annual report `09 - Malthouse Theatre

Transcription

ANNUAL REPORT ‘09
MALTHOUSE THEATRE’S STRATEGIC
PURPOSE: TO ATTRACT AND BUILD
CAPACITY – ARTISTICALLY, CULTURALLY
AND FINANCIALLY – FOR THE BENEFIT
OF CONTEMPORARY THEATRE PRACTICE
AND AUDIENCES.
Core Values
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
Contents
Core Values & Mission 1
Chair’s Report 2
Executive Report 3
Seasons 2009 4
Touring 2009 15
Education 17
Additional Activities 18
ARTISTIC DEVELOPMENT 19
Board, Staff & Partners 21
Key Performance Indicators 23
Financial Report 24
Mission
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.
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.
To achieve this, we acknowledge that:
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 by definition dangerous,
often revealing what is yet to be
acknowledged and penetrating the farthest
reaches of the imagination;
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.
2009 Annual report/ 1
Chair’s
Report
Malthouse Theatre’s position
in the Australian theatre
ecology was strengthened
by a hugely successful
year in 2009 that saw the
company premiering eight
new productions, growing
melbourne audiences, and
touring extensively both
nationally and abroad.
International highlights included Michael Kantor’s
Optimism whose co-production partners included the
Edinburgh Festival (alongside STC and Sydney Festival)
and our 2007 co-production with Company B, Exit the
King, which was re-produced for the Broadway stage.
The production performed to over 100,000 patrons –
proving, as Geoffrey Rush said on winning his coveted
Tony Award for Best Actor, that ‘French existentialist
absurdist tragi-comedy rocks’.
2009 was also the year in which our very own
revered regent, Michael Kantor, announced his exit
for the end of 2010. Next year’s annual report will
include a deeper retrospective of Michael’s tenure,
but it’s fitting here to recognise his powerful creative
vision and extraordinary collaborative generosity;
we see its fruit in every production and in the new
heights reached by Malthouse Theatre during 2009.
The board is delighted that an artist of the stature
and imagination of Marion Potts, most recently
Associate Artistic Director at Bell Shakespeare,
is stepping into Michael’s well-worn and successkissed shoes from January, 2011.
The board itself also transitioned during 2009,
strengthening through the addition of financial
consultant, Neil Smart; public servant and
philanthropist Thea Snow; corporate lawyer
and Arts-board veteran Leonard Vary; Roy Morgan
CEO and marketing guru Michele Levine, and Head
of the new Grattan Institute, John Daley. I also take
this opportunity to thank retiring board members
Susan Heron, Roger Donazzan, John McCallum and
John Gibbins, who all made remarkable contributions
to Malthouse Theatre over their tenures.
Indeed, Malthouse Theatre continues to rely on the
talents and generosity of tireless board members,
loyal government stakeholders, load-carrying
volunteers, and its many private, commercial and
philanthropic donors, sponsors and supporters;
my heartfelt gratitude to them all.
In particular I would like to thank Fosters for their
last year as principal sponsor, and indeed for the last
10 years of unequalled support. They were joined in
2009 by fellow principal partner, Victoria University,
and sponsors Sofitel Melbourne, Allens Arthur
Robinson, Medina Apartment Hotels, John Mullen
& Partners and Sweet Design. We also thank our
invaluable 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.
In closing, I reserve again my deepest gratitude
to Michael Kantor, Stephen Armstrong, Catherine
Jones and the wider Malthouse Theatre family of
staff and artists. They are the energy and creativity
that courses through this wonderful theatre and
its producing company.
I commend to you their work in 2009.
SIMON WESTCOTT
Executive
Report
In 2009, Malthouse Theatre presented seventeen
productions on our Melbourne mainstage. Eight
were world premieres and all but one of these
were original Malthouse Theatre commissions.
The company’s commitment to commissioning
and developing high impact, high risk productions
across a range of theatre forms saw six further
commissions entered for future programming.
Five productions created in 2009 travelled to
national and international stages and three from
our 2007 and 2008 programs were remounted
for national and international tours.
A highlight for the year on the international stage was
the re-production on Broadway at the Ethel Barrymore
Theatre of the Malthouse Theatre and Company B
co-production, Exit the King. The Broadway production
imported the set, costumes, lighting and sound design
from the original Malthouse Theatre season and
received Tony Award nominations for set, costume
and sound design. Created in the Malthouse Scenic
Workshop and Wardrobe, these nominations are
significant reminders of the importance of having
construction, rehearsal, technical and administration
facilities on one site in making quality, contemporary
theatre. Geoffrey Rush deservedly received the Tony
Award for Best Actor.
In 2009, participation in the company’s Education
program grew by more than 10% and a new work
targeted exclusively for Education was commissioned
for production in 2010. A host of additional public
activities included lectures, forums, our popular Things
on Sundays and Time to Talk series and the progressive
results of our regional development programs through
Hot Spots and State of Play.
Our Melbourne audience base continued to grow
with paid attendances increasing 6% across all
mainstage productions. This excellent result,
however, is arguably less than we might have
achieved in the face of public reaction to the Global
Financial Crisis and tangible concerns about ‘public
congregation’ during the Swine Flu epidemic. All bar
one production outside the peak ‘public response’
period of June to September exceeded their
attendance targets. Public profile, media and critical
engagement, and award nominations for the 2009
program was certainly equal to our best yet.
Broad public access to our mainstage programs was
maintained through ticket prices with an average
nett ticket price of less than $30. The number of
subscription tickets purchased on a per subscriber
patron basis rose to 7.2. Non-subscriber purchases
constituted 73% of all ticket sales. Analysis of our
two season programming, and diverse theatrical
genres, pointed to the continued success of
Malthouse Theatre’s unique programming model.
This was particularly so with young audiences,
as access through Education programs, Student Rush
and Student Concession increased by a gratifying 92%.
Activity levels in 2009 were extremely high and
well supported by the company’s very 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 flourished in 2009 and this strategy
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.
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 grateful. These initiatives included
succession planning and professional development
for workshop personnel, international collaborations,
and development of new works with independent
companies. Our third government partner, the City
of Melbourne provided annual program support and
assisted with long term – and exciting – destination
signage projects to be realised early in 2010.
Ongoing refinement in company operations continued
to sharpen our dual focus: to support the best creative
risk taking, and to create and present work in a safe
and welcoming environment. The company’s workshop
and wardrobe departments continued to dazzle
(receiving continuous plaudits from artists and critics)
along with our technical and backstage teams. Our
season of Optimism for the Edinburgh International
Festival involved a touring company of twenty three
and was easily our largest international project yet.
The tour was not just a great success with audiences,
but was delivered with a grace and expertise (and
on time and on budget!) which our host venue
repeatedly thanked us for. Production Manager,
David Miller and his tireless production team
deserve every congratulations.
The company’s many supporters are identified
throughout this report and we thank our Chair,
Simon Westcott for his recognition of our corporate
partners. Some key programs however, absolutely
core to our operations, but only possible through
the generous support of individuals and foundations,
deserve special acknowledgment. The Slome-Topol
Family Charitable Trust continue their unwavering
support of our Education activities. Annamila Pty Ltd
is our unstinting advocate and supporter of the Artists
in Residence program; the Poola Foundation (Tom
Kantor Fund) has supported the Indigenous Theatre
program for each of the last three years; the Besen
Family Foundation, Sidney Myer Fund and Helen
Macpherson Smith Trust have been instrumental
in our artist development activities, regional outreach
and Tower Theatre programs since 2007.
Malthouse Theatre’s small but ubiquitous marketing
and media teams employed unwavering ingenuity in
bringing our work to public attention in remarkably
cost-efficient ways. Subscribers to our eNews (monthly
electronic newsflashes of upcoming events) increased
by 52% in 2009. Through our in-house ticketing service,
MTix provided invaluable support to Malthouse Theatre
patrons and external users in numbers greater than
ever at highly competitive prices.
Adjustments to core staffing were minor.
A Communications Department, headed by Brad
Martin (previously Marketing Manager), was
established to bring all company communications
(media, marketing and development) into closer
alignment. Overall wage increases matched CPI
except where position adjustments or Award
increases superseded this.
The Cascade Green Bar goes from strength to strength
while the Malthouse Kitchen, managed by Entourage,
has transformed the eating and hospitality experience
of our patrons who remind us to thank them regularly.
Now open for food service after every performance
as well as before, and for breakfast seven days a week,
the CUB Malthouse is more and more a destination
in its own right.
An end of year surplus of $44,302 was a satisfactory
result, particularly in light of lower than expected box
office from June to September. Compared with the
previous year, revenues in 2009 decreased by 3%,
largely accounted for through one-off grants in 2008.
Overall theatre and performance revenues in 2009
increased by 9%, and despite the effects of the Global
Financial Crisis fundraising and donations held static.
The Dara Foundation’s continuing and deep generosity
is inspirational at every level of the company.
The Malthouse Muse program won more supporters
in 2009 than ever before. The enthusiasm of our
individual donors is extremely encouraging – your
contributions make an enormous difference.
The Executive of Malthouse Theatre is grateful,
as ever, to our wonderfully talented and fantastic
staff – and our endlessly wise and supportive Board.
To our volunteers and supporters, we salute you!!
Thank you for making 2009 such a wonderful year.
MICHAEL KANTOR
STEPHEN ARMSTRONG
CATHERINE JONES
Seasons
2009
Season One
“The mainstage company to watch
in the new year must surely be
Melbourne’s Malthouse Theatre,
which has more potential mustsees in the first six months of 2009
than any other company in the
country has in all twelve.”
The Australian
The year commenced with an adaptation of Buchner’s
masterpiece, Woyzeck to an original score by Nick
Cave and Warren Ellis. Director, Michael Kantor
assembled a typically motley and virtuosic ensemble of
performers and musicians led by rock idol Tim Rogers
to rediscover what is so timeless about Buchner’s
story. Bold and theatrically uncompromising, this high
profile, opening production played to near capacity
houses appealing equally to contemporary music and
out-there theatre audiences, and connoisseurs of the
classic repertoire. The visual design by Peter Corrigan
and Paul Jackson and Peter Farnan’s consummate
arrangements and incidental music guaranteed the
production’s physical as well as emotional impact.
Alongside Woyzeck, in the Tower, we remounted
I Love You, Bro, Ash Flanders’ stunning performance
of Adam Cass’ disturbing but moving story of a boy
lost to his own fiction in an internet romance.
Dance Massive was an initiative of Malthouse
Theatre, Dancehouse and Arts House. Through
scheduling contemporary Australian dance over the
period 2 – 15 March, we created a quasi festival of
dance culture throughout the city. While funding was
received to support international delegations and to
create a website and event brochure, the initiative
was self-programmed, self-managed and self-funded
by participating venues. It was an unqualified success
and will be programmed again in 2011. In the Merlyn
Theatre, we programmed Mortal Engine, Chunky
Move’s international sensation combining motion
capture triggering with beautiful choreography, sound
and imagery. The production was sold out before
opening night. In the Tower, young dance collective
Rogue sold-out their first professional gig, a one hour,
high energy triple bill (comprising two existing works
and a Malthouse Theatre commission). We concluded
with DanceNorth and Splintergroup’s sensitive and
testosterone powered Lawn – a rare emotional work
of great prowess.
Season Two
To follow such a heady dance-card, we premiered
Lally Katz’s, Goodbye Vaudeville, Charlie Mudd
a co-production with Arena Theatre Company with
Artistic Director Chris Kohn directing. Programmed
for the intimate Beckett Theatre, with its large
cast, performance roots in vaudevillian tradition
and fabulous design by Jonathon Oxlade, audiences
willingly threw themselves into the unpredictable,
confronting but big-hearted world of Lally Katz.
Commissioned by Malthouse Theatre, the play
won the Victorian Premier’s Drama Prize and
was short-listed for the Melbourne Prize (New Work).
To complement the giddy tragedies and crowded
stage of Goodbye Vaudeville, Charlie Mudd we
turned the Beckett Theatre over to one of Britain’s
most revered stage actors, Kathryn Hunter, in an
unforgettable adaptation of Franz Kafka’s Letter
to the Academy (Kafka’s Monkey). This Young
Vic Theatre production was conceived during
our London presentation of Honour Bound and
is hopefully the first of future exchanges and
collaborations with this landmark company.
Tom Wright’s adaptation of Candide, Optimism,
a collaboration with the Edinburgh International
Festival, Sydney Festival and Sydney Theatre
Company, has been a long term project in the
making under director Michael Kantor and Resident
Artists Anna Tregloan and Paul Jackson. With Frank
Woodley as Candide (for which he won the prestigious
Herald Angel Award in Edinburgh) and an ensemble
including Barry Otto, Alison Whyte, David Woods
and Iain Grandage, this philosophical romp through
the Enlightenment Malthouse-style went on to net
more than $1.5m in box office across three seasons.
To wave the chequered flag for Season One we
turned to Peter Houghton, whose The Pitch and The
China Incident have been so popular with Malthouse
Theatre audiences. We commissioned Peter to create
A Commercial Farce, our programming antidote
to Melbourne’s winter glums. Seriously fun, with an
ingenious fall-apart set by resident designer, Anna
Cordingley, and wild performances from Malthouse
favourite Luke Ryan and Peter in a role only he could
have written for himself, A Commercial Farce will
tour more than a dozen venues nationally in 2011.
Julie Forsyth was awarded the 2010 Myer Individual
Prize, Australia’s richest, for her outstanding
contribution to theatre. It’s no understatement to say
that programming Beckett’s great role for an actress,
Happy Days, was utterly dependent on Julie agreeing
to play Winnie (and Peter Carroll playing Willie). The
entire creative team share in the artistic achievement
of this benchmark production which later transferred
to Company B’s Belvoir Street Theatre. Programming
a text to follow Beckett is a formidable task, but
David Harrower’s Knives in Hens was such a play.
Harrower’s stripped back language taps an elemental
power. This audacious play was expertly performed
by Robert Menzies, Kate Box and Dan Spielman under
Geordie Brookman’s direction. A co-production with
STCSA, Knives in Hens transferred to Adelaide
where it was nominated by the local media the Best
Production of 2009. Meanwhile, in the Tower, with
a poetic absurdity not unlike Edith Sitwell, Aphids
production Care Instructions incanted the powers
of laundry when left undone in fairy tales.
Malthouse Theatre’s Indigenous Theatre Program
produces at least one large scale work each year
which speaks directly to Indigenous communities
of Indigenous experience. The program also provides
secondments for emerging Indigenous theatre makers
and, through its Community Access initiative, provides
complimentary tickets for Indigenous communities.
One Night the Moon, directed by Wesley Enoch,
was a commissioned stage adaptation of the 2001 lost
child “musical film” with songs by Kev Carmody, Paul
Kelly and Mairead Hannan, written by John Romeril
and directed by Rachel Perkins. A transfiguring vision
of cultural relations, the production featured fine
performances and a stunning design – a theatre
told through all of the arts.
Our Season Two double-bill of dance in the Merlyn
Theatre included Lucy Guerin’s visionary work inspired
by the collapse of the Westgate Bridge, Structure
and Sadness, and the premiere of The Oracle
(a Malthouse Theatre and Sydney Opera House
commission), Meryl Tankard’s blazing choreographic
ode to Stravinsky’s The Rite of Spring. Both were
outstanding performances and highlighted, once
again, the sheer strength of technique and intelligent
theatricality in Australia’s dance community.
Special Thanks
We closed the year with two new productions in
the Tower Theatre, Yumi Umiumare’s Butoh sourced
En Trance and My Darling Patricia’s Company in
Residence production, Africa. Umi’s contemporary
Butoh is unlike anything you might see in Japan,
but is so deeply rooted in her formal Butoh training
and aesthetic it has become a unique Australian
hybrid communicating with incredible alacrity to a
multi-cultural Australian audience. Africa, like The
Black Lung residency in 2008, proved one of the
most rewarding artistic exchanges of the year – for
the entire company. Africa has since been chosen
to tour nationally under the federally funded Mobile
States program. That it succeeded equally well with
audiences and critics furthers our ambition to make
the Residency program an annual event.
“There is an impressive commitment
to design within My Darling
Patricia: sound, lighting, stage
and props, you name it. The only
limit is imagination… oh, and
budget. Which is where Malthouse
Theatre steps in. The second of
Malthouse’s Company in Residence,
My Darling Patricia – like Black
Lung before it – is an excellent
choice for this kind of investment.
Both companies have responded
with brilliant, risky, experimental
theatre.” Herald Sun
2009 would not have been the success it was without
the sweat-beaded daring and creativity of the artists.
At the risk of offending some, we nonetheless feel a
compulsion to repay the dazzle of their achievements
by framing in lights some of the most memorable
moments of the year.
Tim Rogers, as The Entertainer in Woyzeck proved
that charisma is not just a random gift but a talent
to be worked as any other. Tim’s performance was
one of the most potent of the year while Peter Farnan’s
meticulous notation and arrangements of Nick Cave
and Warren Ellis’ unwritten score proved an inspired
labour. Mark Jones’ award winning performance
as Bones and Christen O’Leary’s freakishly endearing
ventriloquist in Goodbye Vaudeville, Charlie Mudd
proved there really is no limit to what a playwright
can ask of her cast! The gifts of Kathryn Hunter’s
performance in Kafka’s Monkey and Julie Forsyth
in Happy Days were as close to definitive as one
might imagine and we will forever be grateful. The
Optimism company committed the best part of six
months over a development period, three separate
rehearsal periods, and three seasons all separated
by many weeks, even months, commencing in March
2009 and concluding in February 2010. This kind of
commitment from such a highly sought after cast
was hugely encouraging for us and made it possible
to create a production worthy of the faith so many
had placed in it. In her first year with the company
as Resident Artist (Design), Anna Cordingley designed
strikingly original sets and/or costumes for no less
than six Malthouse Theatre productions, two of which
transferred for national seasons. The complex visual
narrative conceived for One Night The Moon was
particularly breathtaking. The visual poetry of Paul
Jackson’s lighting designs during the year consistently
offered insights beyond illumination – perhaps most
notably in Happy Days. Lucy Guerin’s Structure and
Sadness and Gideon Obarzanek’s Mortal Engine
reminded us, yet again, of how central Lucy Guerin Inc
and Chunky Move are to the vitality of contemporary
theatre in Melbourne – and how fortunate we are
for such depth of talent in Australia’s dancers. Finally,
a most lavish bouquet goes to Paul White for his
unforgettable performance in The Oracle.
Malthouse Theatre seasons habitually celebrate what
can be achieved on-stage through the possibilities
of collaboration off-stage. Congratulations to Arts
House, Dancehouse and Aus Dance (Victoria), for
bringing Dance Massive into being through sheer
force of our collective will. Thank you to Neil
Armfield and Brenna Hobson for inviting Happy
Days to perform in your season at Company B –
which is always a thrill. Our warmest thanks and
congratulations to Erin Milne, David Everist and
Chris Kohn at Arena Theatre Company (Goodbye
Vaudeville, Charlie Mudd), Geordie Brookman,
Adam Cook and Pamela Foulkes at State Theatre
Company of South Australia (Knives in Hens), and
Wendy Martin and Rachel Healy at Sydney Opera
House, and Vicki Middleton (The Oracle), Yumi
Umiumare and, initially, Rosie Hinde of Hirano (En
Trance), for being outstanding creative colleagues
and co-producing partners. Bringing three major
producers and two funding agencies together
in support of a Malthouse Theatre project – aptly
entitled Optimism – was ultimately more fun than
it was daunting, which says much for the generosity
and vision of our collaborators: Rob Brookman,
Cate Blanchett and Andrew Upton at Sydney
Theatre Company; Lindy Hume, Josephine Ridge
and Bill Harris at Sydney Festival; Jonathan Mills
and Alison Riach at Edinburgh International Festival;
Penny Hutchinson and Tony Grybowski at Arts
Victoria and the Australia Council.
Thank you also to Aphids, The Young Vic, Three To A
Room, Rogue, DanceNorth/Splintergroup, Lucy Guerin
Inc and Chunky Move for delivering your work to our
audiences with such care and panache and good spirit.
For taking equally good care of our repertory touring
productions, thank you to Bell Shakespeare, Sydney
Theatre Company and Auckland Festival (Venus &
Adonis), and Sydney Festival (The Tell-Tale Heart).
2009 Annual
2009report/
Annual5 report/ 5
woyzeck
I LOVE YOU,
BRO
10 – 28 feb
31 jan – 28 feb
VENUE
Merlyn Theatre
VENUE
Tower Theatre
TOTAL NO OF PERFORMANCES:
27
18
TOTAL PAID ATTENDANCES:
7,739 (70%)
1,088 (66%)
ALL ATTENDANCES:
9,672 (81%)
ALL ATTENDANCES:
1,326 (76%)
TOTAL NET BOX OFFICE:
$264,733
$21,937
CLASSIC INTERNATIONAL
Australian Remount
CAST MITCHELL BUTEL, MARCO CHIAPPI, HAMISH MICHAEL,
BOJANA NOVAKOVIC, SOCRATIS OTTO, MERFYN OWEN, TIM ROGERS
MUSIC PERFORMED LIVE BY SIMON BURKE, XANI KOLAC & DAN WITTON
A THREE TO A ROOM PRODUCTION
CAST ASH FLANDERS WRITER ADAM J.A. CASS DIRECTOR YVONNE VIRSIK
BY GEORGE BUCHNER ADAPTED BY GISLI ORN GARDARSSON
ENGLISH TRANSLATION GISLI ORN GARDARSSON & RUTH LITTLE
ORIGINAL LYRICS NICK CAVE ORIGINAL MUSIC BY NICK CAVE & WARREN ELLIS
DIRECTOR MICHAEL KANTOR SET, COSTUME & MASK DESIGNER PETER CORRIGAN
MUSICAL DIRECTION, SOUND DESIGN AND ADDITIONAL COMPOSITION
BY PETER FARNAN LIGHTING DESIGNER PAUL JACKSON
PRODUCTION DRAMATURGE MARYANNE LYNCH
ASSISTANT DESIGNER ANNA CORDINGLEY STAGE MANAGER CLAIRE BOURKE
ASSISTANT STAGE MANAGER TANITH HARLEY
SET CONSTRUCTION MALTHOUSE THEATRE WORKSHOP
LIGHTING OPERATORS TOM BRAYSHAW & RYAN HODGE
SOUND OPERATOR JACKSON ACKERS HEAD MECHANIST RYAN PAINE
2009 AWARDS GREEN ROOM AWARDS (NOMINATION) TIM ROGERS MALE SUPPORTING
PERFORMER, HELPMANN AWARDS (NOMINATION) BOJANA NOVAKOVIC
BEST SUPPORTING ACTRESS,
DESIGNER JASON LEHANE COMPOSER NICK WOLLAN
PRODUCTION MANAGER SARAH GRUBB
LIGHTING & SOUND OPERATORS STEWART BIRKINSHAW CAMPBELL /
ANGELA COLE THREE TO A ROOM CLAIRE GLENN & CHARLOTTE STRANTZEN
“Ash Flanders commands the stage, his characterisation and accent
are utterly credible… director Yvonne Virsik has crafted a piece
of potent and emotionally raw theatre, the action unfurling with
a sense of dramatic inevitability. The production fittingly imagines
the net here as a kind of shadow-world, with umbral lighting and
the projection of fragmented text.” (Australian Literary Review)
“Malthouse Theatre’s new presentation is a sharper, more intriguing
piece than anything else showing on our stages… solo actor
Ash Flanders is outstanding.” (The Sunday Age)
“Director Michael Kantor has thrown down the gauntlet with this
provocative interpretation of one of the most iconic plays of the modern
canon. It’ll divide audiences, that’s for sure. Buchner’s unfinished tale
of a peasant soldier driven to murder his wife has been subject to endless
interpretation, but Kantor here deliberately eschews all traditions
to produce a post-modern tragedy all his own.” (The Sunday Age)
“Michael Kantor’s passionate production – at once sexy and moving,
spectacular and heart-stoppingly intimate – doesn’t disappoint.
Perhaps its greatest achievement is that, for all the technical complexity
and rock’n’roll energy of the production, Buchner’s text rings through,
clear as a bell.” (The Australian)
PRODUCTION PARTNER
PICTURED (L–R) TIM ROGERS, BOJANA NOVAKOVIC, SOCRATIS OTTO PHOTO JEFF BUSBY
PICTURED ASH FLANDERS PHOTO SARAH WALKER
MORTAL
ENGINE
4 – 8 MAR
ROGUE
11 – 15 MAR
VENUE
Merlyn Theatre
VENUE
Tower Theatre
7
6
2,171 (88%)
327 (78%)
ALL ATTENDANCES:
2,830 (99%)
ALL ATTENDANCES:
492 (98%)
$55,025
$6,112
AUSTRALIAN REMOUNT
WORLD PREMIERE & AUSTRALIAN REMOUNT
A CHUNKY MOVE PRODUCTION
CAST KRISTY AYRE, SARAH BLACK, AMBER HAINES, ANTONY HAMILTON
MARNIE PALOMARES, LEE SERLE, JAMES SHANNON, ADAM SYNNOTT
CHARMENE YAP
A MALTHOUSE THEATRE AND ROGUE PRODUCTION
CAST DERRICK AMANATIDIS, SARA BLACK, DANIELLE CANAVAN
HOLLY DURANT, LAURA LEVITIS, KATHRYN NEWNHAM, HARRIET RItCHIE
DIRECTOR AND CHOREOGRAPHER GIDEON OBARZANEK
INTERACTIVE SYSTEM DESIGNER FRIEDER WEISS
LASER AND SOUND ARTIST ROBIN FOX COMPOSER BEN FROST
SET DESIGN RICHARD DINNEN & GIDEON OBARZANEK
COSTUME DESIGN PAULA LEVIS LIGHTING DESIGN DAMIEN COOPER
EXECUTIVE PRODUCER RACHAEL AZZOPARDI
PRODUCTION & OPERATIONS MANAGER CHRIS MERCER
MULTIMEDIA ENGINEER NICK ROUX STAGE MANAGER LYDIA TEYCHENNE
HEAD MECHANIST MICHAEL CARR
2009 AWARDS PRIX ARS ELECTRONICA FOR HYBRID ART (HONOURABLE MENTION)
GREEN ROOM AWARDS (NOMINATION) BEST PRODUCTION (THEATRE AND HYBRID
PERFORMANCE), GREEN ROOM AWARDS (NOMINATION) BEST CREATIVE
COLLABORATION, GREEN ROOM AWARDS (NOMINATION) ROBIN FOX & BEN FROST
COMPOSITION AND/OR SOUND DESIGN
“It’s an expensive, slick, technology-driven work that could easily
have become a clunky move, but in the hands of choreographer
Gideon Obarzanek and collaborators it is a full-bodied sensory
experience with undertones both dark and sensual.” (Herald Sun)
“There are sequences that are blindingly beautiful – the final laser
sequence, in which dancers control the lighting with their arms,
carves the auditorium into strange fluid chambers defined by
green light… we are fleetingly in a small room with the dancer,
enclosed by rippling walls of darkness. It’s deeply unsettling,
at once intimate and alien.” (Theatrenotes)
A VOLUME PROBLEM
CHOREOGRAPHER & CONCEIVER BYRON PERRY COMPOSER LUKE SMILES
LIGHTING DESIGNERS BYRON PERRY & ANGELA COLE
COSTUME DESIGNERS BYRON PERRY
ORIGINAL SET CONSTRUCTION ANITA HOLLOWAY (TASDANCE)
THE COUNTING
CHOREOGRAPHER ANTONY HAMILTON IN COLLABORATION WITH ROGUE
COSTUME DESIGNER DOYLE BARROW LIGHTING DESIGNER FROG – BLUEBOTTLE 3
SOUNDTRACK PANSONIC
PUCK
CHOREOGRAPHER & CONCEIVER ROGUE
DIRECTERS DERRICK AMANATIDIS & SARA BLACK IN COLLABORATION
WITH ROGUE COSTUME DESIGNER DOYLE BARROW
LIGHTING DESIGNER ANGELA COLE SET DESIGNER ANNA CORDINGLEY
PRODUCTION/STAGE MANAGEMENT FROG – BLUEBOTTLE 3
PROJECT MANAGEMENT MORIARTY’S PROJECT PRODUCERS STRUT & FRET
INTERNAL PRODUCER LAURA LEVITUS
“Rogue is concerned with pure dance, the intricacies of abstract
movement. It’s marked by a street-smart, pop sensibility, and
is a lot of fun.” (Theatrenotes)
“Luke Smiles provides music that is easy to listen to and the
dancers are excellent, handling the action with great clarity
and collaboration as they invert themselves in and out.” (The Age)
THE ROGUE DANCE COLLECTIVE WAS GENEROUSLY SUPPORTED BY
THE BESEN FAMILY FOUNDATION FOR THIS PRODUCTION
PICTURED LEE SERLE PHOTO ANDREW CURTIS
PICTURED ROGUE PHOTO JEFF BUSBY
lawn
GOODBYE VAUDEVILLE,
CHARLIE MUDD
6 – 28 MAR
11 – 14 MAR
VENUE
Merlyn Theatre
VENUE
Beckett Theatre
5
22
946 (46%)
2,736 (71%)
ALL ATTENDANCES:
1,482 (60%)
ALL ATTENDANCES:
3,614 (89%)
$21,870
$76,266
AUSTRALIAN REMOUNT
WORLD PREMIERE
A BRISBANE POWERHOUSE AND DANCENORTH PRODUCTION
CAST VINCENT CROWLEY, GRAYSON MILLWOOD, GAVIN WEBBER
A MALTHOUSE THEATRE COMMISSION
A MALTHOUSE THEATRE AND ARENA THEATRE COMPANY PRODUCTION
WINNER 2008 MALCOLM ROBERTSON PRIZE
CAST MARK JONES, ALEX MENGLET, CHRISTEN O’LEARY, JIM RUSSELL
MATT WILSON, JULIA ZEMIRO
CHOREOGRAPHERS VINCENT CROWLEY, GRAYSON MILLWOOD & GAVIN WEBBER
PRODUCED BY BRISBANE POWERHOUSE & DANCENORTH
TOURED BY PERFORMING LINES FOR MOBILE STATES TOURING CONTEMPORARY
PERFORMANCE, AUSTRALIA REHEARSAL DIRECTOR MICHELLE RYAN
DRAMATURGe ANDREW ROSS
MUSICAL COMPOSER AND PERFORMER IAIN GRANDAGE
DESIGNER ZOE ATKINSON LIGHTING DESIGNER MARK HOWETT
ADDITIONAL LIGHTING DESIGNER BLUEBOTTLE – BENJAMIN CISTERNE
PRODUCTION MANAGER STUART VAN LOCKER STAGE MANAGER MELANIE DYER
COMPOSER & SOUND DESIGNER LUKE SMILES
LIGHTING OPERATOR TOM BRAYSHAW HEAD MECHANIST RYAN PAINE
2009 AWARDS GREEN ROOM AWARDS (WINNER) LUKE SMILES COMPOSITION AND/
OR SOUND DESIGN, GREEN ROOM AWARDS (WINNER) ZOE ATKINSON SET AND/OR
COSTUME DESIGN, GREEN ROOM AWARDS (WINNER) GRAYSON MILLWOOD
BEST MALE DANCER, GREEN ROOM AWARDS (WINNER) BEST DANCE ENSEMBLE,
GREEN ROOM AWARDS (NOMINATION) BEST CREATIVE COLLABORATION,
GREEN ROOM AWARDS (NOMINATION) BEST PRODUCTION (ALTERNATIVE &
HYBRID THEATRE PERFORMANCE)
“One doesn’t need to be a dance fan to appreciate the energy and beauty
of this flawless, evocative piece.” (Sunday Herald Sun)
“A well staged, innovative and highly enjoyable work – and it was received
enthusiastically… Lawn reveals great creative strength and technical
accomplishment in a work that is now the international calling card
of its creators.” (ArtsHub)
PICTURED (L–R) VINCENT CROWLEY, GAVIN WEBBER PHOTO TIM PAGE
WRITER LALLY KATZ DIRECTOR & CONCEIVER CHRIS KOHN
SET AND COSTUME DESIGNER JONATHAN OXLADE COMPOSER MARK JONES
SOUND DESIGNER JETHRO WOODWARD LIGHTING DESIGNER RICHARD VABRE
DRAMATURGE MARYANNE LYNCH ILLUSIONS BY LAWRENCE LEUNG
STAGE MANAGER DARREN KOWACKI ASSISTANT STAGE MANAGER MEREDITH GREY
LIGHTING OPERATOR STEWART BIRKINSHAW CAMPBELL
2009 AWARDS GREEN ROOM AWARDS (WINNER) MARK JONES BEST MALE
PERFORMER, GREEN ROOM AWARDS (WINNER) MARK JONES & JETHRO
WOODWARD COMPOSITION/SOUND DESIGN, LOUIS ESSON PRIZE FOR DRAMA
(WINNER) LALLY KATZ, HELPMANN AWARDS (NOMINATION) CHRISTEN O’LEARY
BEST SUPPORTING ACTRESS, HELPMANN AWARDS (NOMINATION) MARK JONES,
BEST SUPPORTING ACTOR, GREEN ROOM AWARDS (NOMINATION) BEST PRODUCTION,
GREEN ROOM AWARDS (NOMINATION) CHRIS KOHN BEST DIRECTION, GREEN
ROOM AWARDS (NOMINATION) CHRISTEN O’LEARY, BEST SUPPORTING FEMALE
PERFORMER, GREEN ROOM AWARDS (NOMINATION) JONATHON OXLADE SET
DESIGN, GREEN ROOM AWARDS (NOMINATION) RICHARD VABRE LIGHTING DESIGN,
GREEN ROOM AWARDS (NOMINATION) NEW WRITING FOR THE AUSTRALIAN STAGE
“Though it focuses on a troupe that can charitably be described as secondrate, the production itself is top-notch, reaching deep down into theatre’s
bag of tricks to evoke horror, mirth and a dizzy glee – illusions, slapstick,
dance and poignant drama are combined to thrilling effect.” (The Sunday Age)
“One certainty at the Malthouse is the top quality of the design, and
Jonathan Oxlade’s brilliant set and costumes transform us fully into the
show’s haunted hall of mirrors… packed with illusion, acrobatics, song
and dance, Goodbye Vaudeville Charlie Mudd is a feast of entertainment
that turns into a haunting homage to those who have fallen through the
cracks in stage history.” (The Age)
PICTURED (L–R) JULIA ZEMIRO, MATT WILSON PHOTO JEFF BUSBY
KAFKA’S
MONKEY
28 apr – 9 may
A COMMERCIAL
FARCE
5 – 27 JUN
VENUE
Beckett Theatre
VENUE
Beckett Theatre
11
22
1,640 (83%)
1,834 (48%)
ALL ATTENDANCES:
2,046 (94%)
ALL ATTENDANCES:
2,598 (65%)
$49,874
$52,074
CONTEMPORARY INTERNATIONAL
World Premiere
A YOUNG VIC PRODUCTION BY ARRANGEMENT WITH ARTS PROJECTS AUSTRALIA
CAST KATHRYN HUNTER
CAST PETER HOUGHTON & LUKE RYAN
BASED ON “A REPORT TO AN ACADEMY” BY FRANZ KAFKA
ADAPTATOR COLIN TEEVAN DIRECTOR WALTER MEIERJOHANN
SET DESIGNER STEFFI WURSTER COSTUME DESIGNER RICHARD HUDSON
LIGHTING DESIGNER MIKE GUNNING SOUND & MUSIC NIKOLA KODGABASHIA
MOVEMENT ILAN REICHEL ASSISTANT DIRECTOR MIA THEIL HAVE
STAGE MANAGEMENT LUCY PARKES LIGHTING OPERATOR TOM BRAYSHAW
WRITER PETER HOUGHTON DIRECTOR AIDAN FENNESSY
SET & COSTUME DESIGNER ANNA CORDINGLEY
SOUND DESIGNER BEN GRANT LIGHTING DESIGNER MATT SCOTT
STAGE MANAGEMENT DARREN KOWACKI OPERATOR TOM BRAYSHAW
STUNT CO-ORDINATOR STUART CHRISTIE
“For every bit of monkey business – picking fleas from a spectator’s hair,
or offering us bananas – there’s an undercurrent of devastating poignancy.
Hunter brings a poetic quality to the elevated cadences of Colin Teevan’s
adaptation, yet lays bare their empty formality.” (The Age)
“Hunter’s performance brilliantly captures the layers of irony in the story and
the troubled half-person Red Peter has become. With extraordinary physical
and vocal skill she presents us with a figure torn between an old identity
and a newly constructed one driven by a need to survive in the oppressive
alien world of human civilisation.” (The Australian)
“Having exposed the bones of comedy, how do you subvert the
form enough to make it funny? The answer lies in two bravura
performances that mercilessly expose the close relationship
between farce and tragedy. As Bill’s midlife crisis takes a florid
flight, it demonstrates the unpalatable truth that nothing is as
funny as another person’s pain. A tour de farce.” (The Australian)
“Houghton is at his cleverest building conflict between competing
views of performance – one technical, one intuitive – and the
best of the verbal comedy is swift and cunning.” (The Age)
WITH THANKS TO THE GOETHE INSTITUT
PICTURED KATHRYN HUNTER PHOTO TRISTRAM KENTON
PICTURED (L–R) PETER HOUGHTON, LUKE RYAN PHOTO JEFF BUSBY
OPTIMISM
22 MAY – 13 jun
VENUE
Merlyn Theatre – Melbourne
Lyceum Theatre – Edinburgh
Drama Theatre – Sydney, 2010
22 – Melbourne
4 – Edinburgh
48 – Sydney, 2010
WORLD PREMIERE
NATIONAL/INTERNATIONAL TOURING
A MALTHOUSE THEATRE, EDINBURGH INTERNATIONAL FESTIVAL,
SYDNEY THEATRE COMPANY AND SYDNEY FESTIVAL COMMISSION
CAST Amanda Bishop (SYDnEY) CAROLINE CRAIG, FRANCIS GREENSLADE, AMBER
MCMAHON, HAMISH MICHAEL
BARRY OTTO, ALISON WHYTE, FRANK WOODLEY, DAVID WOODS
MUSIC PERFORMED LIVE BY IAIN GRANDAGE
BY TOM WRIGHT AFTER VOLTAIRE DIRECTOR MICHAEL KANTOR
SET & COSTUME DESIGNER ANNA TREGLOAN
COMPOSER IAIN GRANDAGE LIGHTING DESIGNER PAUL JACKSON
SOUND DESIGNER RUSSELL GOLDSMITH CHOREOGRAPHY LUKE GEORGE
ASSISTANT DIRECTOR SARAH GILES STAGE MANAGER CLAIRE BOURKE
ASSISTANT STAGE MANAGERS SARAH GRUBB & MELANIE STANTON
MECHANISTS RYAN PAINE & PERRY SMITH
SEASONs on tour
LYCEUM THEATRE FOR EDINBURGH INTERNATIONAL FESTIVAL 15 – 17 Aug
2010 DRAMA THEATRE FOR SYDNEY FESTIVAL & SYDNEY THEATRE COMPANY
9 Jan – 20 Feb
THIS PROJECT WAS MADE POSSIBLE WITH SUPPORT FROM ARTS VICTORIA CELEBRATING
A MELBOURNE EDINBURGH CULTURAL EXCHANGE IN 2009 – 2010. MALTHOUSE THEATRE
ALSO ACKNOWLEDGE THE ASSISTANCE OF THE AUSTRALIAN GOVERNMENT THROUGH
THE AUSTRALIA COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY.
PICTURED (L–R) FRANK WOODLEY, BARRY OTTO, ALISON WHYTE PHOTO COURTESY JEFF BUSBY
6,307 – Melbourne (68%)
ALL ATTENDANCES:
7,452 – Melbourne (77%)
2,502 – Edinburgh (99%)
20,249 – Sydney (95%), 2010
$188,422 – Melbourne
“Kantor’s production updates Voltaire with shameless anachronisms.
The abiding metaphor is air travel, which at once encapsulates the hope
and destruction of modernity, and the show is punctuated by the brutal,
obliterating noise of jet engines. The first act feels loose, as if the play
is in danger of spiralling into a melange of frantic stage actions, but after
interval it all clicks into focus. Frank Woodley, with his air of bewildered
decency and unkillable hopefulness, is an inspired choice for the role
of Candide, an apt foil to Barry Otto’s pangloss.” (The Australian)
“Anna Tregloan’s clever set mixes the cold, metallic curves of a plane shell,
glittering music hall drapes, huge plastic shower curtains and a vivid
variety of classical, clown and contemporary costumes. The ensemble
is exceptional, employing impeccable comic timing to create the parade
of people in Candide’s travels.” (Herald Sun)
“Malthouse Theatre artistic director Michael Kantor is most in his element
when he turns to the picaresque – the episodic, non-realistic narrative
that blends bleak humour and a carnival atmosphere to critique the
embedded assumptions of the dominant words view. He’s found
the perfect vehicle in Optimism, an adaptation of Voltaire’s classic,
Candide… casting Frank Woodley as the perpetually optimistic
lead is inspired.” (The Sunday Age)
HAPPY
DAYS
3 – 25 JUL
CARE
INSTRUCTIONS
7 – 26 JUL
VENUE
Beckett Theatre – Melbourne
Belvoir St Theatre – Sydney
22 – Melbourne
41 – Sydney
3,706 – Melbourne (44%)
ALL ATTENDANCES:
4,886 – Melbourne (55%)
6,632 – Sydney (60%)
CLASSIC INTERNATIONAL/NATIONAL TOURING
CAST PETER CARROLL, JULIE FORSYTH
WRITER SAMUEL BECKETT
DIRECTOR MICHAEL KANTOR SET & COSTUME DESIGNER ANNA CORDINGLEY
PRODUCTION DRAMATURGE MARYANNE LYNCH LIGHTING DESIGNER PAUL JACKSON
SOUND DESIGNER RUSSELL GOLDSMITH STAGE MANAGER CLAIRE BOURKE
ASSISTANT STAGE MANAGER CAITLIN BYRNE LIGHTING OPERATOR RYAN HODGE
2009 AWARDS SYDNEY THEATRE CRITICS AWARDS (NOMINATION) BEST MAINSTAGE
PRODUCTION, SYDNEY THEATRE CRITICS AWARDS (NOMINATION) JULIE FORSYTH
BEST ACTRESS IN A LEAD ROLE, SYDNEY THEATRE CRITICS AWARDS (NOMINATION)
PAUL JACKSON BEST LIGHTING DESIGN, GREEN ROOM AWARDS (NOMINATION)
jULIE FORSYTH BEST FEMALE PERFORMER
“The Malthouse production – the best I’ve seen by director Michael Kantor –
is a brilliant and fresh realisation of Beckett’s text, at once respectful and
boldly imaginative. And, most importantly, it’s deeply felt… Forsyth – ironic,
funny, despairing, heart-rendingly brave – finds every nuance in the fragile
rhythms of Beckett’s prose, creating a performance of limpid clarity… this
is a great performance of a great play by two of our great actors. Not to be
missed.” (The Australian)
VENUE
Tower Theatre
19
571 (34%)
ALL ATTENDANCES:
876 (50%)
$10,674
AUSTRALIAN REMOUNT
AN APHIDS PRODUCTION
CAST JANE BAYLY, LIZ JONES, CAROLINE LEE
WRITER CYNTHIA TROUP DIRECTOR MARGARET CAMERON
COMPOSER DAVID YOUNG LIGHTING DESIGNER DANNY PETTINGILL
VIDEO EUGENE SCHLUSSER PHOTOGRAPHY YATZEK
PRODUCTION ASSISTANT EMMA GILLINGHAM
“Not so much a play as a spell. It enchanted me at its premiere at La Mama
last year, and it’s no less enjoyable to revisit. This production is sharper,
its theatrical gestures heightened and thrown into relief.” (The Australian)
“I loved watching and listening to Care Instructions. As someone who
hates washing, it was almost cathartic to see the white sheets, the pink
knickers and the black T-shirts cast aside with an intriguing mix of love
and irreverence. The design is beautiful, the performer trio are divine and
the language flows, splashes and meanders like a creek made of music…”
(AussieTheatre.com)
“Julie Forsyth is the perfect choice to play Winnie, giving the character
a sense of naïve faith to begin with, moving to a palpable melancholy
in the darker themes of the second act… where the production really
steps out is Anna Cordingley’s design for Winnie’s home, and
Paul Jackson’s intricate lighting design.” (The Age)
PICTURED JULIE FORSYTH PHOTO JEFF BUSBY
PICTURED (L–R) LIZ JONES, CAROLINE LEE, JANE BAYLY PHOTO YATZEK
KNIVES
IN HENS
31 JUL – 22 AUG
VENUE
Beckett Theatre – Melbourne
Space Theatre – Adelaide
22 – Melbourne
20 – Adelaide
1,833 – Melbourne (52%)
ALL ATTENDANCES:
2,430 – Melbourne (65%)
4,676 – Adelaide (68%)
EN TRANCE
28 aug – 13 sep
VENUE
Tower Theatre
15
1,023 (91%)
ALL ATTENDANCES:
1,188 (99%)
$20,751
World Premiere
A MALTHOUSE THEATRE PRODUCTION
CREATED & PERFORMED BY YUMI UMIUMARE
A MALTHOUSE THEATRE AND STATE THEATRE COMPANY
OF SOUTH AUSTRALIA PRODUCTION
CAST KATE BOX, ROBERT MENZIES, DAN SPIELMAN
DRAMATURGE & ARTISTIC COLLABORATOR MOIRA FINUCANE
MEDIA ARTIST BAMBANG NURCAHYADI INSTALLATION ARTIST NAOMI OTA
SOUND DESIGNER IAN KITNEY COSTUME DESIGNER DAVID ANDERSON
LIGHTING DESIGNER KERRY IRELAND STAGE & PRODUCTION MANAGER DIANA HUME
LIGHTING OPERATOR ANGELA COLE PRODUCTION ASSISTANT SHAYNDLE GRINBLAT
WRITER DAVID HARROWER DIRECTOR GEORDIE BROOKMAN
SET & COSTUME DESIGNER ANNA CORDINGLEY
COMPOSER & SOUND DESIGNER ANDREW HOWARD
LIGHTING DESIGNER PAUL JACKSON STAGE MANAGER DARREN KOWACKI
LIGHTING OPERATOR TOM BRAYSHAW
AWARDS GREEN ROOM AWARDS (NOMINATION) IAN KITNEY SOUND DESIGN
(ALTERNATIVE & HYBRID PERFORMANCE), GREEN ROOM AWARDS (NOMINATION)
BAMBANG NURCAHYADI PROJECTION AND/OR VIDEO DESIGN (ALTERNATIVE & HYBRID
PERFORMANCE), GREEN ROOM AWARDS (NOMINATION) NAMOI OTA SET AND/OR
COSTUME DESIGN (ALTERNATIVE & HYBRID PERFORMANCE)
CONTEMPORARY INTERNATIONAL
2009 AWARDS GREEN ROOM AWARDS (NOMINATIONS) BEST PRODUCTION, GREEN
ROOM AWARDS (NOMINATIONS) DAN SPIELMAN BEST MALE PERFORMER, GREEN
ROOM AWARDS (NOMINATIONS) ROBERT MENZIES BEST MALE PERFORMER, GREEN
ROOM AWARDS (NOMINATIONS) KATE BOX BEST FEMALE PERFORMER, GREEN ROOM
AWARDS (NOMINATIONS) GEORDIE BROOKMAN BEST DIRECTION
“The cast is superb and carries the weight of the play and its
complex use of simple language with ease, never failing to
convey its beauty. Spielman’s and Box’s nuanced performances
especially follow the emotional shifts of the play with confidence
and dexterity, while the ever-skilful Menzies exudes a sense
of pathos from an otherwise unsympathetic character.”
“En Trance is an impassioned and beautiful piece, constantly rich and
surprising in its emotional range, and finally very moving.” (The Australian)
“If fluffy middle-brow theatre is your cuppa, you’ll find it hard going.
But if you’re willing to be stretched, surprised and deeply, pleasurably
confused, you’re in good hands.” (The Sunday Age)
(Sunday Herald Sun)
“It is hard to imagine the play better presented than it is here in
Geordie Brookman’s measured and touching production. The acting
is quite beautifully weighted, too. It’s a great credit to Box that she
more than holds her own alongside old sparring partners Menzies
and Spielman.” (Herald Sun)
PICTURED KATE BOX, ROBERT MENZIES PHOTO JEFF BUSBY
PICTURED YUMI UMIUMARE PHOTO JEFF BUSBY
ONE NIGHT
THE MOON
11 SEP – 3 OCT
AFRICA
12 – 29 nov
VENUE
Merlyn Theatre
VENUE
Tower Theatre
23
17
4,767 (52%)
1,134 (89%)
ALL ATTENDANCES:
6,257 (65%)
ALL ATTENDANCES:
1,333 (98%)
$142,118
$21,678
WORLD PREMIERE
World Premiere
A MALTHOUSE THEATRE PRODUCTION
CAST NATALIE O’DONNELL, KIRK PAGE, MARK SEYMOUR, URSULA YOVICH
MUSIC PERFORMED BY DEIRDRE HANNAN, MAIREAD HANNAN, BEN HENDRY
NICK TSIAVOS, RENS VAN DER ZALM
CAST JODIE LE VESCONTE, MATT PREST
PUPPETEERS CLARE BRITTON, ALICE OSBORNE & SAM ROUTLEDGE
ADAPTATOR JOHN ROMERIL FROM AN ORIGINAL FILM BY KEV CARMODY
MAIREAD HANNAN, PAUL KELLY, RACHEL PERKINS AND JOHN ROMERIL
DIRECTOR WESLEY ENOCH COMPOSERS KEV CARMODY, MAIREAD HANNAN, PAUL KELLY
MUSICAL DIRECTOR MAIREAD HANNAN SET & COSTUME DESIGNER ANNA CORDINGLEY
LIGHTING DESIGNER NIKLAS PAJANTI SOUND DESIGNER KELLY RYALL
DRAMATURGE MARYANNE LYNCH STAGE MANAGER CLAIRE BOURKE
ASSISTANT STAGE MANAGER BLAIR HART LIGHTING OPERATOR TOM BRAYSHAW
HEAD MECHANIST RYAN PAINE ARTWORK BROOK ANDREW
DESIGN ASSISTANT SIMON BOWLAND ANIMATION DAVE JONES
WOTJOBALUK ELDER RAY MARKS
CONCEIVED, DESIGNED AND CREATED BY MY DARLING PATRICIA
ORIGINAL CONCEPT SAM ROUTLEDGE WRITER/ DIRECTOR HALCYON MACLEOD
DESIGNER CLARE BRITTON & BRIDGET DOLAN
COMPOSITION AND SOUND DESIGN DECLAN KELLY
PUPPETS BRYONY ANDERSON LIGHTING DESIGNER LUCY BIRKINSHAW
STAGE MANAGER DARREN KOWACKI PROPS & SET DRESSING TIM VARGA-MCGRAW
ADDITIONAL DEVISORS KATRINA GILL & TAMARA REWSE
“Africa is a beautiful and savage theatre, marrying virtuosic
technical accomplishment to an empathetic and ruthlessly
observed understanding of the dynamics of domestic abuse.”
(The Age)
“The songs both drive the action and are the chief means of emotional
communication and it’s in the songs that the performances find their
heart. …There’s a complexity of thought in this work that lifts it beyond
cliché, but it still retains the potent simplicity of fable. A fairytale
for our time.” (The Australian)
“This is a beautiful, powerful production, harking back to a harsher
Australia and her courageous, ignorant pioneers… former hunters and
collectors frontman Mark Seymour is a long way from throwing his
arms around anyone as the angry, grief stricken jim, while Kirk Page
brings dignity to the role of Albert.” (Sunday Herald Sun)
“One of the achievements of Africa is its emotional honesty:
how it at once expresses human resilience – the ability to
generate beauty from the “rag and bone shop of the heart” –
and the incorrigibility of damage and loss. Realised with
an admirable skill, it’s funny, beautiful and heartbreaking.
Beg, borrow or steal a ticket to this one.” (The Australian)
MALTHOUSE THEATRE’S INDIGENOUS THEATRE PROGRAM
IS MADE POSSIBLE WITH THE GENEROUS SUPPORT OF
THE POOLA FOUNDATION (TOM KANTOR FUND)
MALTHOUSE THEATRE’S COMPANY IN RESIDENCE PROGRAM
IS MADE POSSIBLE WITH SUPPORT FROM THE SIDNEY MYER FUND
PICTURED (L–R) URSULA YOVICH, NATALIE O’DONNELL, KIRK PAGE PHOTO JEFF BUSBY
PICTURED SAM ROUTLEDGE PHOTO JEFF BUSBY
The
ORACLE
2 – 6 dec
STRUCTURE
AND SADNESS
25 – 29 nov
VENUE
Merlyn Theatre
6
1,137 (64%)
ALL ATTENDANCES:
1,642 (77%)
$26,559
AUSTRALIAN REMOUNT
A LUCY GUERIN INC PRODUCTION
CAST FIONA CAMERON, KYLE KREMERSKOTHEN, LINA LIMOSANI, BYRON PERRY
HARRIET RITCHIE, LEE SERLE
DIRECTOR LUCY GUERIN CHOREOGRAPHer LUCY GUERIN WITH THE Cast
ORIGINAL MUSIC GERALD MAIR MOTION GRAPHICS MICHAELA FRENCH
SET AND LIGHTING DESIGNER BLUEBOTTLE: BEN COBHAM AND ANDREW LIVINGSTON
COSTUMES PAULA LEVIS DRAMATURGE MARYANNE LYNCH
PRODUCTION MANAGER RICHARD DINNEN FOR MEGAFUN
PRODUCER MICHAELA COVENTY ASSISTANT PRODUCER SARAH RODIGARI
“It’s an incredibly fine, detailed work and it helps immensely to be
attenuated to its minute moments of beauty. Most people I know
would probably recommend that you see it; I’d recommend you
see it twice.” (Capital Idea)
“There are few dance pieces as well-crafted and well-realized
as Lucy Guerin’s Structure and Sadness. This rare opportunity
to revisit the work, which hasn’t lost any of its enthrall or power,
reminds us why Guerin is such a quality choreographer and
significant Australian artist… it is satisfying in every way –
from its actual choreography through to its perfectly matched
visual design elements and its interplay of narrative and
abstraction. Like the men on the Westgate, Guerin is a builder –
layering her story several levels deep but not losing sight
of a clear pathway for the audience.” (Australian Stage Online)
VENUE
Merlyn Theatre – Melbourne
Playhouse , SOH – Sydney
6 – Melbourne
6 – Sydney
1,280 – Melbourne (65%)
ALL ATTENDANCES:
1,783 – Melbourne (75%)
1,851 – Sydney (79%)
World Premiere
A MALTHOUSE THEATRE AND SYDNEY OPERA HOUSE COMMISSION
CAST PAUL WHITE
CONCEIVER AND DIRECTOR MERYL TANKARD
CHOREOGRAPHER MERYL TANKARD & PAUL WHITE
SET & VIDEO DESIGNER REGIS LANSAC COSTUMES MERYL TANKARD
LIGHTING DESIGNER DAMIEN COOPER & MATT COX
UNDERSTUDY TIMOTHY OHL PRODUCER VICKI MIDDLETON
PRODUCTION MANAGER NEIL SIMPSON STAGE MANAGER EDDI GOODFELLOW
ASSISTANT STAGE MANAGER ALANNA PROUD
EDITING EDDI GOODFELLOW & MARCUS COBLYN
SOUND OPERATOR RUSSELL GOLDSMITH
CREATIVE DEVELOPMENT PRODUCERS CHRIS LATHAM & ROSALIND RICHARDS
AUSPICED BY ARTS RADAR
2009 AWARDS GREEN ROOM AWARDS (NOMINATION) PAUL WHITE BEST MALE DANCER
(THEATRE– ALTERNATIVE & HYBRID PERFORMANCE)
“There has to be talent and skill and creative inspiration. But sometimes
you have to believe the stars were aligned to bring artistic elements
together at a particular moment to make something extraordinary.
The Oracle is such a piece.” (The Sydney Morning Herald)
“White – supremely strong, muscular, with intensity of purpose matching
the intensity of music and choreography – is simply the best male dancer
in the country. This is a tour de force for him and Tankard.” (The Australian)
THIS PROJECT WAS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, ITS ARTS FUNDING
AND ADVISORY BODY; AND BY THE KEIR FOUNDATION. ORIGINAL DEVELOPMENT ASSISTANCE THROUGH CRITICAL PATH’S
RESPONSIVE PROGRAM IN PARTNERSHIP WITH UNSW.
PICTURED CAST OF 2006 PRODUCTION PHOTO JEFF BUSBY
PICTURED PAUL WHITE PHOTO RÉGIS LANSAC
MALTHOUSE
MELBOURNE
ON TOUR
VENUS &
ADONIS
11 – 28 FEB/18 – 21 mar
In 2009, the following Malthouse Theatre productions were seen beyond
our home stage:
· KNIVES IN HENS, co-produced with the State Theatre Company
of South Australia, presented in Adelaide
· THE ORACLE, a co-production with Sydney Opera House was
presented in Sydney
· HAPPY DAYS, a Malthouse Theatre production presented
by Company B in Sydney
· OPTIMISM, co-produced with the Edinburgh International Festival,
Sydney Festival and Sydney Theatre Company, was presented
in Edinburgh (2009) and Sydney (January 2010)
· THE TELL-TALE HEART, a Malthouse Theatre production was
presented by the 2009 Sydney Festival
· VENUS AND ADONIS, co-produced with Bell Shakespeare, was
presented by STC in Sydney and in Auckland by the Auckland Festival
· EN TRANCE, a collaboration with Umi Umiumare, was presented
by the Adelaide Festival Centre, Adelaide
· EXIT THE KING, a co-production with Company B, was reproduced
for a commercial season at the Ethel Barrymore Theatre, New York
LOCATION
SYDNEY & NEW ZEALAND
SYDNEY – 27
AUCKLAND – 6
ALL ATTENDANCES:
SYDNEY – 3,178
AUCKLAND – 693
NATIONAL & INTERNATIONAL TOURING
A MALTHOUSE THEATRE & BELL SHAKESPEARE PRODUCTION
CAST MELISSA MADDEN-GRAY, SUSAN PRIOR
MUSICIANS BEN HAUPTMANN, DAVID HEWITT, RYAN WILLIAMS
DIRECTOR MARION POTTS COMPOSER ANDREE GREENWELL
DESIGNER ANNA TREGLOAN LIGHTING DESIGNER PAUL JACKSON
DRAMATURGE MARYANNE LYNCH SOUND DESIGN DAVID FRANZKE
SEASONs
SYDNEY THEATRE COMPANY 11 – 28 FEB
AUCKLAND FESTIVAL 18 – 21 MAR
“Director Marion Pott’s bold interpretation of the poem is set
in the quintessential location for modern love: the anonymous
hotel bedroom. The goddess appears in the guise of two women
who present their elaborate seduction directly to the audience
who stand in for the part of Adonis. Composer Andree Greenwell
uses a strange combination of instruments and electronic sounds
to produce music that is haunting and seductive like the song
of the sirens.” (New Zealand Herald)
PICTURED (L–R) SUSAN PRIOR, MELISSA MADDEN-GRAY PHOTO JEFF BUSBY
The TellTale Heart
18 – 22 jan
EXIT
THE KING
3 mar – 14 jun
LOCATION
SYDNEY
LOCATION
NEW YORK
6
114
ALL ATTENDANCES:
2,345
ALL ATTENDANCES:
101,637
NATIONAL TOURING
INTERNATIONAL TOURING
A MALTHOUSE MELBOURNE PRODUCTION
CAST MARTIN NIEDERMAIR, BARRIE KOSKY
BASED ON A PRODUCTION ORIGINALLY COMMISSIONED AND PRODUCED
BY MALTHOUSE MELBOURNE AND COMPANY B
produced in new york by stuart thompson, robert fox, howard panter
tulchin/bartner, scott rudin and the shubert organisation
CAST GEOFFREY RUSH, SUSAN SARANDON, LAUREN AMBROSE, ANDREW MARTIN
WILLIAM SADLER, BRIAN HUTCHISON
TRUMPETER SHANE ENDSLEY AND SCOTT HARRELL
ADAPTED AND DIRECTED BY BARRIE KOSKY AFTER EDGAR ALLAN POE
ORIGINAL MUSIC BARRIE KOSKY
SET & COSTUME DESIGN ADAPTED BY ANNA TREGLOAN
LIGHTING DESIGN ADAPTED BY PAUL JACKSON
STAGE MANAGER DARREN KOWACKI
SEASON
CARRIAGE WORKS FOR THE SYDNEY FESTIVAL 18 – 22 JAN
“A collaborative venture by internationally established Australian
opera and legit director Barrie Kosky and gifted Austrian actorsinger Martin Neidermair… Neidermair gives a stunning tour-deforce performance in an unforgettable journey into the dark side
of a scarily human soul… and Kosky to one side on piano, superbly
plays a boldly eclectic score… the whole emotively pitched voyage
is conceived and staged with beauty and sensitivity.” (Variety)
WRITTEN BY EUGENE IONESCO BOOK ADAPTED BY NEIL ARMFIELD AND GEOFFREY RUSH
MUSIC COMPOSED BY JOHN RODGERS DIRECTED BY NEIL ARMFIELD
SET AND COSTUME DESIGN BY DALE FERGUSON LIGHTING DESIGN BY DAMIEN COOPER
SOUND DESIGN BY RUSSELL GOLDSMITH ASSOCIATE SCENIC DESIGN TED LEFEVRE
ASSOCIATE COSTUME DESIGN BARRY DOSS ASSOCIATE LIGHTING DESIGN DANIEL WALKER
ASSOCIATE SOUND DESIGN JOANNA LYNNE STAUB
GENERAL MANAGER STUART THOMPSON PRODUCTIONS AND DANA SHERMAN
COMPANY MANAGER ADAM MILLER PRODUCTION STAGE MANAGER EVAN ENSIGN
STAGE MANAGER JIM WOOLLEY PRODUCTION MANAGER AURORA PRODUCTIONS
set construction Malthouse theatre workshop
SEASON
ETHEL BARRYMORE THEATRE, NEW YORK 3 MAR – 14 JUN
“The genius of the show’s presentation – derived from a 2007
production by Mr. Armfield with Mr. Rush in Melbourne,
Australia – is in its use of rowdy comic grotesquerie to lure
us into raw and very real emotional territory. This has to
be the liveliest death on record, brought to life like a firetrailing comet by Geoffrey Rush.” (The New York Times)
PICTURED MARTIN NIEDERMAIR PHOTO JEFF BUSBY
PICTURED LAUREN AMBROSE, GEOFFREY RUSH PHOTO COURTESY
OF STUART THOMPSON PRODUCTIONS
EDUCATION
Malthouse’s Education and Youth Access Program
offers engaging and practical theatrical experiences
to secondary school students and young adults.
Our award winning program aims to create educational
and artistic experiences for young people that connect
them with the company’s work. Established for
seventeen years the program focuses on providing
on-site experiences for students in middle and upper
secondary schooling with a focus on the VELS Level
6 – The Arts, VCE Drama, Dance, Theatre Studies,
English and Literature and provides detailed educational
resources and a professional development program
for teachers. It also offers a work experience program
for students inspired by a career in the theatre.
Students work in the rehearsal rooms, our theatres
and design spaces with professional artists. Learning
experiences address the diverse ways in which students
develop including kinaesthetically, orally, aurally,
collaboratively, independently and interdependently.
Students work with peers from other schools in
a supported environment that recognises and responds
to diversity in terms of age, ethnicity, gender and
learning styles. The program is managed by trained
educators and is presented by arts professionals.
In 2009 over 5,600 students and teachers participated
in the program seeing productions, attending seminars,
and workshops, and through artistic and professional
development. The range of opportunities included
workshops developed to assist Drama Teachers
responding to VCE course requirement to provide
students with practical and experiential learning
with professional artists. Separate workshops are
also held for Teachers:
· Ensemble Theatre Making
·Solo Performance
·Performing Monologue
·Solo, Monologue and Generative Writing
workshops for teachers
“My students and I attended your workshop yesterday
and on behalf of us all would like to express our
thanks. It was an extremely personable, practical,
well designed and smoothly executed workshop.
We all gained much from it. Thank you for the service
and we look forward to taking advantage of further
educational opportunities you offer down the track.”
Teacher, St Michaels Grammar
Malthouse’s Education and Youth Access Program
also creates specialist demonstration and interactive
workshops for students studying specific genres:
·Specialised workshops in Laban Movement
· Theatre of the Absurd
· Theatre of the Oppressed
For students in Year 10, Malthouse Theatre collaborate
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 and dance. 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 Theatre
personnel in the areas of design, technical support,
scenic construction etc.
· Arts Immersion – a collaboration with Chunky Move
and ACCA
· Arts Immersion – Teacher Professional Development
– a collaboration with Chunky Move and ACCA
·Year Ten Day at The Malthouse
· Behind the Scenes Tours
“The immersion allowed an insight into modern arts
and showed us how to open our minds to new things.”
Student, Beaufort Secondary College
“I have been meaning to write and say thank you for
the wonderful Arts Immersion day you provided for
our drama students. They learned so much from their
experiences, not the least of which was being in such
an amazing environment where they could witness
artists at work and learn directly from them. It is
a fantastic initiative and I am so glad we were able
to come. The kids have said it was a real highlight
for them. Thanks for enabling us to be there.”
Teacher, Bendigo High School
The 3D Festival is an initiative of Malthouse Theatre
and Victoria University culminating in the production
and presentation of short works created and performed
by Tertiary Students from a range of institutions with
the technical, dramaturgical and design support of
Malthouse Theatre personnel. The performances are
presented in the Merlyn Theatre.
“It was awesome and much more than I expected.
I was surprised at how good it was and what
I saw others do amazed me.”
Student, Greensborough Secondary College
Artist Access, Education (groups) and Student
Concession sales to mainstage Melbourne
performances increased in 2009 by 92%:
· In 2008: 6,061
· In 2009: 11,645
While the number of VCE selected productions did not
increase in 2009, teachers selected more non-curriculum
based works to attend. This is partly due to the nature
of the programming and partly due to increased
relationship building and marketing efforts.
The increase in non-group attendance by students
(ie. young people attending as private individuals)
has been particularly gratifying. In 2009 we launched
an initiative which aligned school’s prices with
individual student concession prices – allowing young
people to access all productions through advance
bookings without ‘penalty’ of higher prices. This
strategy recognised that tertiary students, making an
independent lifestyle choice by frequenting the theatre,
would most likely build their engagement with the
performing arts through a loyalty to the company and
increase their rate of attendance accordingly.
Tickets sold through specially discounted student
concessions for mainstage performances increased
by 70%. The consistently successful Student Rush
program equated to 2% of all tickets sold, and our
Education and Youth Access Program was responsible
for a further 9.5%. We ended the year with almost
20% of all sold tickets sold issued to young people.
This is extremely heartening and reflects that while
Malthouse Theatre’s programming is attractive to
younger audiences, pricing structures and the capacity
to book tickets (without a credit card) is a major
incentive for their ongoing engagement.
Malthouse Theatre would like to extend its thanks to
the funding partners who contributed to the Education
Program: The Lord Mayors Charitable Foundation for
subsidising student tickets: The Education Department
for its funding of Arts Immersion and Victoria University
for support of the 3D Fest initiative.
Two Malthouse Theatre productions were selected
by the VCAA (Victorian Curriculum and Assessment
Authority) for study by VCE Theatre Studies students,
Optimism and Happy Days. Targeted performances
were accompanied by Schools Forums with the principal
artists, and detailed Education Resource Notes.
In 2009, Malthouse Theatre Education continued
to present a series of Performing Arts Awards
(subscriptions to Malthouse Theatre’s next year
seasons) to top students in 19 secondary schools
across Victoria, as part of the Youth Access program.
2009 Annual
2009report/
Annual17report/ 17
Additional Activities
Things on Sunday &
Time to Talk
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 the general public.
I LOVE ROCK’N’ROLL: A performative demonstration
of the relationship between music and other artforms.
In association with Woyzeck.
MORE PRICKS THAN KICKS: Readings from
Samuel Beckett, with commentary. In association
with Happy Days.
Host
Host
Fiona Scott-Norman
Arts commentator and comedian
Alison Croggon
Writer and critic
Guests
PERFORMERS
Peter Farnan
Singer-songwriter-musician
Rachael Maza Long
Actor and Ilbijerri artistic director
Sally Seltmann
Singer-songwriter-musician, New Buffalo
Greg Stone
Actor
Monica Trapaga
Multi-platform entertainer
Attendances
Attendances
129
DISTRACTION: A lecture on the myriad ways
in which we allow the demands of contemporary
life to overcome us. In association with Optimism.
Lecturer
Damon Young
Philosopher and academic
Attendances
108
85
AS COMMON AS MUCK: An examination of the
vocabularies of different cultural contexts, from
blogging and reality TV to Indigenous theatre.
In association with Knives in Hens.
HOST
Chrissy Sharp
Executive Director, Wheeler Centre
GUESTS
Tom Cho
Fiction writer
Wesley Enoch
Theatre director
Marieke Hardy
Multi-platform writer and cultural commentator
Attendances
108
THE OTHER SIDE OF THE MOON: A conversation
with Paul Kelly and guitar about songwriting.
In association with One Night the Moon.
Host
Maryanne Lynch
Resident dramaturge
Guests
Paul Kelly
Singer-songwriter-musician
Attendances
197
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 sessions are free.
In 2009 these events were variously hosted by ABC
Radio’s Peter Clarke, Melbourne Fringe Director, Emily
Sexton and Malthouse Theatre’s Media Manager,
Tamara Harrison.
Time to Talk sessions were held for Woyzeck,
I Love You Bro, Goodbye Vaudeville Charlie
Mudd, Kafka’s Monkey, Optimism, A Commercial
Farce, Happy Days, Knives in Hens and One
Night the Moon.
Artistic
Development
2009
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 2009,
workshops were held for a range of 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 whole of the period. Malthouse
Theatre’s Executive and Artistic Team are in attendance
at appropriate times.
In house Workshops were held for the
following projects:
ROSENCRANTZ & GUILDENSTERN
Adapted by David Woods
Project development
ONE NIGHT THE MOON
by John Romeril
Script development
Music development
PHOTOGRAPHS OF A
by Daniel Keene
Script development and showing
LOST BOYS
by Michael Kantor, Peter Farnan
Paul Jackson, Maryanne Lynch
and Anna Tregloan
Concept development
ROGUE
by Rogue
New work creation and showing
THE ANIMALS AND THE CHILDREN
TOOK TO THE STREET
by 1927
Project development
FURIOUS MATTRESS
by Melissa Reeves
Script development and reading
NGURRUMILMARRMIRIYU (WRONG SKIN)
by Nigel Jamieson in association with Josh Bond,
the Community and Elders of Elcho Island and
The Chooky Dancers
Project development
ELIZABETH: ALMOST BY CHANCE A WOMAN
by Dario Fo
Adapted by Luke Devenish and Louise Fox
Script development and reading
MOTH
by Declan Greene
Script development
THE THREEPENNY OPERA
by Bertolt Brecht and Kurt Weill
Project development
THE TRIAL
Adapted by Louise Fox
Script development
WOMEN OF THE SUN
Led by Wesley Enoch
Field research and project development
SAPPHO
by Jane Griffiths
Concept development and showing
MARY MACLANE, AS TOLD BY HERSELF
by Ride On Theatre
Project development
OPTIMISM
by Tom Wright
Script development
THE PRINCESS OF SUBURBIA
by RealTV
Script development
AFRICA
by My Darling Patricia
Script development
PICTORIAL
by Hannie Rayson and Bruce Gladwin
Project development
2009 Annual
2009report/
Annual19report/ 19
Besen Family
ARTIST
PROGRAM
Besen Family Artist Program is a twelve-month program
of professional development for theatre-makers
initiated by Malthouse Theatre as a bridge between
educational life and professional practice for emerging
theatre-makers and, for mid career and mature artists,
skills development in their area of expertise. Initiated
by Malthouse Theatre in 2005, the Besen Family have
resourced this remarkably successful program annually.
The program provides bursaries for performers, creative
artists, technicians, writers, dramaturges 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, and a special
Festivals Access initiative, including accommodation,
per diems and ticket packages to allow regional artists
to immerse themselves over an extended time in the
Melbourne International Arts Festival program.
In 2009 this Festival initiative was aimed at a region
affected by the Black Saturday bushfires, allowing
a package deal for a group from Kinglake as well
as ongoing individual festival packages. With
additional resourcing from the Company, we also
extended the program to building working relationships
between regional and metropolitan artists under
the Hotspots initiative.
“What the Besen program offered me was the
chance and time to commit to learning. I was given
an opportunity to observe and be mentored at a
professional level, to ask questions and be guided
through the next stage of my development. Paul has
taught me to show more confidence in myself and to
trust my judgment and decision-making. To take risks
when lighting a show and to research and know what
it is I am trying to achieve. If I understand light, then
I can predict the reactions of light and therefore
know what it is I need to accomplish a certain image
or “look”.” Angela Cole, attachment to lighting
designer Paul Jackson on Happy Days
A further initiative under this program in 2009 was
support for the George Fairfax Memorial Regional
Schools Theatre Festival in Swan Hill. Under its new
artistic director Claire Glenn, the festival brought
together metropolitan and regional theatre artists with
upper-secondary school students in a three-day creative
laboratory of skill-sharing, performance-making and
performance. Through the Hotspots working model,
the festival achieved its twin aim of developing the skills
of local theatre workers and students, and introduced
a new theatre-making model to the Sunraysia region.
2009 Recipients
Production attachments (Metropolitan)
· OLIVIA ALLEN Direction Woyzeck
· DANNY PETTINGILL Lighting Design Woyzeck
· STEPHEN NICOLAZZO Direction
Goodbye Vaudeville, Charlie Mudd
· DYLAN YOUNG Composition & Sound Design
Optimism
· ANGELA COLE Lighting Design Happy Days
· BENJAMIN GRAETZ Direction
One Night the Moon
Production attachments (Regional)
· GREGORY PRITCHARD Direction
A Commercial Farce
· JAY FAGAN Production Africa
Melbourne International Arts Festival
Packages (Regional)
· KIM CHALMERS Composer, Mildura
· KAREN OSTENRIED Singing and
vocal teacher, Kinglake
Students of Karen Ostenried, Kinglake
· IRIS WALSHE-HOWLING
Freelance director, Lorne
State
of Play
State of Play is a program aimed at extending regionalmetropolitan industry relationships and professional
opportunities for regional theatre-workers. It is
initiated and run by Malthouse Theatre, with support
from the Helen MacPherson Smith Trust and the Besen
Family Artist Program, and at times is integrated into
Regional Arts Victoria programs. In 2009 the program
entered its fourth year, which focused on creative
dialogue between regional and metropolitan theatre
artists, under the Hotspots initiative.
At the end of 2008 Malthouse Theatre called for
applications for Hotspots, a scheme aimed at
fostering existing or new creative partnerships
between regional and metropolitan artists. Three
Hotspots were on offer with activities taking place
in 2009.
The scheme focused on skills development, networking,
and, most importantly, an exchange of creative
ideas. This dialogue could take place in any theatre
discipline: writing, direction, performance, dramaturgy,
lighting design, sound design, set/costume design,
choreography, composition, and was styled to suit
the participants.
A key criterion was in-situ participation in collaborating
artists’ work, i.e. regional artists travelled to the city
and metropolitan artists to the relevant region during
the period of their creative dialogue. It was also
essential that each collaborative partnership had
a project that was the focus of their dialogue, and
that this project underwent some development
with measurable outcomes during the period of the
Hotspots support.
The initiative was funded principally by the Helen
MacPherson Smith Trust, with some assistance from
the Besen Family Foundation through the Besen Family
Artist Program.
2009 Recipients
IAN SCOTT, Castlemaine and HUMPHREY BOWER,
Melbourne: Creative development between writerperformer Scott and director-dramaturge Bower
towards the showing of a performance piece titled
Cook: A Discovery inspired by James Cook’s journals
of his voyaging to what is now called Australia.
PUNCTUM THEATRE, Castlemaine and three
Melbourne lighting designers, PAUL JACKSON
(Malthouse Theatre Artist in Residence), ANDREW
LIVINGSTON (Bluebottle) and KATIE SFETKIDIS
(freelance): Dialogue and workshops around the
potential relationships of performance and light
in the context of Punctum’s year-long residency
In-habit (with public performance outcomes
in 2010) at Abbotsford Convent.
THIEVES THEATRE (Anna Loewendahl and Gregory
Pritchard), Natimuk and SUE GILES, Polygot Theatre,
Melbourne: Ensemble-building and integration
of puppetry into live performance, with performance
outcomes for each collaborator in Horsham and
Melbourne respectively, with emphasis on Thieves
Theatre’s Storm Glass.
State of Play Steering Committee
CAMPION DECENT
(Artistic Manager, HotHouse Theatre)
VERITY HIGGINS
(Regional Arts Development Officer, Ballarat)
MATTHEW EMOND
(Regional Theatre Works, Bendigo)
CATHERINE RYAN
(Barking Owl collective member and freelance writer)
International
masterclass
Each year Malthouse Theatre partners with the
Melbourne International Arts Festival to coordinate
and host workshops and masterclasses with guest
artists from the festival. In 2009, a masterclass
and workshop with local and national artists was
conducted by Mark O’Rowe, writer-director of the
acclaimed Terminus from the Abbey Theatre in Dublin.
Board
& Staff list
MALTHOUSE
MUSE
DONORS
Board
permanent Staff
Chairman Simon Westcott
Artistic Director Michael Kantor
Directors
Frankie Airey
John Daley from 28/10/09
Roger Donazzan until 16/11/09
John Gibbins until 25/05/09
Susan Heron until 20/07/09
Michele Levine from 28/10/09
John McCallum until 16/11/09
Ian McRae
Neil Smart from 25/05/09
Thea Snow from 02/02/09
Sigrid Thornton
Leonard Vary from 21/09/09
ARTISTIC COUNSEL
In 2005 the Company embarked on a new strategy
of artistic self assessment through the creation of the
Company’s first Artistic Counsel. The Artistic Counsel
comprises up to ten Melbournians with an interest
in the theatrical imagination and its relationship to
other spheres of culture and experience. Comprised
of artists (experienced and emerging) and cultural
leaders, the members represent a skills base and life
experience well qualified to critique the Company’s
practice. Throughout 2009, the Artistic Counsel offered
the Company critical commentary on its programming,
standards of service as patrons of theatre, reflections
upon the Company’s place in the broader social context
and indulged a series of far-ranging questions about
future directions.
The Counsel is invited to attend and provide candid
written commentary on all productions and public
events, as well as to meet formally at least twice
a year. Counsel testimonials form part of the
Executive’s formal reflection on each production –
as well as future programming – and patron services.
Counsel members for 2009 were as follows:
Tony Ayres Film and television writer,
director and producer
Geraldine Barlow Arts curator
Miranda Brown Publicist
Dr Terry Cutler Information and communications
consultant and strategy advisor
Daniel Koerner Theatre director and performer
Lisa Ferguson Arts and entertainment
marketing director
John Romeril Playwright
Louise Swinn Small-press publisher
Sophie Travers Performing arts producer
Dr Nurin Veis Museum curator
Executive Producer Stephen Armstrong
Associate Producer & Business Manager
Catherine Jones (maternity leave from 02/10/09)
Interim Business Manager Emma Calverley
(from 02/10/09)
Company Manager Nina Bonacci
(maternity leave from 01/06/09)
Interim Company Manager Julian Hobba
(from 01/06/09)
Dramaturge in Residence Maryanne Lynch
Assistant to the Dramaturge Kate Sulan
Artist in Residence – Design Anna Cordingley
Artist in Residence – Lighting Design
Paul Jackson
Admin Coordinator Liz Lawson (to 04/12/09)
Education Program Manager Fiona James
Education Program Assistant Mark Doggett
Finance Manager Mario Agostinoni
Finance Assistant Liz White,
Connie Stella (from 05/05/09)
Marketing Manager Brad Martin
Marketing Assistant Brett Steel
Media Manager Tamara Harrison
(maternity leave from 07/12/09)
Acting Media Manager Annette Vieusseux
(from 07/12/09)
Media Assistant Julian Hobba (to 29/05/09)
Annette Vieusseux (20/05/09 to 04/12/09)
Abby Allen (from 26/10/09)
Development Manager Emmalee Bell
Development Coordinator Sarah Penhall
(from 12/01/09 to 30/07/09)
Jaclyn Birtchnell (from 28/07/09)
Ticketing Manager Sonja Fea
Assistant Ticketing Manager Emma Howard
Front of House Managers Sean Ladhams
Vikki Woods (to 16/10/09)
Bar Manager Eamon Walmsley (to 05/09/09)
Building Manager Frank Stoffels
Production Manager David Miller
Technical Manager Baird McKenna
Operations Manager Dexter Varley
Production Coordinator Sarah Grubb (to 19/08/09)
Lucy Birkinshaw (from 20/07/09)
Head Electricians Tom Brayshaw,
Stewart Birkinshaw Campbell
Head Mechanist Bo Haldane (to 30/01/09)
Ryan Paine (from 27/01/09)
Workshop Supervisor David Craig
Wardrobe Supervisor Amanda Carr
Steel Fabricator Goffredo Mameli
Props Master Ross Murray
Urania (muse of the stars)
Anonymous (1)
Clio (muse of history)
JOHN & JANET CALVERT-JONES
berry liberman & daniel almagor
Thalia (muse of comedy)
JOHN & LORRAINE BATES
DANIEL & DANIELLE BESEN
DEBBIE DADON
ROGER DONAZZAN & MARGARET JACKSON
NEILMA GANTNER
PHILANTHROPY SQUARED
Melpomene (muse of tragedy)
Anonymous (1)
Euterpe (muse of music)
beth brown & tom bruce am
TERRY CUTLER
D.L AND G.S GJERGJA
SCOTT HERRON
IAN HOCKING & ROSEMARY FORBES
GRAEME & JOAN JOHNSON
MICHAEL KINGSTON
PETER & ANNE LAVER
DAME ELISABETH MURDOCH A.C, D.B.E
KEREKERE
JOHN & PATRICIA SEYBOLT
tim & lynne sherwood
GEOFFREY SMITH & GARY SINGER
SIMON WESTCOTT
ANONYMOUS (2)
Terpsichore (muse of dance)
DEVINDER & HELEN CHAUHAN,
sieglind d’arcy
COLIN GOLVAN SC
BRIAN GODDARD
BRAD HOOPER
K & J lindsay
ROBERT PETERS
ROBERT SESSIONS & CHRISTINA FITZGERALD
ROBERT TEMPLAR
LEONARD VARY & MATT COLLINS
PHIL & HEATHER WILSON
ANGELIKA & PETER ZANGMEISTER
ANONYMOUS (3)
Erato (muse of love)
GREGORY RIDDER
INGRID ASHFORD
RAE ROTHFIELD
NAN BROWN
LISL SINGER
DIANE CLARK
BETH & BOB SPENCE
CHRIS CLOUGH
GINA STUART
callum dale
FIONA SWEET
BETTY DRUITT
JOHN THOMAS
REV FR MICHAEL ELLIGATE
BARBARA YUNCKEN
carolyn floYd
ROSEMARY WALLS
TALEEN GAIDZKAR
bruce wapshott
PEGGY HAYTON
ANONYMOUS (13)
LEONIE HOLLINGWORTH
IRENE KEARSEY
ANN KEMENY & GRAHAM JOHNSON
RUTH KRAWAT
ROBYN LANSDOWNE
ANNA LOZYNSKI
PAMELA McLURE
GAEL & IAN MCRAE,
ROSEMARY MANGIAMELE
2009 Annual
2009report/
Annual21report/ 21
OUR
PartnerS
PRINCIPAL CORPORATE PARTNERS
CORPORATE PARTNERS
TRUSTS & FOUNDATIONS
The Dara Foundation
THE ian potter FOUNDATION
helen macpherson smoi
The Malcolm Robertson Foundation
Slome-Topol Family Charitable Trust
COMPANY IN RESIDENCE PROGRAM
EDUCATION & YOUTH ACCESS PROGRAM
GOVERNMENT PARTNERS
CORPORATE ASSOCIATES
ARTISTS PROGRAM
Malthouse Theatre is supported by the Australian Government
through the Australia Council, its arts funding and advisory body
INDIGENOUS THEATRE PROGRAM
ARTISTS IN RESIDENCE PROGRAM
ANNAMILA PTY LTD
BERRY LIBERMAN & DANIEL ALMAGOR
nordia foundation
2009 Key
Performance
Indicators
Artistic Vibrancy Report
KPI
STATUS IN 2009
Minimum investment of $100,000 annually in commissions, workshops and
the development of new works

Programming at least 50% world premieres on the Company’s main stage
over the triennium

Securing at least three major collaborations annually
 For eg. Edinburgh International Arts Festival, Sydney Theatre Company,
State Theatre Company of South Australia
Commission at least four works annually

Increase the Artist in Residence program by a minimum of two additional artists
by the end of the triennium
Ongoing
Audience Development & Access
KPI
Status IN 2009
Aim for 6,000 school visits to the mainstage program annually
 4,185 school mainstage attendances achieved (However, an additional
4,695 student concessions were sold plus over 1400 single attendances
by school students at workshops, seminars and tours)
Secure a minimum of 2,000 patrons per annum subscribing to one or both seasons

Increase second and third time attendances by 5% per annum

Increase number of new patrons by 5% per annum

Increase our online database by 10% per annum

Increase the online share of la carte ticket sales by 5% per annum

FINANCIAL VIABILITY, MANAGEMENT & GOVERNANCE
KPI
STATUS IN 2009
Majority of box office targets met or exceeded annually

New naming rights sponsor for the CUB Malthouse in place by the
end of the triennium
Ongoing
Net increase of donors by 10% annually
 2008 position maintained
At least one new philanthropic or trust relationship created annually

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
FINANCIAL
STATEMENTS
FOR THE YEAR ENDED 31ST DECEMBER, 2009
CONTENTS
Directors’ Report 24
Statement of Comprehensive Income 25
Statement of Changes in Equity 26
Statement of Changes in Equity 26
Statement of Financial Position 27
Statement of Cash Flow 28
Notes to the Financial Statements 29
Directors’ Declaration 40
Independent Auditor’s Report 41
DIRECTORS’
REPORT
The directors present this report on the Company for
the financial year ended 31st December, 2009.
The names of each person who has been a director
during the year and to the date of this report are:
-Simon Westcott (Chairman)
- John Gibbins (resigned 25.05.09)
- Roger Donazzan (resigned 16.11.09)
- John McCallum (resigned 16.11.09)
-Susan Heron (resigned 20.07.09)
-Frankie Airey
-Sigrid Thornton
-Ian McRae
- Thea Snow
-Neil Smart (appointed 25.05.09)
- Michele Levine (appointed 28.10.09)
- John Daley (appointed 28.10.09)
-Leonard Vary (appointed 21.09.09)
Directors have been in office since the start
of the financial year to 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 Emma
Calverley. Ms Calverley was appointed Company
Secretary on 4.10.09.
PRINCIPAL ACTIVITIES
The principal activities of the Company during the
financial year were the presentation of stage plays
and general promotion of live theatre. No significant
changes in the nature of the Company’s activities
occurred during the financial year.
OPERATING RESULTS
The result of the Company for the financial year was
a profit of $ 44,302 (2008 surplus $ 505,874 includes
government grants from Australia Council and Arts
Victoria amounting to $ 110,000 relating to the
Incentive Scheme Reserve). The Company is exempt
from income tax.
DIVIDENDS PAID OR RECOMMENDED
The Memorandum of Association of the Company
provides that no income or property of the Company
shall be paid or transferred directly or indirectly by
way of dividend or bonus to any of its members.
REVIEW OF OPERATIONS
During the year the Company operated as planned
and results were in line with expectations.
SIGNIFICANT CHANGES IN STATE OF AFFAIRS
In 2009 the Company announced the resignation of the
current Artistic Director, effective from 31 December
2010. A new Artistic Director was appointed in
February 2010 with the position becoming effective
on the 1 January 2011.
AFTER BALANCE DATE EVENTS
No matters or circumstances have arisen since the end
of the financial year which significantly affected or may
significantly affect the operation of the company, the
results of those operations, or the state of affairs of
the Company in future financial years.
FUTURE DEVELOPMENTS
The Company expects to maintain its present status
and level of operations and hence there are no likely
developments in the company’s operations.
ENVIRONMENTAL REGULATIONS
The Company’s operations were not regulated by any
significant environmental regulation under the law
of the Commonwealth or of a State or Territory.
AUDITOR’S
INDEPENDENCE
DECLARATION
AUDITOR’S INDEPENDENCE DECLARATION
Meetings of Directors
During the financial year, six meetings were held.
Attendances by each director were as follows:
Number eligible
to attend
Number
Attended
Simon Westcott
7
7
Roger Donazzan
7
4
John McCallum
6
4
Frankie Airey
7
7
Sigrid Thornton
7
2
John Gibbins
3
3
Ian McRae
7
5
Susan Heron
5
2
Neil Smart
5
5
Thea Snow
7
4
Michele Levine
1
1
John Daley
1
0
Leonard Vary
2
1
The lead auditor’s independence declaration for the
year ended 31 December has been received and
is set out on this page.
Signed in accordance with a resolution of the
Board of Directors:
INDEMNIFYING OFFICERS OR AUDITOR
The Company has agreed to indemnify the directors
and officers against all liabilities to other persons
(other than the Company), which may arise from
their positions as directors, and officers except
where the liability arises out of conduct involving
a lack of good faith.
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 2009
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.
S. WESTCOTT Director
Name of Firm:
DIRECTORS’ BENEFITS
All directors act on an honorary basis and receive
no remuneration for their services as directors
of the Company.
INSURANCE OF DIRECTORS AND OFFICERS
During the financial year the Company has paid
premiums in respect to insurance policies covering the
liability of all current directors and officers
of the company.
UNDER SECTION 307C OF THE CORPORATIONS
ACT 2001
Name of Partner:
N. Smart Director
Dated at Melbourne
this 22nd day of March 2010
Date:
Address:
No indemnities have been given for any person
who has been an auditor of the Company.
PROCEEDINGS ON BEHALF OF THE COMPANY
No person has applied for leave of the Court to bring
proceedings on behalf of the Company or intervene in
any proceedings to which the Company is a party for
the purpose of taking responsibility on behalf of the
Company for all or any part of those proceedings.
The Company was not a party to any such proceedings
during the year.
PLAYBOX THEATRE
PLAYBOXCOMPANY
THEATRE COMPANY
LIMITED ACN
LIMITED
006 885
ACN
463006 885 463 2009 Annual report/ 25
FINANCIAL
STATEMENTS
STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31ST DECEMBER, 2009
2009
2008
Note
$
$
Revenues from continuing operations
2
6,396,600
6,614,383
Production and touring expenses
3
(2,690,158)
(2,240,922)
Marketing and publicity expenses
3
(537,422)
(563,564)
Other expenses from continuing operations
3
(3,124,718)
(3,304,023)
44,302
505,874
–
–
44,302
505,874
–
–
Total comprehensive income for the year
44,302
505,874
Total comprehensive income attributable to members of the Company
44,302
505,874
Accumulated
Surplus
Reserves
Total
Profit before income tax
Income tax expense
1(m)
Profit for the year
Other comprehensive income after income tax
STATEMENT OF CHANGES IN EQUITY FOR THE YEAR ENDED 31ST DECEMBER, 2009
Balance at 1 January 2009
380,000
539,522
919,522
Profit attributable to the company
44,302
–
44,302
Balance at 31 December 2009
424,302
539,522
963,824
Balance at 1 January 2008
138,792
274,856
413,648
Transfer to Information Technology Reserve
(88,500)
88,500-
–
Profit attributable to the company
505,874
–
505,874
(176,166)
176,166
–
380,000
539,522
919,522
Transfer to Incentive Scheme Reserve
Balance at 31 December 2008
The accompanying notes form part of these financial statements.
STATEMENT OF FINANCIAL POSITION AS AT 31ST DECEMBER, 2009
2009
2008
Note
$
$
4
1,111,204
1,175,225
Trade and other receivables
5
772,176
683,669
Inventories
6
30,602
26,491
Other current assets
7
88,757
219,603
2,002,739
2,104,988
CURRENT ASSETS
Cash and cash equivalents
TOTAL CURRENT ASSETS
NON-CURRENT ASSETS
Property plant & equipment
8
321,608
370,181
Incentive Scheme Reserve deposit
4
340,473
323,563
662,081
693,744
2,664,820
2,798,732
9
153,312
394,814
Short-term provisions
10
110,689
126,181
Other current liabilities
11
1,201,756
1,140,888
1,465,757
1,661,883
215,000
215,000
TOTAL NON-CURRENT ASSETS
TOTAL ASSETS
CURRENT LIABILITIES
Trade and other payables
TOTAL CURRENT LIABILITIES
NON-CURRENT LIABILITIES
Long-term borrowings
12
Long-term provisions
10
TOTAL NON-CURRENT LIABILITIES
TOTAL LIABILITIES
NET ASSETS
20,239
2,327
235,239
217,327
1,700,996
1,879,210
963,824
919,522
EQUITY
Retained earnings
13
407,392
380,000
Reserves
14
556,432
539,522
963,824
919,522
$Nil
$Nil
TOTAL EQUITY
Commitments and Contingent Liabilities
16
PLAYBOX THEATRE COMPANY LIMITED ACN 006 885 463 2009 Annual report/ 27
FINANCIAL
STATEMENTS
CASH FLOW STATEMENT FOR THE YEAR ENDED 31ST DECEMBER, 2009
Note
2009
2008
$
$
2,062,630
2,276,040
Cash flows from operating activities
Receipts from government grants
Receipts from patrons, sponsors
4,213,661
4,081,465
(6,386,695)
(5,989,572)
92,670
134,615
(17,734)
502,548
Payment for plant and equipment
(29,377)
(54,739)
Net cash used in investing activities
(29,377)
(54,739)
Proceeds from borrowings
–
–
Net cash provided by financing activities
–
–
(47,111)
447,809
1,498,788
1,050,979
1,451,677
1,498,788
Payments to creditors and employees
Interest received
Net cash provided by operating activities
18(b)
Cash flows from investing activities
Cash flows from financing 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)
FINANCIAL
STATEMENTS
NOTES TO THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 31ST DECEMBER, 2009
1 SUMMARY OF SIGNIFICANT
ACCOUNTING POLICIES
The financial statements are general purpose
financial statements that have been prepared in
accordance with Australian Accounting Standards
(including Australian Accounting Interpretations)
and the Corporations 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.
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.
ACCOUNTING POLICIES
(a) Revenue
Grant revenue is recognised in the results when
it is controlled. 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 production 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.
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
except where the instrument is classified “
at fair value through profit or loss” in which
case transaction cost are expensed to profit
or loss immediately.
Classification and subsequent measurement
Financial instruments are subsequently measured
at either 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.
Financial assets at fair value through profit
and loss
A financial asset is classified in this category
if acquired principally for the purpose of selling
in the short term or if so designated by
management and within the requirements
of AASB139: Recognition and Measurement
of Financial Instruments. Realised and unrealised
gains and losses arising from changes in the fair
value of these assets are included in the income
statement in the period in which they arise.
Financial assets are assessed at each balance
date as to whether a financial asset or group
of financial assets are impaired.
FINANCIAL
STATEMENTS
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.
Financial liabilities
Non-derivative financial liabilities are subsequently
recognised at amortised cost.
Impairment
At the end of each reporting date, the company
assesses whether there is objective evidence
that a financial instrument has been impaired.
Impairment losses are recognised in the
income statement.
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 date, 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 plus related on costs. 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.
(h) Cash and Cash Equivalents
Cash and cash equivalents include cash on hand,
deposits held at call with banks and other shortterm 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
or expenditure incurred in advance.
(j) Borrowing Costs
Borrowing costs directly attributable to the
acquisition, construction or production of assets
that necessarily take a substantial period of time
to prepare for their intended use or sale, are added
to the cost of those assets, until such time as the
assets are substantially ready for their intended
use or sale.
All other 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 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 as the
Company is exempt under Division 50 of the
Income Tax Assessment Act, 1987.
(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 trends and economic data, obtained both
externally and within the Company.
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
Where required by Accounting Standards,
comparative figures have been adjusted
to conform with 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)Adoption of New and Revised
Accounting Standards
During the current year the Company adopted
all of the new and revised Australian Accounting
Standards and interpretations applicable to its
operations which became mandatory.
The adoption of these standards has impacted
the recognition, measurement and disclosure
of certain transactions as follows:
The company’s financial statements now contain
a statement of comprehensive income.
(q)New Accounting Standards for
Application in Future Periods
The AASB has issued new and amended
accounting standards and interpretations that
have mandatory application dates for future
reporting periods. The Company has decided
against early adoptions of these standards.
The Company has determined that the impact for
future reporting periods is considered insignificant.
(r)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 22nd March 2010 by the Board of Directors.
2.REVENUE
2009
2008
$
$
2,025,332
1,844,826
988,915
964,795
–
163,200
Included in the revenues from continuing operations are the following items:
Theatre and performance revenue
Government Grants
Australia Council
- General Purpose
- New works with Festivals
- Honour Bound at the New Zealand Arts Festival
–
22,500
- Interconnections
25,000
–
- Creative Professional
20,000
–
- International Activities
25,000
–
- Reserve Incentive Scheme grant
–
55,000
Australian Government – DEPARTMENT OF EDUCATION & EARLY CHILDHOOD
14,900
–
CITY OF MELBOURNE
30,000
15,913
988,915
964,795
Arts Victoria
- General Purpose
- Reserve Incentive Scheme grant
–
55,000
- Tour of The Spook to Regional Victoria
–
50,750
201,000
180,000
1,022,303
1,008,706
92,670
134,615
294,783
267,403
85,596
92,986
357,095
391,570
85,920
215,522
139,171
186,802
6,396,600
6,614,383
Sponsorships and donations
- Sponsorship
- Fundraising and donations
Other Revenue
- Interest earned
- Ticketing Services
- Intercompany Operations
- Bar Taking
- Workshop External Commissions
- Other revenue from continuing operations
TOTAL Revenue
FINANCIAL
STATEMENTS
3. OTHER EXPENSES FROM CONTINUING ACTIVITIES
2009
2008
$
$
2,690,158
2,240,922
537,422
563,564
- Depreciation
77,950
73,348
- Auditor’s remuneration – Audit fees
12,000
10,960
–
8,649
15,217
21,300
2,116,313
1,914,290
Profit from continuing operations has been determined after:
Expenses:
- Production & Touring
- Marketing & Sponsorship
Other Expenses
- Bad and doubtful debts
- Finance Costs – external
- Wages & on Costs (3.1)
- Other
903,238
1,275,476
Total Other Expenses
3,124,718
3,304,023
Total Expenses
6,352,298
6,108,509
Cash on Hand
3,415
5,500
Cash at Bank
76,954
7,342
Deposits at call
203,336
355,533
Term Deposits
827,499
806,850
1,111,204
1,175,225
3(a) Wages and on costs for permanent staff have been allocated to other expenses rather than to individual departments.
4. CASH AND CASH EQUIVALENTS – CURRENT
Non current
Incentive Scheme Reserve deposit
Total CASH ASSETS
340,473
323,563
1,451,677
1,498,788
5. TRADE AND OTHER RECEIVABLES
Sundry debtors
Playbox Malthouse Ltd.
2009
2008
$
$
6,243
22,186
675,839
595,107
Unpaid income
45,853
665
Deposits paid
1,637
7,952
42,604
57,759
772,176
683,669
GST recoverable
TOTAL RECEIVABLES
6. INVENTORIES
Merchandise
–
–
8,810
8,810
Bar Stock
21,792
17,681
TOTAL INVENTORIES
30,602
26,491
88,757
219,603
2009
2008
$
$
462,315
436,042
(321,523)
(276,733)
140,792
159,309
849,888
846,784
(833,249)
(815,489)
16,639
31,295
Workshop Improvements
256,499
256,499
Less accumulated depreciation
(92,322)
(76,922)
164,177
179,577
321,608
370,181
Glassware and crockery
7. OTHER CURRENT ASSETS
Prepayments and expenditure on future works-in-progress
8.PROPERTY PLANT & EQUIPMENT
Furniture and equipment
Theatre fixtures and fittings
TOTAL PROPERTY, PLANT & EQUIPMENT
FINANCIAL
STATEMENTS
8 (a) MOVEMENTS IN CARRYING AMOUNTS
Movement in the carrying amounts of property, plant and equipment between the beginning and the end of the current financial year.
2009
Balance at the beginning of the year
Additions
Depreciation Expenses
Furniture and Equipment Theatre Fixtures and Fittings
Total
159,309
31,295
179,577
370,181
26,273
3,104
–
29,377
44,790
17,760
15,400
77,950
140,792
16,639
164,177
321,608
Furniture and Equipment
Theatre Fixtures and Fittings
Total
143,559
50,255
194,976
388,790
54,739
–
–
54,739
Depreciation Expenses
(38,989)
(18,960)
(15,399)
(73,348)
Carrying amount at the end
of the year
159,309
31,295
179,577
370,181
2009
2008
$
$
153,312
394,814
6,002
14,590
Employee entitlements – annual leave
80,947
89,840
Employee entitlements – long service leave
23,740
21,751
110,689
126,181
20,239
2,327
1,201,756
1,140,888
215,000
215,000
Carrying amount at the end
of the year
2008
Balance at the beginning of the year
Additions
9.TRADE & OTHER PAYABLES
Current
Sundry creditors & accruals
10. PROVISIONS
Current
Employment entitlement – parental leave
TOTAL PROVISIONS (CURRENT)
Non-current
Employee entitlements – long service leave
11. OTHER LIABILITIES
Current
Income received in advance
12. BORROWINGS
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. The loan is due for
repayment in September 2011.
13. RETAINED EARNINGS
Retained earnings at the beginning of financial year
380,000
138,792
44,302
505,874
–
(88,500)
Transfer to Incentive Scheme Reserve
(16,910)
(176,166)
Retained surplus at the end of financial year
407,392
380,000
2009
2008
$
$
127,459
127,459
Net profit (loss) for the financial year
Transfer to Information Technology Reserve
14. RESERVES
Capital Assets Reserve
IT Reserve
88,500
88,500
Incentive Scheme Reserve
340,473
323,563
TOTAL RESERVES
556,432
539,522
Opening balance
127,459
127,459
Closing balance
127,459
127,459
2009
2008
$
$
323,563
147,397
2009 grants from Australia Council and Arts Victoria
–
110,000
Transfer from surplus
–
55,000
16,910
11,166
340,473
323,563
(a) Capital Asset Reserve
Movements during the year:
(b) Incentive Scheme Reserve
Movements during the year:
Opening balance
Interest for the year
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.
FINANCIAL
STATEMENTS
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, 2009, the number of members was 14 (2008:14).
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
There are no capital expenditure commitments or contingent liabilities not otherwise disclosed or provided for in the accounts at 31st December, 2009.
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.
During 2007 the Board updated the Memorandum of Understanding and Agreement to document the basis on which transactions are shared by or charged between
the two Companies. The new agreement operated from 1st January, 2008.
18. CASH FLOW INFORMATION
2009
2008
$
$
(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
3,415
5,500
1,371,308
1,485,945
Bank account
76,954
7,343
TOTAL CASH
1,451,677
1,498,788
Net profit (loss)
44,302
505,874
Depreciation
77,950
73,348
(Increase) Decrease in receivables
(88,507)
88,435
(Increase) Decrease in other current assets
130,846
(101,796)
(b) Reconciliation of Net Cash Used in Operating Activities to Profit from Continuing Operations
Change in net assets and liabilities
(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
(4,111)
406
(241,502)
122,395
2,420
24,584
60,868
(210,698)
(17,734)
502,548
19. Financial Risk Management
The company’s financial instruments consists mainly of deposits with banks, accounts receivable and payable.
(a) Financial Risk Management Policies
The audit committee’s overall risk management strategy seeks to assist the Company in meeting its financial targets whilst
minimising potential adverse effects on financial performance.
(b) Specific Financial Risk Management Exposures and Management
The main risks the company is exposed through its financial instruments are credit risk, liquidity risk and market risk
relating to interest rate and equity price risk.
(i) Credit risk
Exposure to credit risk relating to financial assets arises from the potential non-performance by counterparties
of contract obligations that could lead to a financial loss for the company.
Credit risk exposures
The maximum exposure to credit risk by class of recognised financial assets at the end of the reporting period is equivalent to the
carrying value of classification of those financial assets (net of any provisions) as presented in the statement of financial position.
The company has no significant concentration of credit risk exposure to any single receivable or group of receivables other than
its loan of $ 675,839 (2008 $ 595,107) to Playbox Malthouse Limited.
The audit committee monitors credit risk by actively assessing the rating quality and liquidity of counter parties:
· Only banks with an A rating and financial institutions with an “A” rating are utilised;
· All potential customers are rated for credit worthiness taking into account their particular circumstances and financial standing; and
· Customers that do not meet the company’s credit policies will have closely managed payment plans.
Liquidity risk
Liquidity risk arises from the possibility that the company might encounter difficulty in settling its debts or otherwise meeting its obligations
in relation to financial liabilities. The company manages this risk by monitoring forecast cash flows.
The table below reflects an undiscounted contractual maturity analysis for financial liabilities.
Cash flows realised from financial assets reflect management’s expectation as to the timing of realisation. Actual timing may therefore differ
from that disclosed. The timing of cash flows presented in the table to settle liabilities reflects the earliest contractual settlement dates.
Financial liability and financial asset maturity analysis
Weighted Average
Effective Interest Rate
Within 1 year
1 to 5 years
Total
2009
2008
2009
2008
2009
2008
2009
2008
%
%
$
$
$
$
$
$
153,312
394,814
–
–
153,312
394,814
–
–
215,000
215,000
215,000
215,000
153,312
394,814
215,000
215,000
368,312
609,814
1,451,677
1,498,788
–
–
1,451,677
1,498,788
772,176
683,669
–
–
772,176
683,669
Total anticipated inflows
2,223,853
2,182,457
–
–
2,223,853
2,182,457
Net (outflow)/inflow on
financial instruments
2,070,541
1,787,643
(215,000)
(215,000)
1,855,541
1,572,643
Financial liabilities
due to payment
Payables
Interest bearing liabilities
6.52
9.19
Total expected outflows
Financial assets –
cash flows realisable
Trade receivables
8.11
6.13
FINANCIAL
STATEMENTS
(c) Market risk
Interest rate risk
Exposure to interest rate risk arises on financial assets and financial liabilities recognised at the end of the reporting period whereby a future change in interest rates
will affect future cash flows or the fair value of fixed rate financial instruments. At 31 December 2009 100% of company debt is variable rate.
Price risk
Price risk relates to the risk that the fair value or future cash flows of a financial instrument will fluctuate because of changes in market prices of securities held.
The company is exposed to securities price risk on investments held for trading or for medium to longer terms.
The company’s investments are held in the banking and finance sector at reporting date.
Sensitivity Analysis
The following table illustrates sensitivities to the company’s exposures to changes in interest rates and equity prices. The table indicates the impact on how profit
and equity values reported at the end of the reporting period would have been affected by changes in the relevant risk variable that management considers to be
reasonably possible. These sensitivities assume that the movement in a particular variable is independent of other variables.
31 December 2009
Interest rate risk
-1%
Financial assets
1%
Carrying amount
Result
Equity
Result
Equity
$
$
$
$
$
1,111,204
(11,112)
(11,112)
11,112
11,112
215,000
2,150
2,150
(2,150)
(2,150)
Total increase/(decrease)
896,204
(8,962)
(8,962)
8,962
8,962
31 December 2008
Interest rate risk
-1%
Financial assets
1%
Carrying amount
Result
Equity
Result
Equity
$
$
$
$
$
1,175,225
(11,752)
(11,752)
11,752
11,752
215,000
2,150
2,150
(2,150)
(2,150)
Total increase/(decrease)
960,225
(9,602)
(9,602)
9,602
9,602
No sensitivity analysis has been performed on foreign currency risk as the association is not exposed to currency fluctuations.
(d) Net Fair Values
Fair value estimation
The net fair value of financial assets and financial liabilities approximates their carrying amounts.
The company holds no financial assets where the carrying amount exceeds the net fair value. The aggregate fair values and the carrying amounts
of financial assets and financial liabilities are disclosed in the Statement of Financial Position and in the notes in the financial statements.
The company holds no financial assets where the carrying amount exceeds the net fair value. The aggregate fair values and the carrying amounts
of financial assets and financial liabilities are disclosed in the Statement of Financial Position and in the notes in the financial statements.
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.
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:
C.U.B. Malthouse
113 Sturt Street Southbank Vic 3006
DIRECTORS’
DECLARATION
The directors of the company declare that:
1. The financial statements and notes as set out on pages 24 to 39 are in accordance with the Corporations Act 2001:
(a) Comply with Accounting Standards and the Corporations Regulations 2001 and;
(b) Give a true and fair view of the company’s financial position as at 31st December 2009, and of its performance for the year ended on that date.
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
N.SMART Director
Dated at Melbourne this 22nd day of March 2010
INDEPENDENT
AUDIT REPORT
TO MEMBERS OF PLAYBOX THEATRE COMPANY LIMITED
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 2009,
and the statement of comprehensive income, statement of changes in equity and cash flow statement for the year ended on that date, a summary of significant accounting
policies and other explanatory notes and the Director’s declaration.
Board’s Responsibility for the Financial Report
The Board of the committee is responsible for the preparation and fair presentation of the financial report in accordance with Australian Accounting Standards (including the
Australian Accounting Interpretations) and the Corporations Act 2001. This responsibility includes designing, implementing and maintaining internal control relevant to the
preparation and fair presentation of the financial report that is free from material misstatement, whether due to fraud or error; selecting and applying appropriate accounting
policies; and making accounting estimates that are reasonable in the circumstances.
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 Auditing 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 Board, 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.
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 directors of Playbox Theatre Company Limited on 31 December 2009, would be in the same terms if provided to the directors
as at the date of this auditor’s report.
AUDIT
OPINION
In our opinion the financial report of Playbox Theatre Company Ltd is in accordance with the Corporations Act 2001, including:
(i) giving a true and fair view of the company’s financial position as at 31st December 2009, and its performance for the financial year ended on that date; and
(ii) complying with Australian Accounting Standards (including the Australian A ccounting Interpretations) and the Corporations Regulations 2001.
WHK Horwath
Accountants & Advisers
Margaret D Crossley
Principal
Dated at Melbourne this 22nd day of March 2010
at THE C.U.B. MALTHOUSE
113 Sturt Street Southbank VIC 3006
BOX OFFICE 61 3 9685 5111
ADMINISTRATION 61 3 9685 5100
[email protected]
www.malthousetheatre.com.au

annual report `09 - Malthouse Theatre

Transcription

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