PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT 3

4 - 5 8 - 9 - 11 10 39 - 40 3033 - 27 12 - 23 - 12 28 - 29 - 28 38 of contemporary arts practice. 25 - 26 - 25 24 we think physically to create and curate new and and new curate and to create physically think we begins with the body. We think visually as much as as much visually think We body. the with begins Our Mission: At Phillip Adams BalletLab everything BalletLab Adams Phillip At Mission: Our unmediated experiences that contest the boundaries contest boundaries that the experiences unmediated Executive Report Producer Partners, Sponsors Supporters and Board and Staff and Board 34 - 37 - 34 Statements Financial 7 - 6 Report Chairs’ Artistic Activities Artistic Artistic Report Director Marketing Review Marketing Media Highlights Media Statistics PHILLIP ADAMS BALLETLAB ANNUAL 2017 REPORT 2017 Key Performance Key Summary Indicators 2017 Venue Report Report Venue Vision, goals and values values goalsand Vision, IMAGE FROM MIGA SUA LOUCA - A PHOTOGRAPHIC EXHIBITION COVER IMAGE: JEFF BUSBY EVER, FESTIVAL, TEMPERANCE HALL

BY GREGORY LORENZUTTI FEATURING CHOREOGRAPHY FROM PHILLIP BY PACIFIC (2016) ADAMS

Gideon Obarzanek , Founding Artistic Chunky Director, Move

company so well. “ so well. company experience and opportunity that distinguishes this opportunity this distinguishes and that experience recent graduates. important between nexus It is this seasoned performers of talents emerging the with and original works combining the experience of experience the combining works original and the Melbourne dance scene by creating highly unique unique highly creating by scene dance Melbourne the “Phillip Adams BalletLab plays an essential role in in essential role an plays BalletLab Adams “Phillip

PHILLIP ADAMS BALLETLAB ANNUAL 2017 REPORT 2 PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Our Values: Our Vision: To be the leading interdisciplinary space for Invention • Support the invention and evolution of exemplary contemporary art and performance, extending dance practice through contemporary arts practice where the body is central. collaborative process in hybrid forms. • Explore and present new models and contexts for choreography, performance and artistic programming. • Encourage research, experimentation and discussion around interdisciplinary arts practice, fostering critical inquiry between performance and gallery/museum contexts. Engagement • Stimulate with provocative ideas that address history and contemporaneity, to create cultural resonance. Connect, activate and engage through the provision of quality creative and educational experiences. • Capture increasingly diverse audiences through Temperance Hall, as a site of cultural relevance in a global context. • Engage and identify with culturally diverse communities including LGBTIQ, through relevant ideas and themes, national/ international touring and residency partnerships. Leadership • Contribute to the development and presentation of Australian and international arts practice through generation of new works, employment of artists, and the provision of educational and mentoring opportunities. • Cultivate creative growth in the arts sector through setting examples and benchmarks for innovative practices visible in our projects and program curation. • Drive growth in audiences and formative stakeholder relations through the quality of our art, performance, educational experiences and community engagement. • Ensure best practice models for management and governance, delivering transparency and integrity in all that we do. 4 • Endorse the position of artist as curator, supporting Phillip Adams BalletLab’s avant-garde vision for Temperance Hall. 5

IMAGE: JEFF BUSBY EVER, MELBOURNE FESTIVAL, TEMPERANCE HALL

Key Goals:

Be renowned nationally and internationally for our bold interdisciplinary collaborations; an unconventional program of contemporary dance, art and performance that presents unprecedented innovative and experimental work created and curated by Phillip Adams.

Enhance employment and commissioning opportunities for contemporary artists; support the next generation of emerging dancers and performance makers; offer unique residency, workshop and education programs; partner with alternative spaces and festivals.

Engage diverse audiences; support participation with an emphasis on inclusivity and accessibility; further develop the PABL brand; contribute to new thinking.

Ensure long-term sustainability and attract new investment through the delivery of effective marketing strategies, philanthropy and other income generation strategies, sound organisation, financial management and governance.

IMAGE: GREGORY LORENZUTTI JACK FEVER, MON MA MES (REVISITE’), TEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Chair’s Report

who contributed to making our dream a reality. A landmark year for Phillip Adams BalletLab, 2017 has been remarkable in terms of achievements, not least of which was the first full year in our home at Temperance Hall. The journey to achieve this goal and realise the Finally our thanks to our fellow board members who have shown great commitment and support to achieving the organisation’s bold vision came to life with energy and purpose over the past 12 months. Led by Phillip Adams and vision of Temperance Hall and enabling BalletLab to flourish. We would like to thank you all for your contribution the wonderful team at BalletLab, there is much to celebrate and much to look forward to. and unwavering interest in creating a financially sustainable and robust organisation that can underpin the creative vision of BalletLab. This year we farewelled Neil Masterton from the Board, who together with Ken made The clear focus of the first full year of operations at Temperance Hall has been to establish a sustainable model a vital contribution to the establishment of Temperance Hall over many years and to whom we will forever be to ensure longevity of the company and its operations as well as create the opportunity to share this incredible grateful. Thanks also to Andy Howitt who finished his term in 2017. environment with other artists and multidisciplinary art forms. A bold program of work was central to our strategy, setting the framework through which our vision for Temperance Hall would be depicted. Phoebe Dunn and Caroline Dever Phillip Adams delivered one of his most ambitious projects to date with the presentation of EVER at the Melbourne Festival. Set to the iconic ‘John Adams Shaker Loops’ (1978) and ‘Richard Strauss’ Metamorphosen’ (1945), EVER was a daring and brilliant show that reflects Adams’ devotion to choreographic practice and his experimentation with choreography and visual arts. Critically acclaimed, it attracted an audience of more than 1200 people over the season and showcased Temperance Hall brilliantly.

The first international artist in residence, Jack Ferver was a true highlight of 2017. Based in New York, Ferver is a director, choreographer, writer and performer who wowed audiences at Temperance Hall with his 6 Australian premier of ‘Mon Ma Mes (Revisité)’. In addition, his weekend public workshop for dance, theatre and

contemporary performance artists proved the importance of sharing creativity and knowledge. 7

Other highlights of the year include the presentation of trans artists Cam McLachlan and Milo Love as part of the and the inaugural artist-in-residence at Temperance Hall, Shian Law. Law is a worthy recipient of this residency and a dancer reflecting bold experimentation and extraordinary dedication to his practice.

The inaugural BalletLab McMahon Contemporary Art Award (BMCAA) was presented to Chris Bond. The BMCAA provides a valuable opportunity for one outstanding Victorian artist to progress their practice through the creation of a new work inspired by and exhibited at Temperance Hall. The BMCAA will be an annual event genrously enabled by Dr Marcus McMahon, a great supporter of BalletLab and one of the founding patrons of the Temperance Hall Society. We would like to thank Marcus for his ongoing support of BalletLab and Max Delany for his time and dedication in adjudicating on what was a stunning shortlist of artists.

Temperance Hall also provided the perfect venue for other high profile events such as Open House Melbourne Social, City of Port Phillip Live ‘n’ Local closing night, and Dance Massive workshop series. Creating an environment that can be shared and where art, community and collaboration can occur has been a long-term goal of the company, and we could not be more pleased with the interest in Temperance Hall.

The organisation would not be where it is today without the dedication of our staff and board. Our thanks go to IMAGE FROM MIGA SUA LOUCA - A PHOTOGRAPHIC EXHIBITION Phillip Adams for his leadership and artistic vision. His passion has propelled the organisation to new heights, BY GREGORY LORENZUTTI FEATURING CHOREOGRAPHY FROM PACIFIC (2016) BY PHILLIP ADAMS achieving our dream of establishing a cultural and artistic home that can be shared with many for years to come. We would not be where we are without the dedication and tenacity of our Executive Producer Kristy Ayre, who continues to astonish us with her enthusiasm for helping bring Phillip’s vision to life no matter what the challenge. We have also enjoyed the wonderful contribution of Briony Galligan towards the establishment of Temperance Hall, and thanks also go to Bek Berger, Zela Papageorgiou and the army of volunteers and supporters PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Artistic Director’s Report

2017 has been a milestone year for BalletLab settling into South Melbourne’s Temperance Hall (TH). We have TH is set to become an incredibly valuable art and presenting space in Melbourne. We are creating a venue for painted a colourful and positive impression on Melbourne’s local arts communities and international networks in the high demands of our city and community and allow the space to have cultural relevance with a contemporary announcing this venue as a leading interdisciplinary space for experimental performance and art. expression through experimental work.

Establishing TH has enabled a repurposing of our company priorities, enhanced private business relations and increased earned income, all adding positively to the company business and structure. Measuring the growth and Phillip Adams impact TH has had on PABL in 2017, is evidenced in the scale of our programs delivered across a broad spectrum of artist support initiatives and employment opportunities. We have enabled local and international residencies and hosted a number of arts sector, private and commercial hires. We are well on our way to making TH a full time, operational performing arts venue in the City of Port Phillip.

Our vision for TH is to offer Melbourne a culturally rich, multi-artform venue developing and presenting the work of not only PABL but many other artists from a number of artistic disciplines. We drive the forging of new partnerships and facilitate/host, a variety of community engaged events. All this ensures TH offers a program engaging diverse audiences including LGBTQIA+ communities, the young and emerging and the mature aged.

8 In 2017, we welcomed artists experimenting with contemporary performance, installation, dance, live art and visual art. PABL made our major impact on the year through premiering my latest production EVER part of the 2017 Melbourne Festival. EVER was an idiosyncratic choreography, film and art work, celebrated and attended in wild 9 and wonderful ways.

Our 2017 philanthropic initiatives were largely built around establishing the Temperance Hall Founding Members Society at minimums of $1000 or $5000 to join. The TH Society, made up of individual donors secured $16,000 in 2017. This is testament to the venue’s capacity to generate philanthropic interest and build revenue through innovative entrepreneurial initiatives.

In 2017, we delivered a major digital upgrade and rebranding project assisted by brand and communication specialists 3DEEP (a PABL pro bono partner of 19 years). The TH website (set for launch in May 2018) reflects our vision for a cutting edge interdisciplinary art space and our discourse with contemporary dance, performance, music and visual culture. We are working to take full advantage of our prime location in South Melbourne for a refreshing tête-à-tête conversation with the local community.

Further capital works to TH’s facilities remains an area of focus moving forward. We see great potential for this to substantially increase demand for the venue from both arts and commercial industries and provide valuable income IMAGE: GREGORY LORENZUTTI for the company. DEVELOPMENT OF PACIFIC (2016) BY PHILLIP ADAMS

In 2018 we look forward to establishing our first international venue partnership with New York performance and art space The Chocolate Factory Theatre. This partnership will seed an exciting new project with a New York based choreographer to create a new work presented across both venues. PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Executive Producer’s Report

2017 was an enormous year for PABL and I couldn’t be more proud of the combined efforts of our core staff, Board, artists, collaborators and volunteers, who each contributed to making 2017 such a memorable and successful inaugural year at Temperance Hall.

Presentations in two major arts festivals Melbourne Festival for EVER and Midsumma with Cam McLachlan’s HardQueer DeathPony, engaged over 1300 audience members and introduced a number of them to the work of the company for the first time. This, in addition to other internally and externally produced events engaged over 4000 people throughout the year at the Hall.

While our major presentation EVER (Oct) was our most significant artistic and box office achievement, I’m equally and immensely proud of our impactful sector support programs, enabled through our capacity as company-in- residence at Temperance Hall.

In 2017, we hosted our very first International Artist-in-Residence the inimitable, Jack Ferver (USA). Jack presented 4 performances of his acclaimed solo Mon Ma Mes (Revisité) and hosted a 2-day public workshop for local dance and theatre students. We also offered 150 hours of in-kind space to our 2017 Resident Artist, Shian Law and subsidised and or free space, to artists Luke George, Bhenji Rah (NSW), Rebecca Jensen and Gregory Lorenzutti. 10

Demonstrating Temperance Hall truly encapsulates an interdisciplinary art space, we hosted a number of exhibitions 11 including the inaugural BalletLab McMahon Contemporary Art Award with artist Chris Bond and Miga Sua Louca and Balimbing by photographer Gregory Lorenzutti.

2017 saw a number of significant number of new partnerships formed through our program of events at Temperance Hall. These included Melbourne Festival, Dance Massive, Melbourne Museum, Multicultural Arts and ongoing relationships with Melbourne Chamber Orchestra, Y Salon, La Luna Bistro, Splitrock Trio and 3DEEP design. In 2018 we look forward to our very first International venue partnership with Chocolate Factory Theatre (USA) and new project partnerships with Australian National Academy of Music, Yellow Wheel, Festival of Live Art and Melbourne Fringe.

An enormous thanks to our financial supporters that enabled all our incredible 2017 projects, the Council for the Arts, Creative Victoria, the Helen MacPherson Smith Trust, City of Port Phillip, the Besen Family Foundation and all our private donors who make up the Temperance Hall Society.

I’d also like to thank our tireless team including staff and Board for all the enthusiasm, responsiveness and tremendous support which allowed us to deliver a year that well and truly surpassed my expectations. I’d particularly like to note outgoing Co-Chair, Caroline Dever for all her generous support, warmth and guidance.

Kristy Ayre IMAGE: JEFF BUSBY EVER HERO IMAGE, MELBOURNE FESTIVAL, TEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Artistic Activities Sector Development EVER Temperance Hall Award in association with Melbourne Fringe 27 Mar – 22 Apr 2-30 Jan Final stage development Cam McLachlan and Milo Love artist residency Temperance Hall Including work-in-progress showing EVER (approx 40 guests - Temperance Hall) HardQueer DeathPony 25 Sep – 5 Oct Cam McLachlan and Milo Love Final stage rehearsals and pre-production 31 Jan - 6 Feb Midsumma Festival 6 – 21 Oct Attendance = 180 World Premiere season Melbourne Festival 2017 11 performances – Temperance Hall Audience total = 1200 Dance Massive 2017 15 – 25 Mar Dance Massive talks program, Victorian College of the Arts. Speaker Phillip Adams (15,17 Mar) International Artist-in-Residence Program National Dance Managers Meeting, Meat Market. Attended by Kristy Ayre (22 Mar) 27 Apr – 9 May Company Meet and Greet, . Presenters Phillip Adams and Kristy Ayre (24 Mar) Jack Ferver Mon, Ma, Mes (Revisité) 4 – 7 May Attendance = 300 International Artist-in-Residence Program Jack Ferver 29, 30 Apr Workshop at Temperance Hall Séance Participants = 14 22 May – 2 Jun 12 First stage creative development with Phillip Adams, Daniel Jenatsch, Julia De Ville, Hellen Skye, Christine Babinskas and Don Asker.

2017 Temperance Hall Resident Artist 13 Shian Law Miga Sua Louca 1 Nov – 2 Dec 10 – 30 Jul A photographic exhibition by Gregory Lorenzutti Part of the People of Cities Australia - Brazil 2016/2017 exchange project Total attendance = 570

Congressexhibition by Chris Bond In association with the BalletLab McMahon Contemporary Art Award 23 Aug – 4 Sep

IMAGE: COURTESY OF SHIAN LAW PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Other Activites

Apr 6 Australia Council for the Arts grants assessment meeting. Peer assessor, Kristy Ayre.

29, 30 Jun Creative State Summit, . Attended by Kristy Ayre

July/Oct Museum Moves, Melbourne Museum with Jo Lloyd and Deanne Butterworth

28 Jul Open House Social, Temperance Hall Performance EVER (excerpt) Attendance = 150

29 – 30 Jul IMAGE:JEFF BUSBY Open House, Guided tours by Phillip Adams and Ross Turnbull EVER, MELBOURNE FESTIVAL, TEMERANCE HALL Total attendance = 220 EVER - WORLD PREMIERE 24 Sep Kristy Ayre facilitated the National Dance Managers annual meeting at Temperance Hall. The World Premiere season of EVER was the culmination of three years research and multiple creative development periods. It supported 24 Sep Australian Dance Awards, Arts Centre Melbourne. Attended by Kristy Ayre the employment of ten Melbourne based artists, two production crew and eight staff, throughout the premiere season which ran for a total pre-production and production period of four weeks. The season ran for two and half weeks and presented 11 evening performances 25 – 26 Sep National Dance Forum, Victorian College of the Arts. Attended by Kristy Ayre from Oct 6 – 21, 2017 at Temperance Hall. 14 10 – 17 Dec EVER celebrated a triumphant return to choreographic form for PABL Artistic Director, Phillip Adams, who has spent the last two years Balimbing - A photographic exhibition by Gregory Lorenzutti with Multicultural Arts Victoria exploring alternative modes of presentation and experimenting with other art forms. EVER is a multidisciplinary work that challenges 15 Temperance Hall its audience with polemic extremes of difference and facilitated the creation of a new Australian dance work of scale that is suitable for presentation at regional, national and international arts festivals, venues and galleries.

EVER and PABL Artistic Director, Phillip Adams discusses the creative process;

“For EVER, I worked in a deep meditation of modernist expression with choreography, film and art, fuelled by the magnificent string ensemble scores of composers John Adams and Richard Strauss. As much as the two compositions are removed historically by minimalism and romanticism, I see the works not as separate but rather, present as one contemporary expression of a modernist divinity that glides across the music. The performance of EVER reads as a choreographic construct of looping movements that are painterly, sculptural and visually influenced by modernist aesthetics in their execution with the music.”

STATISTICS Total artists employed: 10 Total Crew/Staff employed: 10 Total CALD artists: 1 Total ATSI artists: 1 Total LGBTQIA+ artists: 5 Total Audience: 1200 Total Box Office: $30,906

IMAGE: SIMON SHIFF OPEN HOUSE SOCIAL, TEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

IMAGE: JEFF BUSBY IMAGE: COURTESY OF JACK FEVER EVER, MELBOURNE FESTIVAL, TEMPERANCE HALL 2017 INTERNATIONAL ARTIST IN RESIDENCE OUTCOMES AND ACHIEVEMENTS JACK FERVER (USA) • Final stage development of choreography and visual design realised. • Premiered a stimulating new Australian dance work that is suitable for presentation in major venues and festivals, regional and In May, we presented acclaimed NYC based writer, choreographer and performer Jack Ferver and his solo, Mon, Ma, Mes (Revisité). Jack national touring, and for export to international markets. received five, 5 star reviews for his infectious solo and received positive peer review. He facilitated a 2 day (sold out) workshop for local • Delivery of marketing strategy that saw audience capacity and box office targets exceeded. dance and theatre makers and was in residence at TH for 2 weeks. • Contributed to sector growth and sustainibllity by providing employment for 10 artists, 2 crew and 8 admin/FOH staff.

• Produced tour ready pack including technical specifications and collateral toolkit to maximise future touring opportunities in Our international artist residency program reflects a new capacity through our venue, to host artists onsite (in our studios and residential 17 16 Australia and abroad. apartment) at TH. We aim to create ongoing international connections with artists encouraging cross cultural collaboration and interest • Increased audience reach via profile established through the presentation of EVER at new venue Temperance Hall. We estimate in local arts practice on a global level. We aim for TH to have an international reputation as a leading Australian venue that supports and approximately 50% of our total audience (1200) were new to PABL. presents, the highest quality experimental dance and arts practice. • Nominated for 3 Green Room Awards for Choreography, Ensemble and Female Performer (Lilian Steiner). Our pilot residency with Jack Ferver created a positive reception amongst our local community and has reverberated through to the New York arts community, where interest in TH is on the rise. Through this residency, we provided Jack with an opportunity to introduce his work to Australian audiences for the first time and likewise, introduced our community to this outstanding international artist.

STATISTICS Total artists employed: 2 Total Crew/Staff employed: 3 Total Audience: 300 Total Box Office/Workshop income: $5,090

“There’s something to be said for art that makes us uncomfortable, that pushes against neat, prudish barriers. This performance, Mon Ma Mes (Revisité), engages with discomfort in a way that is vivid and authentic. ” - April Mackay, Australian Stage IMAGE: JEFF BUSBY EVER, MELBOURNE FESTIVAL, TEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

IMAGE: PHILLIP ADAMS IMAGE FROM MIGA SUA LOUCA - A PHOTOGRAPHIC EXHIBITION SÉANCE IN DEVELOPMENT, TEMPERANCE HALL BY GREGORY LORENZUTTI FEATURING CHOREOGRAPHY FROM PACIFIC (2016) BY PHILLIP ADAMS SÉANCE MIGA SUA LOUCA

FIRST STAGE CREATIVE DEVELOPMENT 2 WEEKS MAY 22 – JUNE 2 A PHOTOGRAPHIC EXHIBITION BY GREGORY LORENZUTTI

Part of 2016 – 2017 Australia/Brazil exchange project People of Cities Séance explores how the ritual practice of the Séance has potential to communicate meaning through non-living objects, in this case, the garden gnome. It explores what conditions these objects must undergo in order to communicate meaning to a participant. In July 2017, PABL debuted Miga, Sua Louca at Temperance Hall. This exhibition showcased documentation of the original commission for Companhia de Ballet da Cidade de Niteroi in 2016 titled Pacific. The exhibition by Gregory Lorenzutti opened Wednesday July 12, 2017 “Séance is allowing me to get as far away in my imagination as possible and closer to my increasing interests in interdisciplinary and featured a panel discussion with the artists facilitated by Director of Monash University Museum of Art (MUMA) Charlotte Day. Miga, performance and expressions of visual art. Choreographically Séance is processing a formal manipulation characterised by blatant 19

18 Sua Louca was displayed in the Upstairs Gallery at Temperance Hall until July 31 with a viewership of 570. sensationalism. I am proposing centralized questions examining belief. Séance is a means to reformulate myth in a Disney – esque recipe of fabling histories.” Phillip Adams “People of Cities offered me the challenge to establish myself as an artistic collaborator, communicator and facilitator between Australia and Brazil and their contemporary dance communities. Throughout the project I could develop professional skills that enriched my Adams collaborated with 3 senior Australian dancers, Hellen Sky, Christine Babinskas and Don Asker along with emerging composer, practice and opened up a whole new world of possibilities that I am eager to explore. Ideas of entrepreneurship, pro-activeness, solution Daniel Jenatsch and visual artist, Julia De Ville. . making and cultural listening were the key aspects that make People of Cities a model that can be expanded and opened to the broader dance community in Brazil and Australia”. Gregory Lorenzutti

PHILLIP ADAMS & GREGORY LORENZUTTI IN CONVERSATION WITH CHARLOTTE DAY TEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

IMAGE FROM CONGRESS HARDQUEER DEATHPONY, CAM MCLACHLAN COURTESY OF CHRIS BOND MIDSUMMA FESTIVAL 2017, TEMPERANCE HALL BALLETLAB MCMAHON CONTEMPORARY ART AWARD 2017 HARDQUEER DEATHPONY

“Phillip Adams BalletLab has a rich history of collaboration with artists from a broad range of artistic disciplines making them, the MIDSUMMA FESTIVAL 2017 perfect partner for an award such as this. I am hopeful that the BalletLab McMahon Contemporary Art Award will help to foster the Through the Temperance Hall Award (Melbourne Fringe) we supported transgender artists Cam McLachlan and Milo Love to re-develop development of an amazing contemporary artist, and in doing so, support the next generation of artists that will be the lifeblood of our and present 6 performances of HardQueer DeathPony in January of 2017. We provided 4 weeks of in-kind rehearsal space, artistic artistic community for years to come.” Dr Marcus McMahon mentoring and a $5000 artists fee. PABL were proud to offer this opportunity to these young transgender artists to showcase their work as part of Victoria’s leading LGBTIQA+ arts and cultural festival. Established in 2016, the $12,000 invitation-only BalletLab McMahon Contemporary Art Award (BMCAA) is awarded to a contemporary

artist who demonstrates a commitment to brave, innovative and transitional practice. The BMCAA provides a valuable opportunity for one 21 20 outstanding Victorian artist to progress their practice through the creation of a new work inspired by and exhibited at Temperance Hall. STATISTICS Total LGBTQIA+ artists employed: 2 The 2017 BMCAA shortlist has been selected by respected group of industry professionals including Serena Bentley (Assistant Curator, Total Crew/Staff employed: 3 Australian Centre for the Moving Image), Michael Brennan (Independent curator and Artist), Hannah Mathews (Curator, Monash Uni- Total Audience: 180 versity Museum of Art), Patrice Sharkey (Director, Westspace) and PABL Artistic Director, Phillip Adams with philanthropist, Dr Marcus Total Box Office/Workshop income: $3,630 McMahon who share a committee seat.

The 2017 BMCAA shortlisted artists were an esteemed group of emerging and mid career artists including Chris Bond, Lane Cormick, Eric “A beautiful, authentic and struggle-filled carapace.” - Chris Bond, Demetriou, Ruth O’Leary and Lisa Radford (working with collaborator Sam George). The Australian The 2017 winning artist, Chris Bond presented Congress from 23 Aug – 4 Sep.

L – R: DR MARCUS MCMAHON, CHRIS BOND AND MAX DELANYTEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

IMAGE:COURTESY OF SHIAN LAW JO LLOYD, MUSEUM MOVES LAUNCH JULY 2017 MELBOURNE MUSEUM 2018 RESIDENT ARTIST – SHIAN LAW MUSEUM MOVES

In 2017, we established the Temperance Hall Resident Artist initiative. This initiative awards a local dance or performance artist with a In July and October 2017, Melbourne Museum in partnership with PABL presented Museum Moves – a public engagement program year placement at Temperance Hall to utilize our studio facilities and staff mentoring. The annual Resident Artist receives a minimum consisting of a morning exercise class at Melbourne Museum, 3 times a week. The program was devised by Melbourne Museum and of 150 hours worth of space across the calendar year to help develop their artistic ideas and practice. This may include research, creatively conceived by PABL AD, Phillip Adams. PABL alumni and local dance artists, Jo Lloyd and Deanne Butterworth hosted the classes development, workshops, showings, collaboration and presentation. on behalf of the company.

In addition to the space use, our Resident Artist is encouraged to engage with the team at PABL on an ongoing basis and is offered a Total participants across the July and October seasons = 240

space to work within the Temperance Hall offices. We encourage our Resident Artist to join the company’s Artistic Subcommittee (a 23 22 branch of the PABL Board) with meetings held bi-monthly.

In 2017 our Resident Artist was choreographer, Shian Law.

“Art takes time and space.

When I think about the absolute conditions in which one can honour the role of artist, it ultimately returns to the simplicity of time and space.

It asks of a room where one can live the holistic and embodied process of practice, as simple as placing an idea in a room. Perhaps the artist will return tomorrow to look at it from a different angle; or dismantle the idea; or even empty the room and start again. The emphasis is not necessary on the act itself in a particular order or what the object may be, but on the word “return”. In returning to time and space, I can test my own conviction over and over again and it is when art will happen.

Under the stewardship of Phillip Adams, Temperance Hall paints a much bigger picture to that analogy. Adams is the one artist who fronts our community to push the limits of artistic visions. In doing so, the forthcoming generations of artistic can dare to fail more, experiment more and fear no precarity. It is with a firm belief in these principles that I am humbled to be the first residency artist to stretch the possibilities of Temperance Hall alongside Adams.” - Shian Law

JO LLOYD, MUSEUM MOVES LAUNCH JULY 2017 MELBOURNE MUSEUM PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

STATISTICS 2017 Venue Report

Number of projects Artists, creative and technical During our inaugural year at Temperance Hall we established the venue as an attractive space to hire for independent guests and Creative Developments 4 artists through our Apartment, Main Hall and Upstairs Studio. We also hosted private functions, arts networking activities, festival and Performed works 3 collaborators community run events. The use of the venue by independent hirers was in conjunction with PABL’s use of the venue through presentations Victorian projects 5 including EVER, Melbourne Festival (September, 11 performances) Jack Ferver (May, 4 performances), Cam McLachlan and Milo Love International projects (inbound) 2 27 professionally paid artistic collaborators $193,491 invested in creative wages and fees Midsumma (January, 6 performances) alongside the creative development of new work, Séance. Equal to 37.44% of annual expenditure Performance Attendance • In 2017 we achieved $61,851 in venue income. • External hirers accumulated approximately 630 days of use. Victorian projects 1760 We worked with artists • PABL used the space for 365 days (office) and 65 days (Main Hall and Studio Upstairs) for International projects (inbound) 870 Lilian Steiner Gregory Lorenzutti developing and presenting our own projects. Ellen Davies Olivia McPherson Hirers Ben Hurley Exhibition attendance • Artists of note who used the Main Hall and Studio to rehearse and develop new work included Ros Crisp, Andrew Morrish, Tim Walsh Ranters Theatre, Little Ones Theatre, KAGE, Gregory Lorenzutti (Multicultural Arts Victoria) Jo Lloyd, Prue Lang, Joanne White, Matthew Adey •BMCAA 140 Jenny Kemp, Efren Pamilican (Arts Centre Melbourne), Martin Hansen (Dancehouse) Akira Isogawa •Miga Sua Louca 570 Hellen Skye • Key independent events include Open House Melbourne ‘Open House Social’, City of Port Phillip ‘Live’N’Local Closing Night Don Asker Concert, Speak Percussion’s ‘School holiday program’. Christine Babinskas • We also provided 220 hours in-kind hire to Cam McLachlan and Milo Love (Temperance Hall Award), Shian Law (Resident Other projects (No. of activities ) 4 Julia De Ville Artist), Bek Jensen (Resident Artist 2018), Tom Woodman, Luke George, Yellow Wheel and Bhenji Rah. Daniel Jenatsch Number of Volunteers 8 Cam McLachlan Volunteer hours received 418 Milo Love

Jack Ferver 25

24 Jo Lloyd Deanne Butterworth Chris Bond Shian Law

IMAGE: JEFF BUSBY IMAGE: GREGORY LORENZUTTI EVER, MELBOURNE FESTIVAL, TEMPERANCE HALL MAIN HALL, TEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT Marketing Report

This year Phillip Adams BalletLab continued to deliver our marketing strategy in-house to promote the annual program of presentations, fundraisers, events and partnerships. This strategy includes bi-monthly EDM’s, regular social media engagement and the delivery of targeted, project specific marketing plans.

The presentation of EVER in Melbourne Festival brought a new audience to Temperance Hall (50% new to BalletLab productions) through the combined marketing approaches of the company, in conjunction with the Festival. PABL worked closely with Festival publicist, Tatia Sloely (TS Publicity) to maximize publicity opportunities resulting in box office achieving well above forecast. The striking imagery of Gregory Lorenzutti’s hero image and the in-season documentation by Jeff Busby and James Wright, generated a significant amount of social media activity with the Festival, utilizing our imagery on a number of occasions. In addition, we ran successful campaigns for the presentation of our inaugural International Artist-in-Residence, Jack Fever (USA) and the inaugural BalletLab McMahon Contemporary Art Award commission by Chris Bond. These campaigns were assisted by independent publicist, Magda Petkoff (Purple Media).

2017 Key Achievements • Sustained employment of a Digital Project Officer (0.2 EFT) IMAGE: GREGORY LORENZUTTI • 100% increase on forecast earned venue income - $61k from a $30k forecast. FOYER, TEMPERANCE HALL • EVER presented as a part of Melbourne Festival 2017 exceeded box office and capacity estimates. Delivered full marketing campaign in conjunction with MF publicist, TS Publicity. Digital and print program reach via Melbourne Festival = 5 million+. Renovations and building improvements • Philanthropic giving target of $70k achieved. • Increased social media presence (10%) with forecast spike after launch of new brand and website www.temperancehall.com.au • In Jan 2017, we completed Apartment renovations after purchasing whitegoods and furnishing the apartment in late 2016. This in May, 2018. included painting, plastering and the installation of reverse cycle heating and cooling. • We are still monitoring major cracks after vegetation removal and we will seal these in 2018. 27 26 • In Jul/Aug we shut the AirB’n’B for roof repair and for the installation of a kitchen fan. 2018 Rebrand and Redesign • Feb 2017, PABL plastered and painted the front office ready for private hire. Our 2017 digital infrastructure upgrade and rebranding has allowed PABL and Temperance Hall to enter a new chapter marking the visual • Our major building improvement of 2017, plastering and painting the Main Hall and proscenium arch white (with a team of birth of one organization (Temperance Hall) and the evolution of the other (PABL) is of incredible cultural significance. Temperance Hall volunteers lead by Hayden Stuart) has established itself a place to make, embody and witness some of the best experimental interdisciplinary practice in Australia. In our • Stripped back the window sills to the original timber (Women at Work painters) first year of operations the historic building has been given a new life through physical renovations and now with added digital support • Landscaping of the back garden including laying new grass, planting new vegetation and installing a temporary artwork. systems (CRM and new website) we are to fully realise the potential of the occupancy of the space.

Venue subcommittee In 2017 we created a flexible and accessible new brand for Temperance Hall in collaboration with pro bono design partners, 3DEEP. After Chaired by PABL Board Member and Senior Production Manager, Arts Centre Melbourne, Tony Harding, this committee met as required over 20 year of collaboration this collaborative relationship still has as much potency and dynamism as ever. 3DEEP’s creative concepts throughout 2017. Reference members in 2017 included Ross Turnball (CEO, Working Heritage) Jeremy De Vos (Heritage Architect, Robert for new brand and website, Temperance Hall, speaks directly to the innovative and experimental nature of PABL while paying homage to Sands Architects) and Matthew Bird. The committee has established a capitol works and upgrades register with short, medium and long- the historical significance of the venue. 3DEEP are leaders in their craft and their significant and important work on the visual assets and term priorities. website, enables better engagement with audiences, stakeholders and attracts a wide variety of artists and venue hirers to the space.

The establishment of our new CRM system Zoho Plus was assisted by digital consultant, Alex Prior and the team at Squirrel Hub. 3DEEP’s Suppliers and Maintenance website design and brand was developed by Osvaldo Branquinho. This project was funded through the generous support of the Helen MacPherson Charitable Trust. • Zela Papagerogiou and Emma Riches managed the AirB’n’B. Management fees (including cleaning) were $92.50/booking. • We worked with artist cleaners and also with professional cleaners Suhani Cleaning in 2017 on an as-needs basis in 2017. We will move to more regular systems in 2018. 2016 2017 Facebook likes 1815 1938 Total number paid hirers Accommodation 58 Rehearsal Studios 46 ENEWS subscriptions 2316 2147 Total number in-kind hirers Accommodation 2 Website Hits 16653 20923 Rehearsal Studios 3 Vimeo Plays 15324 10697 Total paid days Rehearsal Studios 674 TEMPERANCE HALL BRANDING BY 3DEEP Total in-kind hours Rehearsal Studios 159

Total earned income from hires $61,851 PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Media Highlights

Anyone who’s seen Phillip Adams’ boundary-pushing choreographic works might not take him for a teetotaller. But the new home of Phillip Adams BalletLab, a Victorian-era South Melbourne building called the Temperance Hall, is oddly fitting. “I’ve never had a drop since I was 20 years old,” Adams says.

“Temperance: the word is perfect, in the way that it’s all about finding centre, it’s about finding purity, it’s about finding tolerance – which is everything I’m not.”

Two years ago things were looking grim for Adams, with former federal Arts Minister George Brandis’ cuts to the Australia Council (now largely restored) stripping BalletLab of its funding.

So how, then, did his company – which for 30 years has never had a permanent home of its own – come to inhabit a gorgeous, heritage-listed, innner-city Ever gives us two halves of a story, drawing on different rhythms and cultural and artistic references to take building with room for a performance space, a gallery, offices, a function room and, it turns out, a rather swish Airbnb rental? the body from cacophonous movement through to near stillness. In between are moments of absolute beauty and vulnerability, etched in movement pathways across a bright white floor. “The great beauty of being an artist is that regardless of what the political turbulence is surrounding you, you’ll always find a way – like water – to get back to find the sea,” says Adams.

It brings to mind American dances of the 1940s. Adams was inspired by the American west and the simple For Adams, that alternate route came via Working Heritage, which matches tenants with crown-owned heritage buildings to ensure their longevity. While lives of Quakers. This is a nostalgic world where wooden rocking chairs are contained within the bounds of not technically an arts funding body, they do manage other arts venues including Carlton Courthouse (La Mama Theatre) and Horti Hall (Victorian Opera). white picket fences. The Temperance Hall in Napier Street, South Melbourne, survived as crown land through the decades and was used variously by the temperance society, Flowing alongside is a score featuring 20th century music by John Adams and Richard Strauss. Adams is a football club, a bird preservation society and, in the 1980s and 1990s, a company called Antill Theatre, before it fell into dereliction. To say it was a clever in the way he deals with the richness of the score. In the second half of the work, he pairs the music fixer-upper is an understatement. with simple, rolling movement that references the slow drip of wet paint, the subject of a short film that “A cat wouldn’t even make a litter box in here,” says Adams. “It was a shit hole.”

divides the first and second halves of the work. 29

28 Working Heritage gave the building a $200,000 facelift in consultation with Adams, allowing him to maintain a “David Lynch vibe”. What he has done with the front room, which doubles as a guest room for visiting artists and an Airbnb – income from which Adams says just about cov- ers the cost of the Hall’s (subsidised) rent – is remarkable.

The high ceiling, wide floorboards and lofty windows give a sense of grandeur, yet the space itself is cosy and understated. It’s fitted out with modernist furniture and stacks of contemporary Australian art hand picked from Adams’ own collection: Sally Smart, Valerie Sparks, Paul Yore and some of Adams’ own photography.

If the timing is right, Adams himself will greet you at the door along with his two adorable Dachsunds Yves and Pablo.

Adams has not just got through “that great tsunami” of funding cuts – he has secured a lease on the property, with its financial incentives, for the next 16 years.

“The moment I opened that door to the apartment we’re sitting in now,” he says when I visit, “I thought of a monetary exercise which would financially supplement our organisation by turning this into an apartment to rent on Airbnb.”

When he put in his tender to Working Heritage, Adams said he described a future vision for the Temperance Hall to be like an artwork in itself. It would be a home for multidisciplinary art that embraced otherness and gave artists the opportunity to present works outside of the box. Artists such as Smart, who In this film by James Wright, we see Adams in a mohair vest and cowboy hat, smoothing wet paint on he says is working on a green velvet curtain for the Hall’s stage, are already transforming the space. vertical ribbons with his hands. There is an intimacy in the way that Wright’s footage frames this movement to avoid glimpses of Adams’ face, instead focusing on the layering of colour. When the lights come up, the I mention David Walsh, who built Tasmania’s Museum of Old and New Art – another venue-as-art piece, albeit on a much larger scale – partly to house intimacy is replaced by anonymity, as the dancers roll across a giant inflatable structure in shiny, brilliantly his own considerable collection of art. coloured body bags. They have become the paint. Adams is flattered: “He’s one of the most inspiring philanthropists, supporters and visionary geniuses in my life. Adams rarely takes a viewer where you expect. Ever starts and finishes in two completely different worlds, “He has supported me and presented my work three or four times at MONA and ... that’s rubbed off on me. He’s allowed me in many ways to find my legs held together by conceptual string and studded with moments of absurdity. Although his choices are unex- in the way that I transitioned from being a choreographer to working more with visual art and visual thinking.” pected, Adams keeps the source of his inspiration close to the surface, almost tangible in its immediacy. Akira Isogawa’s​ stunning costumes are like deconstructed suits, with flowing dresses for the dancers; The old Anthill Theatre sign is still attached to the side of the Hall. Adams isn’t getting rid of it. Just as he plans to keep some of the original interior paint Matthew Adey’s lighting design is a study in simplicity, bright enough so there are almost no discernable work as renovations continue, he loves the story it tells: “It’s a memory.” shadows in this contained yet fascinating little landscape. He hasn’t installed his own sign just yet, joking he might put one up that says “NGV3”.

“I’m sure [National Gallery of Victoria director] Tony Ellwood would be delighted.” 30 10 –30Julycommissioning1artist. •MELBOURNE EXHIBITION/INTERNATIONAL PROJECT(Aus/Bra): Gregory Lorenzutti MigaSuaLouca-2weeks,Temperance Hall, 2 weeksTemperance Hall23Aug-4Sepcommissioning1artist •MELBOURNE EXHIBITION:BalletLabMcMahonContemporary ArtAward -ChrisBondCongress 6 performancesemploying 2artists. •MELBOURNE PRESENTATION: HardQueer DeathPony inpartnership withCamMcLachlanandMidsummaFestival31Jan–6Feb, •NEW WORK DEV/LOCAL ARTIST RESIDENCY:HardQueer DeathPony 4weeks-2Jan–30 •NEW WORK DEV:Séance22May–2June:weeksemploying 6artists,Temperance Hall – Temperance Hallemploying 1international artist,1localartistandcrew member. •MELBOURNE PRESENTATION/INTERNATIONAL ARTISTRESIDENCY:MonMaMes(Revisité) –JackFerver(USA)47Mayperformances EVER 6–21Octinassociation withMelbourneFestival2017.11performances •WORLD PREMIEREMELBOURNEPRESENTATION: 27 Mar–22Apr+25Sep5Oct,Temperance Hall 6 weekscreative development employing 9artists • NEWWORK DEV:EVER Outcomes • Minimum1workpresented inpartnershipwithanotherorganisation orevent • Minimum1national residency, developmentorpresentation • Minimum1international residency, developmentorpresentation • Minimum1presentation ofworkinMelbourne • Minimum3new worksindevelopment KPI/2017 • Partner withotherorganisations includingfestivalstoco-present projects • UndertakeInterdisciplinaryandothercompanyprojects unknown, nicheappeal). • Developandpresent smallerscaleworksandprojects (definedas1-3collaborators; experimental practice/form; outcomes 12-18 weeksandtargeting dance-basedtheatre outcomesformajorfestivalsorvenues. • Developandpresent Majorscalework(5-7dancers,keypresenting anddesigncollaborators, 12-16weeksdevelopmentover • Establish PABL innew companyhometheSouthMelbourneTemperance Hallcomprisingofficesandhall. Strategies Phillip Adams dance, artandperformanceinourhomespacethat presentsunprecedented innovative andexperimental workcreated andcurated by Be renowned nationally andinternationally forourboldcross-disciplinary collaborations; andanunconentionalprogram ofcontemporary 1. ARTISTIC REPORT 2017 ANNUAL BALLETLAB ADAMS PHILLIP PABL 2017 Key Performance Indicators Indicators PABL 2017 Performance Key

– Temperance Hallemploying 9artistsand2crew.

Oct. 120participants. • PABL facilitated season 1and2oftheMuseumMovesprogram. Adance/fitnessclassforthe public at MelbourneMuseum–Juland George Weir (10hours)LeahLandauhours).Total mentoringprovided: 76hours • Mentorships:Phillipprovided mentoringsupporttoartists:CamMcLachlan (8hrs),Geoffrey Watson (38 hours);BenHurley(10hours) Melanie Lane,VictoriaHunt,JoLloyd andNicolaGunn.60participants • PABL/Temperance HallhostedtheDanceMassiveMasterclass andWorkshop seriesfeaturing artist/choreographers PhillipAdams, • PABL facilitated aworkshopwithinternational guestartistJackFerver29and30April,Temperance Hall.14participants EDUCATION • Volunteers: 1volunteerprovided 208hoursofmarketingsupport. • Total weekscontracted: 87weeksemployment provided across 19external artistcontractors. • BalletLabMcMahonContemporary ArtAward 1xartistcommission(Bond) • MigaSuaLouca1xartistcommission(Lorenzutti) • MonMaMes(Revisité) 1xInternational Artist2weeks&1xLocal artist1week(Ferver,George) • Séance:5artistsx2weeks(Asker,Skye,DeVille,Jenatsch, Babinskas) • HardQueer DeathPony: 2artistsx4weeks(McLachlan,Love) • EVER:8weeksx9artists/designers(Isogawa, Adey, Wright,McPherson,Hurley, Davies, Steiner,Lorenzutti, Walsh) • PhillipAdamsonfull-timecontract. EMPLOYMENT Outcomes • Minimum1education program peryear • Minimum2mentoring/internshipopportunitiesperyearforemerging artists • Minimumaverage 3weekspercontract issued • Minimum10artistsemployed/contracted peryear • Minimum5projects that commissionacollaborative leadartist KPI/2017 • Education program tosectorandschoolsmarket(Masterclass and/orlecture seriesandcustomisedprograms toschoolsmarket) • Provideeducation program comprisinglectures, workshops • Provideopportunitiesforemerging artiststhrough mentoring,internshiporresidency projects annuallyfordancers,collaborators –notincludingtechnical/production staff) • Employ/contract artistsandcollaborators gainfullyacross 5yearprogram (minimumprofessional 14x3weekcontracts across • Producenew projects through acollaborative process providing minimumtotal15weeksemployment peryeartootherartists Strategies performance makers;offerunique residency, workshopandeducation programs; partnerwithalternative spacesandfestivals. Enhance employment andcommissioningopportunitiesofcontemporary artists;supportthenext generation ofemerging dancersand 2. SECTORDEVELOPMENT REPORT 2017 ANNUAL BALLETLAB ADAMS PHILLIP PABL 2017 Key Performance Indicators Indicators PABL 2017 Performance Key

31 32 Chair of the Green Room Awards – DancePanel. Kristy Ayre was apeer assessorforthe Australia Councilfor theArtsDance Panel (Mar). •Sector representation: PhillipAdams was memberoftheHelpmannAwards -Dance, Ballet andPhysical Theatre Panel, KristyAyre was (Sep), Green Room Awards (Mar),Dance Massive–CompanyMeetandGreet (Mar). Hosted theAnnual National DanceManagersMeeting(Sep) at Temperance Hall,National DanceForum (Sep),Australian DanceAwards • Artsmarkets/Conferences: KristyAyre attended Creative Victoria’sCreative State Summit(Jun),Dance ManagersMeeting(Mar), • Lectures: Phillip Adamswas guestspeakerforpanelsacross DanceMassiveandMelbourneFestival. Dance MassiveWorkshop Series. Council’s Live‘n’Local,Multicultural ArtsVictoria’sBalimbing, OpenHouseMelbourne’sSocialandAusdanceVictoria’s Jack Ferver.Ourcollectiveexternal hirers for2017additionally engageddiverseaudiencesthrough events includingCityofPort Phillip • PABL engagedLGBTQIA+ audiencesthrough presentations includingHardQueer DeathPony (Midsumma)andMonMaMes(Revisité) – care facility, located next doortoTH. were wheelchairaccessibleandweincludedarelaxed, preview performanceofEVERfor20elderlyresidents from theCaSPA Care aged • We have workedwithTemperance Halllandlords, Working Heritage,toensure thevenueisaccessible.Eachofourproductions in2017 Congress exhibition 140attendance Miga SuaLoucaexhibition 570 attendance HardQueer DeathPony 65%capacity Jack FerverWorkshop 100%capacity Mon MaMes(Revisité) 80%capacity EVER 95%capacity ATTENDANCES/AUDIENCES the BalletLabMcMahonContemporary ArtAward (Magda Petkoff, PurpleMedia). • Marketingcampaignswere delivered forEVER(TSPublicityonbehalfofMelbourneFestival)JackFerver’sMonMaMes(Revisité) and processes withourexternal bookkeeper,FAME Groupandincrease companyadministration efficiency. • Ourbookkeepingandinvoicesystemwas upgraded toXEROandisintegrated withZOHO.Thiswilltrack invoicesandstreamline engagement. • TheestablishmentofZOHOenablesmore efficient,targeted marketingand tracking witha10%increase insocialmediafollowers and targets inourfirstyearofoperation andenablesincreased future growth. • Ournew CRM,ZOHOPluscoupledwiththeextended employment ofourProject Officerhascontributedtodoubling rentalincome extended contract forProject Officer,BrionyGalligan(0.4EFT)enabledthrough funding from theHelenMacPhersonSmithTrust. • ZelaPapageorgiou was engagedona6month(0.2EFT)voluntaryinternshipasMarketingCoordinator. Thisrole was supportedby the Outcomes • No.ofartsmarketsandnetworkforumsattended annually • Deviseandpresent lectures, forumsandotherengagementeventsannually(minimum2) • Benchmarkusersacross alldigitalandsocialmediaplatforms andgrow usageby minimum15%increase annually • Minimum1benchmarkresearch programintokeystakeholdergroups • Attendance:60%capacityorhigher(performancesshowings); workshops:70%capacityorhigher • Strategic Marketingcampaignplannedandimplementedtoensure target audiencesare reached, spearheadingwidercommunications • MarketingCoordinator employed minimum0.2EFTannually KPI/2017 •Attend artsmarketstogrow presentation opportunitiesinAustralia andinternationally • Developprograms that engageartistsandpublicincriticaldialogueaboutcontemporary danceandperformance • Provideopportunitiesthat supportparticipation withanemphasisoninclusivityandaccessibilitythroughout theorganisation • Benchmarkresearch tobeconductedeveryyearassessingaudiencesandattendees • Establish CRMsystemtodeliverstrategic andfullyintegrated marketingcampaignsandallows formeasurable data • Buildthecompany’sbrand andreach through strategic marketing activities includingdedicated staff Strategies contribute tonew thinking. Engage diverseaudiences;supportparticipation withanemphasisoninclusivityandaccessibility;furtherdevelopthePABL brand; 3. ACCESSANDPARTICIPATION REPORT 2017 ANNUAL BALLETLAB ADAMS PHILLIP PABL 2017 Key Performance Indicators Indicators PABL 2017 Performance Key

PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT REPORT 2017 ANNUAL BALLETLAB ADAMS PHILLIP • Therewere 2strategic planningmeetingsheldin2017facilitated by AnnTonks andCaroline Deverrespectively. meetings, F&Gfor6meetingsandtheVenue subcommitteemetfor3meetingsthroughout theyear. Finance andGovernance(Chaired by EmilyWestmore) andVenue (Chaired ByTony Harding). TheArtisticSubcommitteemetfor5 • 3subcommitteeswere activein2017Artistic(Chaired by NicolaSteinandincludingindustryadvisorsJo Lloyd andTimothy Walsh), • $200,661raisedfrom non-government sources in2017.Combination ofearnedincome,targeted fundraisingandindividualdonations. • 2017EOYsurplusof$11,572increasing retained earnings/reserve by 43% • Earnedincome1000%increase from 2016 • Additional casualstaffhired forFOH,Cleaningand Venue Warden support:Approximately 14staffemployed across 650hours. • Externalbookkeeper–FAME Group • 3Staffemployed fortheyearArtisticDirector (F/T)ExecutiveProducer (0.8)Project Officer(0.4). • Earnedincomelevelsaboveforecast Outcomes • Review andPlanningmeetingheldannually • Maintainminimum3subcommitteeswithat leasttwomeetingsannually • Minimumof$70,000raised from non-government sources annually • Budgetsurpluswith%increase annuallytodevelopcashreserves (minimum10kreserve achieved) • Stafflevelsmaintained at minimum2.0EFTloadacross 3ormore roles • Establish PABL intheSouthMelbourneTemperance Hall KPI/2017 processes includingannualstrategic review andplanningwithboard, staffandartisticstakeholders. • Continuallyimprove governance standards andoperational processes through regular meetings,annualreview andanalysis,planning • Ensureappropriate levelofadministrative resources annually, human,financial,ITincludingcore funding • Diversifyandgrow incomefrom non-government sources includingsponsorships,philanthropic trusts,private givingandearnedincome • Establish PABL intheSouthMelbourneTemperance Hall Strategies other incomegeneration strategies, soundorganisation, financialmanagementand governance Attract new investmentandensure long-termsustainabilitythrough thedeliveryofeffectivemarketingstrategies, philanthropy and 4. FINANCIAL/GOVERNANCE PABL 2017 Key Performance Indicators Indicators PABL 2017 Performance Key

33 PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

FINANCE REPORTS

BALLETLAB ASSOCIATION INC Auditor’s Responsibilities for the Audit of the Financial Report Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of SPECIAL PURPOSE assurance, but is not a guarantee that an audit conducted in accordance with the Australian Auditing Standards will always detect a INDEPENDENT AUDIT REPORT material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of this financial report. To the members of Balletlab Association Inc: As part of an audit in accordance with the Australian Auditing Standards, we exercise professional judgment and maintain professional Qualified Auditor’s Opinion scepticism throughout the audit. We also: We have audited the accompanying financial report, being a special purpose financial report, of Balletlab Association Inc, comprising the statement of financial position as at 31st December 2017, statement of comprehensive income, statement of changes in equity and • Identify and assess the risks of material misstatement of the financial report, whether due to fraud or error, design and statement of cash flows for the year then ended, a summary of significant accounting policies, other explanatory notes and statement by perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for our the committee of management. opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control. In our opinion, subject to the matter referred to in the Basis for Qualified Opinion, the financial report of Balletlab Association Inc for the year ended 31st December 2017 is in accordance with the Associations Incorporation Reform Act 2012, and Division 60 of the Australian • Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the Charities and Not-for-profits Commission Regulations 2013 including: circumstances, but not for the purpose of expressing an opinion on the effectiveness of the association’s internal control.

(a) giving a true and fair view of the association’s financial position as at 31st December 2017 and of its financial performance for • Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related the year ended on that date in accordance with the accounting policies described in Note 1; and disclosures made by the committee. (b) complying with Australian Accounting Standards to the extent described in Note 1 and complying with the Associations Incorporation Reform Regulations 2012. • Conclude on the appropriateness of the committees’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the Basis for Qualified Opinion association’s ability to continue as a going concern. If we conclude that a material uncertainty exists, we are required to draw attention We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further in our auditor’s report to the related disclosures in the financial report or, if such disclosures are inadequate, to modify our opinion. Our

described in the Auditor’s Responsibilities for the Audit of the Financial Report section of our report. We are independent of the conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may 35

34 association in accordance with the auditor independence requirements of the Associations Incorporation Reform Act 2012 and the cause the association to cease to continue as a going concern. ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We have also fulfilled our other ethical responsibilities in • Evaluate the overall presentation, structure, and content of the financial report, including the disclosures, and whether the accordance with the Code. financial report represents the underlying transactions and events in a manner that achieves fair presentation.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. We communicate with the committee regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that we identify during our audit. As an audit procedure it is not practical to extend our examination to all sources of income, with the exception of bank interest and grants received, beyond accounting for amounts received as shown by the books of the association. Charles Michael Wallace Emphasis of Matter – Basis of Accounting Member: Institute of Chartered We draw attention to Note 1 to the financial report, which describes the basis of accounting. The financial report has been prepared Accountants Australia New Zealand - No 73541 for the purpose of fulfilling the association’s financial report responsibilities under the governing rules and Associations Incorporation Charles Wallace & Associates Reform Act 2012. As a result, the financial report may not be suitable for another purpose. Our opinion is not modified in respect of this Suite 1 47 Walker Street Dandenong matter. Dated 16/4/18 Committee’s Responsibility for the Financial Report The committee is responsible for the preparation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards and the Associations Incorporation Reform Act 2012 and for such internal control as the committee determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error.

In preparing the financial report, the committee is responsible for assessing the association’s ability to continue as a going concern, disclosing, as applicable, matters relating to going concern and using the going concern basis of accounting unless the committee either intends to wind-up the association or to cease operations, or have no realistic alternative but to do so. PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

TREASURER’S REPORT

FOR THE YEAR ENDED 31 DECEMBER 2017 POSITION AT YEAR END

The Directors of BalletLab Association Inc (trading as Phillip Adams BalletLab, or PABL) are pleased to present the financial report for As at 31 December 2017, we have total assets of $139,737 and liabilities of $101,645. Our balance of members funds amounts to 2017. $38,092. TRADING RESULT FOR THE YEAR PABL received a total of $516,743 during the year ended 31 December 2017, which includes $178,792 received in 2016. This total is the Cash totaled $132,085 at the end of the year, and we had a further amount of $6,082 owing to us. Office equipment, props and costumes highest revenue ever recorded in the history of BalletLab and reflects an increase by 47% compared to 2016. have been capitalised and are being depreciated over their useful life, and are recorded at a conservative carrying value of $1,570. We owed $15,504 to our creditors, which we are paying in the normal course of business. These consist of day to day trade creditors, and The company recorded a surplus for the year of $11,572, as compared to the prior year of $11,565. This is due to an increase in expendi- normal operating tax and superannuation obligations. We have also recorded annual leave and long service leave provisions of $23,141. ture by 49%, reflecting the program activities and events achieved during the year. The largest item of liabilities that we have recorded is the amount of $63,000 being income and grants received in advance for programs to be delivered in 2018. Our income is broken down into the following categories:

I refer readers to the audited financial statements accompanying this report. Earned income (performance fees, box office, venue hire and workshop) 106,418 Grant income – Creative Victoria, operating 128,250 AUDITOR Grant income – Creative Victoria, other 6,667 I take this opportunity to formally thank our auditor, Charles Wallace of Charles Wallace & Associates. Grant income – Australia Council, projects 155,000 Grant income – City of Melbourne 18,000 Shadi Habash Donations – Trusts/Foundations 23,000 Honorary Treasurer 23 April 2018 Donations – individuals and others 70,366

Other income 8,165 37

36 Interest 877

TOTAL 516,743

The company is in a sound financial position heading into 2018. Income eceivedr in advance at the end of 2017 for projects and activities that will be undertaken in 2018 totals to $63,000.

The increase in terms of income and activity is reflected in the increased level of expenditure throughout the year. Our total expenses amounted to $505,171 an increase of $165,429 from the prior year. Our key expense categories are as set out below:

Artistic staff 99,165 Production and program costs 52,901 Production staff 16,191 Management and administration staff 202,483 Office and administration costs 100,743 Marketing and promotion 33,688

TOTAL 505,171

IMAGE:JAMES WRIGHT EVER DEVELOPMENT, 2017 PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Board and Staff 2017 Partners, Sponsors and Supporters in 2017

As a small arts organisation, Phillip Adams BalletLab relies on the support of many generous agencies and people Board of Management to deliver its projects. We warmly thank all our supporters. Phoebe Dunn, Co-Chair (1st) Caroline Dever, Co-Chair (2nd) Shadi Habash, Treasurer Government Supporters Phillip Adams, Secretary Neil Masterton (until May 2017) Nicola Stein Emily Westmore Tony Harding Board Meetings Phillip Adams BalletLab held 10 Board meetings including the AGM and Strategic Planning meetings in 2017. In May, we bid farewell to treasured Board member Neil Masterton. Neil served 4 years on the Board and was pivotal in leading the Venue Subcommittee to securing the lease on Temperance Hall. Philanthropic Supporters Staff Phillip Adams, Artistic Director Kristy Ayre, Executive Producer Briony Galligan, Project Officer Bek Berger, Acting Project Officer (Nov/Dec) FAME Group, Book-keeping Zela Papageorgiou, Marketing Intern 39

38 Emma Riches, Accommodation Coordinator Project Partners

Melbourne Festival Auditor Midsumma Festival Charles Wallace and Associates Ausdance Victoria Dance Massive Melbourne Museum Multicultural Arts Victoria

In-kind Sponsors

La Luna Bistro Spiltrock TIRO 3DEEP Jeff Busby Igor Sapina Y Salon

IMAGE: JEFF BUSBY EVER, MELBOURNE FESTIVAL, TEMPERANCE HALL PHILLIP ADAMS BALLETLAB 2017 ANNUAL REPORT

Founding Members of the Members of the Club Members of the Temperance Hall Society Temperance Hall Society Temperance Hall Society

KEN Daryl Adams Morgan Hurwitz Dr Marcus McMahon Ian and Gillian McDougall Freya Waterson Mr Mario Lo Giudice and Nicola Stein and Julian Sack Antony Hamilton Andy Dinan Justin Arter and Susan Molloy Nancy Black Mr John Molloy Matthew Bird Loie Magnolia Roux Mr Toni Maticevski Ms Emily Westmore Barbara Roux Mr Raymond Barry and Ms Fiona Sweet Jeff Herd

40 Dr Simon Terry Ms Min Li Chong Briony Galligan Ms Daniela Valmorbida Mikala Dwyer Joanna White Mr Michael Valmorbida Richard Jackson Mr Christopher Boots Matthew Boland Bill and Helen Coleby Carolyn Court Ms Phoebe Dunn and Julian Burnside Mr Charles Thompson Jo Lloyd Mr Adrian Richardson Esq Philipa Rothfield Ms Lynda Horton Rob Moore John Wardle and Susan Wardle Caroline Dever Peter Lovell and Michael Jan Andrea Wilson Jeff Busby Amelia Murdy Naum Tered Fiona Brook

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