with terms to maturity
that match the expected
timing of cash flows.
Contributions are made
by the Company to employee
superannuation funds and
are charged as expenses
when incurred.
(g) Provisions
Provisions are recognised
when the Company has a legal
or constructive obligation, as
a result of past events, for which
it is probable that an outflow
of economic benefits will
result and that outflow can
be reliably measured. Provisions
are measured using the best
estimate of the amount required
to settle the obligation at the
end of the reporting period.
(h) Cash and Cash Equivalents
Cash and cash equivalents include
cash on hand, deposits held at call
with banks and other short-term
highly liquid investments.
(i) Prepayments and Expenditure
Incurred in Advance
Expenses incurred are analysed to
determine the plays and projects
to which they relate. Where
expenses relate to future period
plays and projects, such expenses
are written back as prepayments.
(j) Borrowing Costs
Borrowing costs are recognised
as expenses in the period in
which they are incurred.
(k) Goods and Services Tax (GST)
Revenues, expenses and assets
are recognised net of the amount
of GST, except where the amount
of GST incurred is not recoverable
from the Australian Tax Office.
In these circumstances the GST
is recognised as part of the cost
of acquisition of the asset or as
part of an item of the expense.
Receivables and payables in the
statement of financial position are
shown inclusive of GST.
Cash flows are presented in the
statement of cash flows on a
gross basis, except for the GST
component of investing and
financing activities, which are
disclosed as operating cash flows.
(l) Income Tax
No provision for income tax has
been made as the Company is
exempt under Division 50 of the
Income Tax Assessment Act, 1997.
(m) Critical Accounting
Estimates and Judgements
The directors evaluate estimates
and judgements incorporated
into the financial statements
based on historical knowledge and
best available current information.
Estimates assume
a reasonable expectation of
future events and are based
on current trends and economic
data, obtained both externally
and within the Company.
FINANCIAL
STATEMENTS
Key Estimates – Impairment
The company assesses impairment at the end of each reporting date by evaluating conditions specific to the
Company that may be indicative of impairment triggers.
(n) Comparative Figures
When required by Accounting Standards, comparative figures have been adjusted to conform to changes in
presentation for the current financial year.
(o) Trade and Other Payables
Trade and other payables represent the liability outstanding at the end of the reporting period for goods and
services received by the company during the reporting period which remain unpaid.
The balance is recognised as
a current liability with the amounts normally paid within 30 days of recognition of the liability.
(p) Economic Dependence
Playbox Theatre Company is dependent upon Australia Council and Arts Victoria for the funding of its core activity.
At the date of this report the Board of Directors has no reason to believe that this support will not continue.
The financial report was authorised for issue on 28 March 2011 by the Board of Directors.
2. RevenuE
2010
2009
$
$
2,085,935
2,025,332
- General Purpose
1,011,660
988,915
- Interconnections
Included in the revenues from continuing operations are the following items
Theatre and Performance
Government Grants
Australia Council
30,000
25,000
- New Work with Festival
Department of Education & Early Childhood
86,900
20,000
15,198
14,900
City of Melbourne
30,840
30,000
1,011,660
988,915
13,130
-
78,000
201,000
1,027,611
1,022,303
Arts Victoria
- General Purpose
- Collaborative Direct Marketing
Sponsorships and Donations
- Sponsorship
- Fundraising and donations
Other Revenue
- Interest earned
117,187
92,670
320,667
294,783
- Intercompany Operations
85,596
85,596
- Bar Taking
347,137
357,095
- Workshop External Commissions
155,214
85,920
187,539
6,604,274
139,171
6,396,600
2010
2009
$
$
- Production & Touring
2,667,114
2,690,158
- Marketing & Sponsorship
Other Expenses
556,990
537,422
- Ticketing Services
- Other revenue from continuing operations
Total Revenue
3. OTHER EXPENSES FROM CONTINUING ACTIVITIES
Profit from continuing operations has been determined after:
Expenses
- Depreciation
79,533
77,950
- Audit fees
12,600
12,000
- Finance Costs – external
- Wages & on Costs (3.1)
- Other
Total Other Expenses
Total Expenses
15,339
15,217
2,156,420
2,116,313
1,036,703
903,238
3,300,595
6,524,699
3,124,718
6,352,298
(3.1) Wages and on costs for permanent staff have been allocated to other expenses
rather than to individual departments.
Key Management Personnel Remuneration
The total of remuneration paid to key management personnel of the Company during the period
are as follows: Key management personnel compensation: 318,258 (2010), 308,000 (2009).
FINANCIAL
STATEMENTS
4. CASH AND CASH EQUIVALENTS
8. PROPERTY PLANT & EQUIPMENT
2010
2009
2010
2009
$
$
$
$
Cash on Hand
1,200
3,415
619,902
462,315
Cash at Bank
19,590
76,954
(374,952)
(321,523)
159,536
203,336
244,950
140,792
1,054,451
827,499
1,234,777
1,111,204
849,888
849,888
(843,790)
(833,249)
6,098
16,639
263,086
256,499
(107,884)
(92,322)
155,202
164,177
406,250
321,608
Current
Deposits at call
Short Term Bank Deposits
Less accumulated depreciation
Theatre fixtures and fittings
Non-Current
Incentive Scheme Reserve deposit
Furniture and equipment
353,547
340,473
353,547
340,473
1,588,324
1,451,677
Workshop Improvements
5. TRADE AND OTHER RECEIVABLES
2010
2009
$
$
43,671
6,243
584,030
675,839
32,593
45,853
1,427
1,637
GST recoverable
49,960
42,604
Total Receivables
711,681
772,176
Raw Materials
8,000
8,810
Bar Stock
15,400
21,792
23,400
30,602
Total Property, Plant & Equipment
8 (a) MOVEMENTS IN CARRYING AMOUNTS
Sundry debtors
Playbox Malthouse Ltd.
Unpaid income
Deposits paid
Movement in the carrying amounts of property, plant and equipment between the beginning and the end of the current
financial year.
2010
Furniture and
Equipment
Theatre Fixtures
and Fittings
Workshop
Improvements
Total
Balance at the beginning of the year
140,792
16,639
164,177
321,608
Additions
157,587
-
6,588
164,175
(53,429)
244,950
(10,541)
6,098
(15,563)
155,202
(79,533)
406,250
Furniture and
Equipment
Theatre Fixtures
and Fittings
Workshop
Improvements
Total
150,309
31,295
179,577
370,181
26,273
3,104
-
29,377
(44,790)
140,792
(17,760)
(15,400)
164,177
(77,950)
321,608
Depreciation Expenses
Carrying amount at the end of the year
6. INVENTORIES
At Cost:
Total Inventories
2009
Balance at the beginning of the year
Additions
Depreciation Expenses
Carrying amount at the end of the year
16,639
7. OTHER CURRENT ASSETS
Prepayments
63,086
88,757
9. TRADE & OTHER PAYABLES
2010
2009
$
$
119,237
153,312
Current
Sundry creditors & accruals
FINANCIAL
STATEMENTS
10. PROVISIONS
14. RESERVES
2010
2009
2010
2009
$
$
$
$
127,459
127,459
-
88,500
361,414
340,473
488,873
556,432
Opening balance
127,459
127,459
Closing balance
127,459
127,459
Current
Capital Assets Reserve
Employment entitlement – Parental leave
16,054
6,002
Employee entitlements – Annual leave
77,477
80,947
Incentive Scheme Reserve
Employee entitlements – Long service leave
27,514
23,740
Total Reserves
121,045
110,689
Total Provisions (Current)
(a) Capital Asset Reserve
Non-Current
Employee entitlements – Long service leave
26,630
20,239
The Capital Assets Reserve records the value of plant and equipment assets transferred to the Company at the
conclusion of the Company’s relationship with Monash University.
11. OTHER CURRENT LIABILITIES
Income received in advance
1,267,430
1,201,756
(b) Incentive Scheme Reserve
12. BORROWINGS
2010
2009
$
$
215,000
-
-
215,000
Non-Current
Bank Loan – secured
Bank loan and overdraft facilities with National Australia Bank Ltd are secured by Registered Mortgage Debenture
over the whole of the company’s assets including goodwill and uncalled and called but unpaid capital together with
relative insurance policy assigned to the National Australia Bank Limited but excluding funds held in the Incentive
Scheme Reserve. The loan is due for repayment in September 2011.
2010
2009
$
$
340,473
323,563
20,941
16,910
361,414
340,473
Movements during the year:
Opening balance
Interest for the year
Current
Bank Loan – secured
IT Reserve
Closing balance
Funds held in the Incentive Scheme Reserve are subject to the terms of the Incentive Scheme Reserves Funding
Agreement dated 21 June, 2004 between the Australia Council, Arts Victoria and the Company. In particular, these funds
are held in escrow for fifteen years and cannot be accessed without the express agreement of the funding bodies under
prescribed circumstances.
Funds held in the Incentive Scheme Reserve are expressly excluded from the security charge held over the assets of the
Company by the National Australia Bank Ltd.
The Incentive Scheme Reserve records the amount set aside to fund the long term future operations of the Company.
13. RETAINED EARNINGS
Retained earnings at the beginning of financial year
407,392
380,000
79,575
44,302
88,500
-
(20,941)
(16,910)
Retained earnings at the end of financial year
554,526
407,392
Net profit (loss) for the financial year
Transfer to Information Technology Reserve
FINANCIAL
STATEMENTS
DIRECTOR’S DECLARATION
15. MEMBERS’ GUARANTEE
The Company is limited by guarantee. If the Company is wound up, the Memorandum and Articles of Association of the
Company states that each member is required to contribute a maximum of $10 cash towards meeting any outstanding
obligations of the Company. At 31 December 2010, the number of members was 14(2009: 14).
19. Financial Risk Management
The Company’s financial instruments consist mainly of deposits with banks, accounts receivable and payable.
16. COMMITMENTS AND CONTINGENT LIABILITIES
The Company has provided a guarantee in respect of bank facilities of Playbox Malthouse Limited.
Details of security provided to the National Australia Bank Limited are:
Guarantee and Indemnity for $388,000 supported by Registered Mortgage Debenture over the whole of the assets
of Playbox Theatre Company Limited including goodwill and uncalled capital and called but unpaid capital together
with relative insurance policy assigned to the National Australia Bank Limited. The Company has undertaken
to financially support Playbox Malthouse Limited through to the date of its 2012 Annual General meeting.
The totals for each category of financial instruments, measured in accordance with AASB 139 as detailed
in the accounting policies to these financial statements, are as follow:
Notes
2010
2009
$
$
Financial Assets
There are no capital expenditure commitments or contingent liabilities not otherwise disclosed or provided
for in the accounts at 31st December 2010.
Cash and cash equivalent
4
1,588,324
1,451,677
Trade and other receivables
Total Financial Assets
5
711,681
2,300,005
772,176
2,223,853
Trade and other payables
9
119,237
153,312
Borrowing
Total Financial Liabilities
12
215,000
215,000
368,312
Financial Liabilities
17. RELATED PARTY TRANSACTIONS
Playbox Theatre Company Limited and Playbox Malthouse Limited have identical Boards of Directors in recognition
of their long standing relationship and common objectives and to ensure that as far as possible they act in each others
best interest without compromising their independence.
Operationally many of the management and administration functions of the two companies overlap and are shared.
However importantly the records and accounts of the Companies are kept separately and systems have been developed
to ensure that this occurs.
334,237
Net Fair Value
Fair values of held at maturity investments are based on quoted market prices at the ending of the reporting period.
20. DIRECTORS’ REMUNERATION
Directors do not receive remuneration for services provided in their role as directors although they are eligible to be
reimbursed for out of pocket expenses.
18. CASH FLOW INFORMATION
2010
2009
$
$
(a) Reconciliation of Cash For the purposes of the Cash Flow Statement, cash includes cash on hand and in banks
and investments in money market instruments, net of outstanding bank overdraft. Cash at the end of the financial
year as shown in the Cash Flows Statement is reconciled to the related items in the Balance Sheet as follows:
Cash on hand
Deposits with financial institutions
Bank account
Total Cash
1,200
3,415
1,567,534
1,371,308
19,590
76,954
1,588,324
1,451,677
21. SUBSEQUENT EVENTS
There have been no significant events, which occurred after balance date.
22. COMPANY DETAILS
The registered office of the company is:
113 Sturt Street Southbank Vic 3006
The Principal place of business is:
Malthouse
113 Sturt Street Southbank Vic 3006
(b) Reconciliation of Net Cash used in Operating Activities to profit from Continuing Operations
Net Profit (loss)
79,575
44,302
Depreciation
79,533
77,950
60,495
(88,507)
25,671
130,846
7,202
(4,111)
(34,075)
(241,502)
16,747
2,420
65,674
60,868
300,822
(17,734)
Change in net assets and liabilities
(Increase) Decrease in receivables
(Increase) Decrease in other current assets
(Increase) Decrease in inventories
(Decrease) Increase in payables
Increase/(Decrease) in provisions
(Decrease) Increase in other current liabilities
Net Cash provided by (used in) Operating Activities
DIRECTor’s Declaration
INDEPENDENT
AUDIT REPORT
TO MEMBERS OF PLAYBOX THEATRE COMPANY LIMITED
The directors of the Company declare that:
1. The financial statements and notes as set out on pages 6 to 24 are in accordance with the Corporations Act 2001:
(a) Comply with Accounting Standards and;
(b) Give a true and fair view of the financial position as at 31 December, 2010, and of the performance for the year
ended on that date of the Company.
2. In the directors’ opinion, there are reasonable grounds to believe that the Company will be able to pay its debts as
and when they become due and payable.
This declaration is made in accordance with a resolution of the Board of Directors
.................................................................................................................................
S.WESTCOTT
Director
Report on the Financial Report
We have audited the accompanying financial report for Playbox Theatre Company Limited, which comprises the
statement of financial position as at 31 December 2010, the statement of comprehensive income, statement of changes
in equity and statement of cash flows for the year then ended, notes comprising a summary of significant accounting
policies and other explanatory information, and the Director’s declaration.
Board’s Responsibility for the Financial Report
The directors of the company are responsible for the preparation and fair presentation of the financial report that gives
a true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements (including
the Australian Accounting Interpretations) and the Corporations Act 2001 and for such internal control as the directors
determine is necessary to enable the preparation of the financial report that is free from material misstatement, whether
due to fraud or error.
Auditor’s Responsibility
Our responsibility is to express an opinion on the financial report based on our audit. We conducted our audit
in accordance with Australian Auditing Standards. These standards require that we comply with relevant ethical
requirements relating to audit engagements and plan and perform the audit to obtain reasonable assurance whether
the financial report is free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial
report. The procedures selected depend on the auditor’s judgment, including the assessment of the risks of material
misstatement of the financial report, whether due to fraud or error. In making those risk assessments, the auditor
considers internal control relevant to the entity’s preparation and fair presentation of the financial report in order to
design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on
the effectiveness of the entity’s internal control. An audit also includes evaluating the appropriateness of accounting
policies used and the reasonableness of accounting estimates made by the directors, as well as evaluating the overall
presentation of the financial report.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis
for our audit opinion.
....................................................................................................................................
N.SMART
Director
Independence
In conducting our audit, we have complied with the independence requirements of the Corporations Act 2001.
We confirm that the independence declaration required by the Corporations Act 2001, provided to the director’s
of Playbox Theatre Company Limited on March 2011, would be in the same terms if provided to the director’s
as at the date of this auditor’s report.
Dated this day of 28 March 2011
INDEPENDENT
AUDIT REPORT
Audit Opinion
In our opinion the financial report of Playbox Theatre Company Ltd is in accordance
with the Corporations Act 2001, including:
(a) Giving a true and fair view of the company’s financial position as at 31 December 2010,
and of its performance for the year ended on that date; and
(b) Complying with Australian Accounting Standards – Reduced Dsiclosure Requirements
(including the Australian Accounting Interpretations) and the Corporations Regulations 2001.
.................................................................................................................................
WHK Horwath
Melbourne
....................................................................................................................................
Margaret D Crossley
Melbourne
Dated this day of 28 March 2011

Core Values Mission

Transcription

Similar documents

STEVEN SATER Music by DUNCAN SHEIK

View Sample PDF - IRMA

a pas de deux drama for two girls and a piano man

History - Lone Star College

thursday, june 11 friday, june 12 saturday, june 13 sunday, june 14

Page 22 - Previews: Regional Theatre

attached pdf. - Department of English

Simply by - Mayflower Theatre

Wilton Armetale® Factory Store American Music Theatre

dv news october07.indd