Belvoir Annual Report 2014

A Contents

This Is Our Company 02 Core Values, Principles and Mission 03 Chair’s Report 04 Artistic Director’s Report 06 Executive Director’s Report 08 2014 Season and Tours 10 Co-producer Season 24 Education 33 Artistic and Programming 36 Marketing 38 Development 40 Donors 42 Board and Staff 44 Financial Statements 48 Key Performance Indicators 50 Directors’ Report 52 Directors’ Meetings 56 Auditor’s Independence Declaration 56 Statement of Profit or Loss and Other Comprehensive Income 57 Statement of Financial Position 58 Statements of Changes in Equity and Cash Flows 59 Notes to the Financial Statements 60 Directors’ Declaration 70 Auditor’s Report 71 Partners, Sponsors and Supporters 72

B Rarriwuy Hick in Brothers Wreck. Photo: Brett Boardman. This Is Our Company Core Values and Principles

One building. • Belief in the primacy of the artistic process Six hundred people. • Clarity and playfulness in storytelling Thousands of stories. • A sense of community within the theatrical environment When the theatre in an old tomato sauce Belvoir’s position as one of Australia’s most factory at 25 Belvoir Street was threatened innovative and acclaimed theatre companies • Responsiveness to current social and political issues with redevelopment in 1984, more than 600 has been determined by such landmark • Equality, ethical standards and shared ownership of people – passionate lovers and makers of productions as The Glass Menagerie, Angels theatre – formed a syndicate to buy the in America, The Wild Duck, The Diary of artistic and company achievements building and save it. a Madman, The Blind Giant is Dancing, • Development of our performers, artists and staff The Book of Everything, Cloudstreet, It was an act of love, to theatre and to Keating!, Parramatta Girls, Exit the King, The our city. Alchemist, Hamlet, Waiting for Godot, The Thirty years later, Belvoir is still going strong Sapphires, Who’s Afraid of Virginia Woolf?, – producing fresh, dynamic and challenging Stuff Happens and Medea. work here in Surry Hills. Belvoir has nurtured We love playing at our home in Surry Hills but Mission the finest theatrical talents in this country – our work also goes further afield to regional actors, writers, directors, designers and arts Australia, other capital cities and to overseas workers. We fill our two beautiful theatres To produce theatrical works from a shared festivals and venues. Australian artists are year-round with performances that are vision that question and affirm our culture, fantastic cultural ambassadors and we are visionary, bold and risky. extend and develop our artists, and provide pleased to play our part. We believe in the Both the Upstairs and Downstairs stages intrinsic value of theatre and in its power to audiences with experiences of imaginative have nurtured the talents of many renowned change our society for the better. daring and emotional depth. Australian artists: actors including Geoffrey Belvoir receives government support for Rush, Cate Blanchett, Toby Schmitz, its activities from the federal government Robyn Nevin, Deb Mailman and Richard through the Major Performing Arts Board Roxburgh; writers such as Tommy Murphy, of the Australia Council and the state Rita Kalnejais, Lally Katz and Kate Mulvany; government through Arts NSW. directors including Simon Stone, Anne- Louise Sarks, Benedict Andrews, Wesley Enoch, Rachael Maza and former Belvoir Artistic Director Neil Armfield.

Acknowledgement We show our respect and acknowledge the Traditional owners of the land on which Belvoir St Theatre is built: the Gadigal tribe of the Eora Nation. We pay respect to their Ancestors and Elders past, present and future.

Matthew Whittet & Mandy McElhinney in Cinderella rehearsals. 02 Photo: Brett Boardman. Chair’s Report Awards Andrew Cameron AM Belvoir garnered fi ve industry awards in 2014.

2014 was another career with great interest. He has made an Each year the program supports one 2014 Helpmann Awards ambitious year for enormous contribution to Belvoir. production in the Downstairs Theatre Best Play Belvoir. Again this (this year it was Cinderella) and, in Following a detailed search, in late 2014 we Angels in America year we presented collaboration with Playwriting Australia, were thrilled to announce the appointment Best Female Actor in a Supporting 13 productions in supports one resident playwright – this of Eamon Flack as the new Artistic Director Role in a Play total – nine in the year, Jada Alberts. of Belvoir – responsible for the 2016 season Robyn Nevin (Angels in America) Upstairs and four in the onwards. Eamon is on staff at Belvoir Financially we are pleased to report a Downstairs Theatre. Of 2014 Sydney Theatre Awards already, as Associate Director – New break-even result in very demanding these, eight were new Best Newcomer Projects, and knows the company well. We trading conditions. Belvoir is not afraid writing commissions. Hunter Page-Lochard are confi dent the transition will go smoothly. to take risks in programming, and while This has created a some of our brave artistic choices are Best Ensemble Cast large amount of work for young Australian During the year we further developed the very important for the development of Is This Thing On? theatre-makers – actors, writers, directors, range and breadth of our international theatre practice in Australia and for the designers and production teams. We are touring. Our production of The Wild Best Lighting Design of company, they do not always sell out. proud of the quality and quantity of work we Duck played to great acclaim as part a Mainstage Production We remain committed to taking our continue to make in our two theatres, and of the Barbican Centre’s International Benjamin Cistern (A Christmas Carol) work to the world, but this touring often the opportunities we create in the industry. Ibsen Season in London. The Guardian requires subsidies from our ongoing newspaper ranked it one of the Top Ten 2014 also represented a signifi cant operations. As an organisation and theatre productions of the year. We also milestone for the company. It had been 30 at Board level, we have had to make toured shows to Mexico, Scotland and years since Belvoir St Theatre had been some tough choices and I would like to Europe, with Thyestes enjoying seasons in saved in 1984 from redevelopment by the thank all the hardworking members of Germany and at the Holland Festival. tenacity of two theatre workers – Chris the Belvoir Board for their commitment, Westwood and Sue Hill – and a group of Once again, we were delighted to be able to skill and fi nancial support. committed, theatre-loving individuals who present productions at Belvoir using funds None of what we have achieved bought shares in the building. We celebrated from the Creative Development Fund and in 2014 would have been possible this anniversary with a lively, joyous the Chair’s Group. These are two of our without the outstanding Belvoir team afternoon in the theatre, which brought valued donor groups that raise funds for and the leadership of Executive together many of the original shareholders Belvoir projects and productions, and both Director, Brenna Hobson. Brenna has who had saved Belvoir three decades ago. ensure that we can extend our reach and worked tirelessly and with great skill to ambition. We are grateful for this support. Towards the end of 2014, Ralph Myers strengthen the company internally and decided to step down as Artistic Director We are again extremely grateful to The broaden Belvoir’s activities and profi le after fi ve years with the company and Balnaves Foundation for their ongoing in the community. Finally, without the having programmed fi ve Belvoir seasons commitment to Belvoir towards supporting artistic leadership provided by Ralph (2011–2015). He leaves us at the end our Indigenous productions. In 2014, The Myers and the talented creative teams of 2015. Ralph’s tenure at Belvoir has Balnaves Foundation supported the staging who have worked at Belvoir during been transformative. He has overseen of Brothers Wreck and 20 Questions. 2014 we would not have the many generational change at the company – The third annual Balnaves Foundation productions that have sustained, artistically and within our audience. With Indigenous Playwright’s Award was intrigued and delighted us this year. great panache Ralph stepped into Neil awarded to writer/director/performer Leah They have played to great acclaim in Armfi eld’s shoes, and immediately threw Purcell for her ambitious proposed work – a our beloved Belvoir St Theatre, around himself into the artistic role with vision and radical adaptation of Henry Lawson’s The Australia and overseas. On behalf of determination. While respecting the Belvoir Drover’s Wife. the Board, I thank and congratulate all tradition he has nurtured and developed The Hive, our group of young, enthusiastic of the staff and artists. the careers of a whole new generation supporters, continued to gather momentum, Andrew of Australian theatre-makers. We all wish and has yielded some exciting outcomes. Ralph well for his future and will watch his Actors and original shareholders Keith Robinson & Barry Otto at our 30th Anniversary Shareholders Party. Photo: Patrick Boland. 04 Artistic Director’s Report Ralph Myers

Being an Artistic I also delivered the Philip Parsons Memorial –– The moment that Greg Stone found his –– Peter Carroll – one of the legends of the Director is a great Lecture in November. I might have ruffled trousers onstage in The Government Australian stage – giving ‘the performance pleasure. I know I’m a few feathers (I got called a ‘borderline Inspector, having just played the whole of his lifetime’ (to quote The Australian) in just being wistful and racist’ in the SMH for poking other white third act in his undies (and Rob Menzies’ Adena Jacobs’ eviscerating re-dreaming romantic because I’m men!) but it was a great opportunity to distil face when he noticed that, despite having of Oedipus Rex. in the last few months my thoughts on some of the threats to our just spent the entire third act onstage –– Pamela Rabe’s entrance in THAT DRESS of my tenure here as I delicate culture, and to note how vulnerable with Greg Stone, the man didn’t have any in The Glass Menagerie. write this in early 2015, our structures are to distortion by well- pants on). but it really is great meaning reforms. –– Susan Prior turning on the audience –– Wesley Enoch when he realised that HE FUN a lot of the time. and giving it to them (and then vomiting) It was also a year of a record number of was the subject (or victim) of the grilling in Sure, there are worky, in Is This Thing On? international tours. Belvoir’s work is gaining the final installment of 20 Questions. boring bits – all jobs have those – but sitting a strong following overseas, particularly in –– And Stevie Rodgers, dressed as a here at my desk and thinking back over the –– Hunter Page-Lochard’s devastating Europe. The Wild Duck at the Barbican got Christmas tree, singing his little heart out 13 new shows we produced last year has performance as an angry young man in London into a fizz and Thyestes was the hit in A Christmas Carol. genuinely put a smile on my face. It’s lovely Jada Alberts’ brilliant Upstairs Theatre of the Theater der Welt in Germany and the to have a chance to reflect on the year and debut, Brothers Wreck. Ah, the memories! Holland Festival. Lally Katz’s Stories I Want take the opportunity to note some of the to Tell You in Person played a one-night –– The wonderful murmur of excitement I’m going to miss this place. moments that stick in my mind. sell-out gig in Mexico City (with a Mexican that rumbled through the audience when Ralph 2014 was a year of new voices and new bear!!) and Conversation Piece played to they realised just how real (and tragic) the faces. The season was largely made adoring houses in Glasgow and slightly second act of Nora was going to be. by people who we’ve brought into the confused but no less enthusiastic houses in company since I began here four seasons Prague and Pilsen in the Czech Republic. ago – and those people are largely women. But back to our two wonderful theatres in Only two of the 13 shows didn’t have a Surry Hills. Here are the 10 moments that woman as either director or writer, and eight stick in my mind and make me smile from of them had both. It’s a long way from the 2014 – in roughly chronological order. bad old days of beardy blokes (although I still have a beard I confess, although slightly –– The bloodbath in the opening sequence greyer than it was when I started). of Oedipus Schmoedipus. Zoë Coombs Marr and Mish Grigor, two thirds of the It was also the year I came to the decision troupe post, killed each other countless to leave this wonderful job, although not times (more times than is polite at least) because of the beard. Jokes aside, it was and ended up bespattered in blood. a very hard decision. But a good one, I’m I loved it! And surprisingly so did my pretty sure. I’m looking forward to being a mother! And what a start to the year! proper set designer again, and to having the pleasure of coming back to Belvoir as –– Helen Morse’s wonderful, dignified a civilian! mother to Brendan Cowell’s great, troubled, troublesome author in Michael Gow’s touching not-a-self-portrait Once in Royal David’s City.

Rose Riley & Pamela Rabe in Peter Carroll in Oedipus Rex. 06 The Glass Menagerie. Photo: Brett Boardman. Photo: Pia Johnson. Executive Director’s Report Brenna Hobson

2014 was Ralph compelling vision in his interviews but even The activity I referred to all happened We move forward into 2015 excited Myers’ fourth year as without that his work demands that he be against a backdrop of creating eight new about what’s to come and ready for the Artistic Director and his respected as an artist and an artistic leader. Australian works in our Upstairs and challenges. With two equally talented and fourth record for the I couldn’t be happier with the choice of him Downstairs Theatres, and the continued visionary Artistic Directors at the helm of company in number as our Artistic Director from 2016 onwards. promotion of female directors and writers the company – one playing out his last of subscribers. To that has been a hallmark of Ralph’s tenure season and the other planning his first – When The Wild Duck’s season at the have record numbers at the company. 2014 also saw Belvoir we’re embracing the transition and looking Barbican in London was ranked fourth in the of subscribers place tour our production of Food (co-produced to the future. London Evening Standard’s 10 best theatre faith in a season that with Force Majeure) to 19 regional centres shows of 2014 and eighth in The Guardian’s As ever my thanks go to the extraordinary is challenging, varied across Australia. Touring a work in regional list, it felt like a wonderful vindication – not community of Board members, artists and and heavily dominated Australia is a complex business due to the only of Belvoir’s international touring efforts arts workers who come together to make by new Australian work is both enormously government support required to make the but also of the quality of theatre coming out Belvoir what it is. They are a constant exciting and a great privilege. Subscribers work affordable to presenters. It is however of this country. We couldn’t do that work inspiration to work with. are our greatest supporters and our most enormously rewarding and remains an without the strong support of some key important critics, and I thank them for their ongoing ambition for the company. Brenna philanthropists: Andrew Cameron AM, energy and ongoing engagement. Mark Carnegie, Jessica Block and, for In 2014 two staff members left the company the Thyestes tour, Phillip Keir. They are to become general managers of small-to- generous and visionary and I hope that the medium arts organisations (Tahni Froudist accolades prove what we all know: that now heads HotHouse in Albury and Daniel their support is well founded. Our thanks Potter is the CEO of Shopfront Theatre). also go to the Department of Foreign While I miss them both terribly I am Affairs and Trade who supported The Wild enormously proud of the role that Belvoir Duck tour, and the Australia Council for the takes in the broader artistic community. We Arts who supported Thyestes. 2014 also believe in taking risks on promising young saw tours of Stories I Want to Tell You in professionals, theatre workers as well as Person to Mexico, Conversation Piece to artists, and then backing their efforts. The Glasgow, Prague and Pilsen and Thyestes departure of these staff members to the to Theater der Welt in Mannheim and the small-to-medium sector made me think Holland Festival. Each of those productions about how interconnected this endeavour of was lauded for its ingenuity and theatrical performing arts is: all parts of the industry, excellence. big and small, need each other and any Closer to home it was pleasing to be able blow to one sector affects us all, just as any to post a break-even result in 2014 after triumph benefits us all. a financially difficult 2013. This is in part Anyone who knows Belvoir well has due to our philanthropic supporters led by probably been increasingly excited Andrew Cameron AM and The Balnaves for some time now about the talent Foundation who support Indigenous that is Eamon Flack. Whether it be the programming at Belvoir. The fact that our exuberance of As You Like It in 2011 or combined philanthropic and sponsorship the extraordinary humanity of Angels in income matched our government support America, it is increasingly clear that he has for the first time in the company’s history an extraordinary talent. Angels won the last year is both great testament to the Helpmann Award for Best Play of 2013 just dedication of our supporters and the before we announced our search for a new hard work of our Development staff. The Artistic Director, and Eamon’s production government support that we receive from of The Glass Menagerie opened part-way the Australia Council for the Arts and Arts through the process. Eamon articulated a NSW is a vital bedrock for our company and we acknowledge their support.

08 Richard Piper & Dan Wyllie in the Barbican season of The Wild Duck. Photo: Danilo Moroni. 09 Mish Grigor, Zoë Coombs Marr & volunteers. Photo: Ellis Parrinder.

2014 Season and Tours Oedipus Schmoedipus 9 January – 2 February Upstairs Theatre

Statistics Performances 28 Total Available Tickets 9,436 Total Audience 6,391 Box Office Income $234,254

Written by Directed by Stage Manager post (Zoë Coombs Marr, Zoë Coombs Marr & Roxzan Bowes Mish Grigor & Natalie Rose) Mish Grigor Assistant Stage Manager after Aeschylus, Anon, Barrie, Set & Costume Designer Megan Fitzgerald Behn, Boucicault, Büchner, Robert Cousins Production Manager Chekhov, Euripides, Gogol, Lighting Designer Leonard Samperi Goldsmith, Gorky, Hugo, Matthew Marshall Stage Management Ibsen, Jonson, Marlowe, Composer & Sound Designer Secondment Mayakovsky, Molière, James Brown Brittany Jones Pirandello, Plautus, Racine, Seneca, Shakespeare, Dramaturg With Sophocles, Strindberg, Anne-Louise Sarks Zoë Coombs Marr Voltaire, Wedekind, Wilde et al Fight Director Mish Grigor Scott Witt & a cast of volunteers

A co-production with post in association with Sydney Festival

There’s a glorious playfulness Coombs Marr and Grigor have a pleasing to the whole production not and informal chemistry that makes their much seen on Australian stages. riffing watchable and likable. The Guardian Aussie Theatre 10 11

Tara Morice, Harry Greenwood, Brendan Cowell & Anthony Phelan. Photo: Ellis Parrinder. Greg Stone, Fayssal Bazzi, Robert Menzies & Eryn Jean Norvill. Photo: Lisa Tomasetti.

Once in Royal David’s City The Government Inspector 8 February – 23 March 27 March – 18 May Upstairs Theatre Upstairs Theatre

Statistics Statistics Performances 49 Performances 57 Total Available Tickets 17,003 Total Available Tickets 18,696 Total Audience 13,793 Total Audience 13,343 Box Office Income $556,932 Box Office Income $519,189

Written by Stage Manager With Written by Costume Designer Assistant Stage Managers Michael Gow Luke McGettigan Helen Buday Simon Stone with Mel Page Caitlin Byrne Directed by Assistant Stage Manager Brendan Cowell Emily Barclay; Lighting Designer Vanessa Martin Eamon Flack Keiren Smith Maggie Dence devised with the cast Paul Jackson Costume Secondment Harry Greenwood Set & Lighting Designer Assistant to the Set Designer Featuring a short musical by Composer & Sound Designer Hannah Koch Lech Mackiewicz Nick Schlieper Georgia Hopkins Stefan Gregory Stefan Gregory With Tara Morice Inspired by Fayssal Bazzi Costume Designer Stage Management Helen Morse Choreographer Nikolai Gogol Mitchell Butel Mel Page Secondment Anthony Phelan Lucy Guerin Gareth Davies Composer Michelle Sverdloff-Bruer James Wright Directed by Stage Managers Robert Menzies Alan John Costume Secondment Simon Stone Tia Clark Zahra Newman Hannah Koch Set Designer Chantelle Foster Sound Supervisor Eryn Jean Norvill Ralph Myers Michael Toisuta Greg Stone A co-production with Malthouse Theatre

The intersection of the intellect and the emotions… … all of the actors are This is a wickedly funny spoof ★★★★ is what makes Michael Gow’s play so interesting, so flawless, while Cowell of contemporary theatre… and Features a top-flight ensemble cast affecting and so immensely enjoyable. is just breathtaking. the cast send themselves up working at the height of their comic Australian Stage Arts Hub something rotten. powers… they’re a delight to watch. The Sun Herald The Guardian 12 13 Wesley Enoch & Trevor Jamieson. Photo: Gez Xavier Mansfield. Dana Miltins & Mary Helen Sassman. Photo: Brett Boardman.

20 Questions Cain and Abel 7 April – 11 August 15 May – 8 June Upstairs Theatre Downstairs Theatre

Statistics Statistics Performances 15 Performances 27 Total Available Tickets 5,070 Total Available Tickets 2,241 Total Audience 2,816 Total Audience 1,635 Box Office Income $101,584 Box Office Income $49,035

Devised by Stage Manager Ernie Dingo Created by Stage Manager With Wesley Enoch & Isabella Kerdijk Casey Donovan Kate Davis & Mel Dyer Dana Miltins Eamon Flack Collaborators Wesley Enoch Emma Valente Directing Secondment / Scribe Mary Helen Sassman Hosted by Jada Alberts, Angela Betzien, Trevor Jamieson Directed by Rachel Roberts Rachael Maza Wesley Enoch Zoë Coombs Marr, Nick Coyle, Emma Valente Design Secondments David Page Design Associate Tahni Froudist, Brenna Hobson, Set & Costume Designer Nick Fry Hunter Page-Lochard Katren Wood Adena Jacobs, Colin Kinchela, Kate Davis Tyler Hawkins Anne-Louise Sarks, Tim Leah Purcell Composer & Sound Lighting & Sound Designer Observer Spencer, Anthea Williams Wilma Reading Designer / Operator Miranda Tapsell Emma Valente James Jackson With Steve Toulmin Ursula Yovich Jada Alberts Production Manager Christine Anu Daniel Potter Luke Carroll Technical Manager Jack Charles A co-production with THE RABBLE Warren Sutton

… an enjoyable hour spent watching It manages to sweep all present up Davis and Valente’s work is brave, Having THE RABBLE visit talented people reveal something of in an exercise that perhaps, above iconoclastic and important. Sydney is a rare pleasure we themselves and what it is to be an all, celebrates what it means to play Suzy Goes See could get definitely get used to. Indigenous person in this country. a part in the human performance. Concrete Playground The Sydney Morning Herald The Daily Review 15 Rarriwuy Hick & Hunter Page-Lochard. Photo: Brett Boardman. Anna Houston & Ash Flanders. Photo: Ellis Parrinder.

Brothers Wreck Hedda Gabler 24 May – 22 June 28 June – 3 August Upstairs Theatre Upstairs Theatre

Statistics Statistics Performances 33 Performances 41 Total Available Tickets 11,154 Total Available Tickets 13,899 Total Audience 8,542 Total Audience 9,773 Box Office Income $309,638 Box Office Income $374,738

Written by Stage Manager Adapted by Composer With Jada Alberts Luke McGettigan Adena Jacobs from the Kelly Ryall Branden Christine play by Henrik Ibsen Lynette Curran Directed by Assistant Stage Manager Dramaturg Ash Flanders Leah Purcell Keiren Smith Directed by Luisa Hastings Edge Marcus Graham Set & Costume Designer Adena Jacobs Fight Director With Anna Houston Dale Ferguson Scott Witt Cramer Cain Set Designer Oscar Redding Lighting Designer Lisa Flanagan Dayna Morrissey Stage Manager Tim Walter Luiz Pampolha Rarriwuy Hick Costume Designer Edwina Guinness Hunter Page-Lochard Composer & David Fleischer Assistant Stage Manager Bjorn Stewart Sound Designer Lighting Designer Angharad Lindley Brendan O’Brien Danny Pettingill

Alberts’ script grabs you by the … a superb piece of theatre… At the heart of it, Flanders is a very good It’s great to see Hedda Gabler heartstrings in the first few desperate Go and see this play. Hedda. His characterisation is lean, mean reworked so ferociously, minutes, and doesn’t let go. Concrete Playground and languorous, and his interactions a because it needs to be. Stage Noise spectrum of disconnection. Arts Hub Concrete Playground 16 17 Damien Ryan & Blazey Best. Photo: Brett Boardman. Andrea Demetriades & Peter Carroll. Photo: Pia Johnson.

Nora Oedipus Rex 9 August – 14 September 21 August – 21 September Upstairs Theatre Downstairs Theatre

Statistics Statistics Performances 41 Performances 35 Total Available Tickets 13,899 Total Available Tickets 2,905 Total Audience 9,893 Total Audience 2,446 Box Office Income $389,481 Box Office Income $67,466

Written by Kit Brookman & Lighting Designer With Directed by Director’s Attachment Anne-Louise Sarks Paul Jackson Blazey Best Adena Jacobs Robert Johnson after A Doll’s House by Composer Toby Challenor Designer & Dramaturg Stage Manager Henrik Ibsen Kelly Ryall Linda Cropper Paul Jackson Elizabeth Rogers Finn Dauphinee Directed by Stage Manager Composer & With Indianna Gregg Anne-Louise Sarks Karen Faure Sound Designer Peter Carroll Damien Ryan Set Designer Max Lyandvert Andrea Demetriades Assistant Stage Manager Ava Strybosch Marg Howell Keiren Smith Design Associate Costume Designer Emma Kingsbury Mel Page

Sarks has produced a piece of muscular Blazey Best holds the piece together This is what theatre should be – Carroll offers a gripping and bravely and exciting theatre: funny, moving, and with a powerful performance in the powerful, dangerous, beautiful. vulnerable performance that makes of our time. title role. The Sun Herald extant Oedipus’ searing pain. The Guardian Daily Review The Sydney Morning Herald 18 19 Pamela Rabe & Luke Mullins. Photo: Brett Boardman. Nat Randall, Fiona Press & Genevieve Giuffre. Photo: Brett Boardman.

The Glass Menagerie Is This Thing On? 2 October – 2 November 20 September – 2 November Downstairs Theatre Upstairs Theatre

Statistics Statistics Performances 49 Performances 35 Total Available Tickets 17,248 Total Available Tickets 2,905 Total Audience 15,278 Total Audience 2,552 Box Office Income $622,294 Box Office Income $80,932

Written by Composer & Sound Designer Assistant Stage Manager Written by Lighting Designer With Tennessee Williams Stefan Gregory Katie Hankin Zoë Coombs Marr Verity Hampson Madeleine Benson Directed by Video Design Consultant Production Secondment Directed by Composer & Genevieve Giuffre Eamon Flack Sean Bacon Fraser Orford Kit Brookman & Sound Designer Fiona Press Susan Prior Set Designer Dialect Coach With Zoë Coombs Marr Steve Toulmin Nat Randall Michael Hankin Paige Walker-Carlton Harry Greenwood Set & Costume Designer Stage Manager Costume Designer Assistant Director Luke Mullins Ralph Myers Mel Dyer Mel Page Jada Alberts Pamela Rabe Rose Riley Lighting Designer Assistant Set Designer Damien Cooper Georgia Hopkins Stage Managers Isabella Kerdijk Luke McGettigan

… achingly beautiful. It is the visible alleys A compassionate and Like all great comedy it is all Exuberant, celebratory theatre. and laneways of love and regret. It is illuminating production… instantly recognisable but also Time Out faultless. The finest production of the year. You shouldn’t miss it. splendidly new. Aussie Theatre The Sydney Morning Herald The Australian 20 21 Miranda Tapsell, Ivan Donato, Ursula Yovich & Eden Falk. Photo: Brett Boardman. Matthew Whittet & Mandy McElhinney. Photo: Brett Boardman.

A Christmas Carol Cinderella 8 November – 24 December 13 November – 14 December Upstairs Theatre Downstairs Theatre

Statistics Statistics Performances 51 Performances 34 Total Available Tickets 17,289 Total Available Tickets 2,822 Total Audience 13,455 Total Audience 2,693 Box Office Income $475,698 Box Office Income $78,783

Adapted by Benedict Hardie Composer & Assistant Stage Managers Written by Set & Costume Designer With & Anne-Louise Sarks Sound Designer Gina Bianco Matthew Whittet Elizabeth Gadsby Mandy McElhinney from the novel by Stefan Gregory Sarah Stait Original Concept by Lighting Designer Matthew Whittet Charles Dickens Dramaturg With Anthea Williams Matthew Marshall Directed by Marg Howell Kate Box Directed by Composer & Sound Designer Anne-Louise Sarks Peter Carroll Movement Director Anthea Williams Kelly Ryall Ivan Donato Set Designer Scott Witt Stage Manager Eden Falk Michael Hankin Elizabeth Rogers Stage Managers Robert Menzies Costume Designer Mel Dyer Steve Rodgers Mel Page Edwina Guinness Miranda Tapsell Lighting Designer Ursula Yovich Benjamin Cisterne

This delightful production is Robert Menzies makes Scrooge’s ★★★★ Mandy McElhinney and everything you could possibly want enlightenment an infectious Whittet’s writing is beautifully observant. Matthew Whittet both give in a Christmas show. pleasure to observe. mesmerising performances. Time Out The Australian The Sydney Morning Herald Concrete Playground

22 23 Eryn Jean Norvill, Fayssal Bazzi, Mitchell Butel & Greg Stone. Photo: Lisa Tomasetti. Lally Katz. Photo: Heidrun Löhr.

Co-producer Season National & International Touring In 2014 one of Belvoir’s co-producers hosted their season of our co-production. Stories I Want to Tell You in Person

The Government Inspector Statistics A co-production with Malthouse Theatre Performances 21 Total Audience 1,657 28 February – 23 March Malthouse, Melbourne Written by Stage Managers Touring venues Lally Katz Isabella Kerdijk (Albury) HotHouse Theatre, Albury Statistics Daniel Potter (Mexico City) 6–15 March Directed by Performances 22 Amy Harris (Adelaide) Anne-Louise Sarks Dramafest, Mexico City Total Audience 5,535 Production Manager 26 August Set & Costume Designer Daniel Potter Ralph Myers Brink Productions, With Adelaide Lighting Designer Lally Katz 29 October – 8 November Damien Cooper Composer & Sound Designer Max Lyandvert

A co-production with Malthouse Theatre

★★★★★ Gogol should be delighted with This charming production is a Katz is a capable writer and an this tribute to his story of a standout among a recent plethora entertaining performer, and the A thoroughly entertaining comedy with crooked town being duped by a of one-woman comedy shows. stories she tells us in person are broad appeal, it’s a marvellous start to the cunning incomer. worth seeing. year at the Malthouse. GLAMAdelaide Herald Sun InDaily, Adelaide The Age

24 25 Kris McQuade, Megan Holloway & Robyn Nevin. Photo: Brett Boardman. Eryn Jean Norvill, Greg Stone, Zahra Newman & Gareth Davies. Photo: Lisa Tomasetti.

National Touring National Touring Neighbourhood Watch The Government Inspector

Statistics Statistics Performances 43 Performances 14 Total Audience 22,282 Total Audience 4,748

Written by Associate Sound Designer With Written by Lighting Designer With Lally Katz Terry McKibben Akos Armont Simon Stone with Paul Jackson Fayssal Bazzi Charlie Garber Emily Barclay; Mitchell Butel Directed by Stage Manager Composer & Sound Designer Anthony Harkin devised with the cast Gareth Davies Simon Stone Eva Tandy Stefan Gregory Natasha Herbert Robert Menzies Featuring a short musical by Set & Costume Designer Assistant Stage Manager Megan Holloway Choreographer Zahra Newman Stefan Gregory Dale Ferguson Jess Keepence Kris McQuade Lucy Guerin Eryn Jean Norvill Inspired by Lighting Designer Production Manager Robyn Nevin Stage Manager Greg Stone Nikolai Gogol Damien Cooper Todd Wilson Touring venue Chantelle Foster Touring venues Directed by Composer & Technical Manager / Melbourne Theatre Company Assistant Stage Manager Geelong Performing Simon Stone Sound Designer Head Electrician 17 March – 26 April Vanessa Martin Arts Centre Stefan Gregory Tom Warneke Set Designer 22–24 May Production Manager Ralph Myers Dramaturg Daniel Potter Canberra Theatre Centre Eamon Flack Costume Designer 28–31 May Sound Operator Mel Page Caitlin Porter Merrigong Theatre Company, Wollongong A co-production with Malthouse Theatre 4–7 June This is, in many ways, the It’s a big hearted production that sidesteps ★★★★ A tour de force of theatrical Robyn Nevin Show, and she overt sentimentality and challenges the frivolity and fun. A scrupulously polished backstage farce. doesn’t disappoint. audience to first look to home to find stories of SMH, Canberra The Guardian Daily Review compassion and human connection. 26 Limelight Magazine 27 Chris Ryan, Toby Schmitz & Thomas Henning. Photo: Isabella Kerdijk. Matthew Whittet & Alisdair Macindoe. Photo: Brett Boardman.

International Touring International Touring Thyestes Conversation Piece

Statistics Statistics Performances 6 Performances 6 Total Audience 2,050 Total Audience 598

Co-written by Thomas Dramaturg With Choreography & Direction by Stage Manager Touring venues Henning, Chris Ryan, Anne-Louise Sarks Thomas Henning Lucy Guerin Melanie Stanton Tanec Praha, Prague, Simon Stone & Mark Winter Chris Ryan Czech Republic Stage Manager Set & Costume Designer Sound Engineer after Seneca Toby Schmitz 2–4 June Karen Faure Robert Cousins Nick Roux Directed by Touring venues Pap-rna, Pilsen, Assistant Stage Manager Lighting Designer Producer Simon Stone Theater der Welt, Czech Republic Isabella Kerdijk Damien Cooper Annette Vieusseux Nationaltheater, Mannheim, 8 June Set & Costume Designer Production Manager Germany Composer & Sound Designer With Claude Marcos Todd Wilson Tramway, Glasgow, 31 May – 1 June Robin Fox Megan Holloway Lighting Designer Scotland Head Electrician Stephanie Lake Govin Ruben Holland Festival, Amsterdam, Production Manager 12–13 June Chris Mercer Alisdair Macindoe The Netherlands Gene Hedley Composer & Sound Designer Rennie McDougall 23–27 June Stefan Gregory Katherine Tonkin Matthew Whittet

Originally created by THE HAYLOFT PROJECT. A Malthouse Theatre commission. A co-production with Lucy Guerin Inc ★★★★ ★★★★ ... brilliantly performed by a I have witnessed at the Holland Festival the work of Australia’s Belvoir – ... copious praise must be heaped on the quick-witted, nimble sextet. and genuinely sat unsettlingly in my seat from beginning to end. six performers, who, miraculously, create a A wickedly clever start to brand new show for every performance. Tramway’s HOT season. Auditorium Magazine The Scotsman Herald Scotland 28 29 Fayssal Bazzi & Mel King. Photo: Heidrun Löhr. Brendan Cowell & Sara West. Photo: Danilo Moroni.

National & Regional Touring Food International Touring A co-production with Force Majeure The Wild Duck

Statistics Statistics Performances 52 Performances 9 Total Audience 8,269 Total Audience 5,432

Written by With Wagga Wagga The Capital, Written by Assistant Director With Steve Rodgers Fayssal Bazzi Civic Centre Bendigo Simon Stone with Anne-Louise Sarks Brendan Cowell Directed by Emma Jackson 9 August 13 September Chris Ryan after Dramaturg John Gaden Kate Champion & Mel King HotHouse Theatre, Henrik Ibsen Eamon Flack Anita Hegh Wellington Richard Piper Steve Rodgers Touring venues Albury Directed by Stage Manager Entertainment Sara West Set & Costume Riverside Theatres, 12–16 August Simon Stone Luke McGettigan Centre Dan Wyllie Parramatta 1–5 July Designer Merrigong 17 September Set Designer Assistant Stage Manager Anna Tregloan Theatre Company, Ralph Myers Touring venue NORPA, Lismore Gasworks Art Park, Amy Morcom 11–12 July Wollongong Barbican Centre, Lighting & Audio Albert Park Costume Designer Production Manager 20–23 August London, UK Visual Designer Joan Sutherland Tess Schofield 19–20 September Chris Mercer 23 October – 1 November Martin Langthorne Performing Arts Queanbeyan Theatre Royal, Lighting Designer Head Mechanist Centre, Penrith Performing Composer & Hobart Niklas Pajanti Todd Wilson 17–19 July Arts Centre Sound Designer Composer & 27–30 August 25–26 September Sound Operator Ekrem Mülayim Orange Civic Theatre Sound Designer Mandurah Caitlin Porter Assistant Director 23 July Westside Performing Stefan Gregory Performing Arts Danielle Micich Bathurst Memorial Arts Centre, Mooroopna Centre Stage Manager Entertainment Centre 3 September 8 October Chantelle Foster 25–26 July Albany … this is heartbreaking drama, Glen Street Theatre, Mildura Arts Centre ★★★★ Production Manager Entertainment so truthfully acted it would make Sydney 6 September … taught, electrifying and pulsing Jack Horton Centre a stone weep. Don’t miss it. 31 July – 6 August with a feverish passion. Mechanist Clocktower Centre, 11 October Damien King Moonee Ponds Plays to See, UK The Arts Desk, UK 10 September 31 Education

Not only was it great acting, but it was In 2014, 5,569 students and their teachers real. You could feel the emotion and attended a schools matinee at Belvoir. Of experience it. these, 1,206 attended through ticket and Student, Shoalhaven High School, travel subsidy programs offered to schools on seeing Brothers Wreck identified by the NSW Department of Education & Communities as disadvantaged In 2014, Belvoir offered 25 schools or geographically remote. Participating matinees of Upstairs and Downstairs schools came from Coffs Harbour, Cooma, Theatre productions. Nyngan, Newcastle, The Entrance, Erina, Students attending our schools Terrigal, Aberdeen, Oak Flats and Lithgow, performances came from the full range and from Sydney’s western and south- of high schools – government and non- western suburbs including Bankstown, David Page. Photo: Heidrun Löhr. government, local schools and schools Blacktown, Cabramatta, Condell Park, in regional NSW and the ACT. Our most Eagle Vale, Liverpool, Miller, Mount Druitt, heavily booked performances were The Rosemeadow and Wiley Park. Glass Menagerie, Brothers Wreck, A Schools also brought their students to National Touring Christmas Carol and Once in Royal David’s Belvoir evening performances, either by City. Brothers Wreck in particular had a purchasing subscription packages or by Page 8 strong emotional impact on students. One booking specific productions. This year, wrote: ‘The moment in the play that had the 1,821 students and their teachers attended most impact on me was when they were at Statistics an evening performance at Belvoir. the old house and where Ruben decided Performances 8 to change and gather round as a family. I’ve never seen a play with so much focus Total Audience 2,037 Because it was touching and I felt really and a beautiful story. It was probably the emotional on that day and I actually learned best play I’ve ever seen. Co-written by Lighting Designer Touring venue something that I will apply to my life.’ Student, Wiley Park Girls High School, on The Glass Menagerie Louis Nowra & David Page Mark Howett Corroboree Sydney Festival, Students also loved A Christmas Carol. from an original concept by Bangarra Dance Theatre Sound Designer A teacher from Chifley College Senior Theatre workshop program David Page 21 November – 14 December Steve Francis Campus wrote to us on the train back Belvoir’s workshop program brings Directed by to Mount Druitt after attending the play: students, teachers and industry Stage Manager Stephen Page ‘Thank you so much for today. We brought professionals together. In 2014 we again Peter Sutherland Set Designer our Studies cohort with us today and they delivered a huge program of practical Robert Cousins Assistant Stage Manager laughed (and cried). I am sitting in a train workshops in performance, production Emjay Matthews listening to them discuss all the positives and design at Belvoir, at schools through Costume Designer that theatre brings. It was an awesome regional NSW, including a digital workshop With Jodie Fried performance (and magical) and a genuine in Set Design broadcast to students David Page pleasure to see the joy on the faces of our studying through the Dubbo School of students and those younger students from Distance Education. the other schools.’ We ran 84 workshops for 1,632 students In our schools audiences we also see a mix in metropolitan and regional schools, at of theatre-going experience – from those Belvoir St Theatre and in our rehearsal who have been attending our productions rooms. Half of these students experienced for a number of years, to others coming the workshops at their own regional for the first time. Each schools matinee is schools. The quality, reach and impact of Humour, nostalgia and poignancy are perfectly balanced in David Page’s followed by a Question & Answer session our Regional Workshop program goes part well-travelled autobiographical show. It is a classic of the genre. with the cast. way to closing the cultural gap between The Sydney Morning Herald students at regional high schools and their metropolitan peers.

32 33 We would love to have the opportunity Royal David’s City or Nora. Beforehand, to travel to the city but it’s too they participated in a 90-minute session at expensive. This opportunity allows their school, designed to introduce them, ALL students to be able to afford it through practical activities, to the elements and gain valuable skills. of theatre used by a director to bring a text Teacher, Nyngan High School to life on the stage. After seeing the show, students met a member of the cast or This was an invaluable experience for creative team who visited their school for a both the students and the staff present. Question & Answer session. Teacher, Warren Central School Playwright Kit Brookman and actor Blazey It’s easier to understand drama when it Best (both of our production Nora) visited comes from the professionals. schools as part of our Theatre Enrichment Student, Tuggerah Lakes Secondary College program. One teacher wrote to us that her Most workshops are the same but this students ‘… have definitely been positively Mish Grigor at Trundle Central School where she ran a Group Devising workshop with one was fun and had a bit of flair too, it influenced by the experience. They were regional students. Photo: Simone Evans. was that great! so enthusiastic during rehearsals on Friday, Student, Murray High School and were happy to experiment with ways of their own short performances, based on completed one week of work experience making their own performances as succinct Professional development workshops their experiences and views of the world. at Belvoir; as well as Sydney students, we as Nora was to the viewing audience.’ for teachers Performed in the Downstairs Theatre, the hosted students from Orange, the Illawarra Three professional development workshops Due to our school’s isolation, we only pieces were strong and honest, tackling and the Blue Mountains. Seventeen in teaching Group Devising, Costume have limited access to professional live issues such as teenage pregnancy, street students took part in work placement as and Set Design were held at Belvoir with theatre sets in proper playhouses. This violence, gender and identity and the part of their Vocational Education and 30 teachers participating. These full-day means that this experience was not only prejudice marginalised young people often Training Entertainment Certificate. These workshops, held on a Saturday, are a an incredible learning experience for experience. The program challenges the Year 11 and 12 students spent one week great way for Belvoir to meet teachers our students, but also an incredible LIFE young people to step outside their comfort with Belvoir’s Production department, face-to-face and to learn how we can experience. zone by committing to the process and participating in the bump-in of a Belvoir better support their teaching. Our tutors Teacher, Coomealla High School having the courage to stand up in the public production. share their professional experience and I think that what the director wanted us forum and tell their story. processes with teachers, and explore More resources we provide to understand was that we have a choice approaches to working with students As the crowd of people came into the Students continue to access Belvoir’s about what we believe, that we don’t through practical activities. [theatre] the nerves were shooting to the history and past productions. In 2014, 121 have to follow the crowd. roof and it was unbelievably scary. But students went on a backstage tour and 565 It was so helpful in explaining the Student, Coomealla High School my school and I had pulled through all students watched an archival recording of practical elements of Set Design for [This program] provides opportunities the nerves and done the play. It was an one of Belvoir’s productions. HSC students. Thanks Belvoir – another exciting and nerve wracking experience for students to see live professional In 2014, 1,075 teachers received our excellent workshop! and if I got the chance to do it again I theatre. For us, distance and money is Education e-bulletins, and our annual Teacher, Lucas Heights Community School would definitely take the opportunity! always an issue. school book was posted to 1,892 teachers Theatre Enrichment Teacher, Narooma High School My experience at Belvoir was amazing. in NSW as well as 131 teachers interstate. The experience of attending a performance Youth Express I met so many people and being able to at Belvoir is extended for some students Belvoir’s Education webpages received Belvoir’s outreach program, Youth Express, act was a big deal for me… here I was through our unique Theatre Enrichment 13,445 page views in 2014, proving that our ran for the tenth year in 2014. Thirty-two able to be strong and work with people Program – a fully subsidised program online resources are attractive, user-friendly young people participated. We worked with and do what I want for once. offered to students at government high and are being utilised by both teachers and four youth-support organisations – Youth Off Participants, Youth Express schools in western and south-western students alike. the Streets’ Key College, Regenesis Youth, Work experience Sydney and regional NSW. In 2014, 361 Jane May The John Berne School and Twenty10 – Secondary school students have the students and their teachers participated Education Manager to deliver a 16-week program of drama in this program. Students attended a opportunity to learn more about Belvoir and workshops to young people at risk. With school matinee performance of Once in our productions first hand through our work directors James Winter, Gavin Vance and experience program. In 2014, 16 students 34 Margie Breen, the young people devised 35 Artistic and Programming

2014 was a fantastic year for artistic actor Ash Flanders in the title role. Her the National Writers’ Festival, with Leticia Darwin after the suicide of their cousin and development and programming at Belvoir, second work, Oedipus Rex, was staged in Cáceres as director and Anthea Williams as friend. The work received fantastic reviews with more artists in ongoing employment our Downstairs Theatre, with Peter Carroll dramaturg. Nakkiah Lui received a number and will tour in 2015. In 2014 Jada joined in the company than ever before. The and Andrea Demetriades; a stark and of workshops for Kill the Messenger through Belvoir as an Associate Artist supported Artistic and Programming team for the year compelling production. And to herald in the the Dreaming Award. And a number of by our donor programs, The Hive and the comprised Jada Alberts, Eamon Flack, festive season, Benedict Hardie and Anne- writers were invited into the building for Chair’s Group, the Australia Council for the Brenna Hobson, Adena Jacobs, Ralph Louise Sarks adapted Dickens’ A Christmas more informal notes sessions, development Arts and Playwriting Australia. Jada has Myers, Anne-Louise Sarks and Anthea Carol into a joyous and darkly compelling, and writing workshop days. been a fantastic asset to the company, Williams. Tahni Froudist was our Associate highly theatrical version for the stage. working as a dramaturg on Nakkiah Lui’s Kill Awards Producer until April when she left to take up the Messenger and as co-writer of Elektra / Co-productions The NSW Philip Parsons Fellowship for the role of General Manager at HotHouse Orestes – both shows are part of our 2015 In 2014 post and THE RABBLE were invited Emerging Playwrights has continued to Theatre in Albury. That same month, Season. into the company. In association with the be an unusually successful generator of Luke Cowling joined the department as Sydney Festival, post created a democratic new plays. Zoë Coombs Marr’s work Is Anthea Williams Associate Producer. extravaganza, Oedipus Schmoedipus, This Thing On? was commissioned as part Associate Director – Literary New works which extrapolated and mashed up death of the Fellowship; following its season in This year Belvoir produced a number of new scenes from multiple classic texts and saw our Downstairs Theatre it won the Sydney works, showing our commitment to both over 300 volunteers perform on the Belvoir Theatre Award for Best Ensemble Cast. known and new playwrights; they included stage. THE RABBLE created Cain and Abel, The Parsons Fellow for 2014 is Julia-Rose Once in Royal David’s City by Michael a work reframing the first act of violence Lewis. Julia-Rose’s submission for the Gow, Brothers Wreck by Jada Alberts and as a story about sisters. In addition, The award was Samson, which will be staged in Is This Thing On? by Zoë Coombs Marr. Government Inspector was a co-production our Downstairs Theatre in 2015. Three radical re-workings of known stories with Melbourne’s Malthouse Theatre. The Balnaves Foundation Indigenous included Nora by Kit Brookman and Anne- Development Playwright’s Award was run for the Louise Sarks, The Government Inspector Over the past three years the Artistic third time in 2014, with a strong field of by Simon Stone, Emily Barclay and the and Programming department has been applicants. Judges Wesley Enoch, Rachael cast, and Cinderella by Matt Whittet. Nora focusing on developing new Australian Maza, Eamon Flack and Anthea Williams (inspired by Ibsen’s A Doll’s House) and voices through commissions, residencies were joined by 2013’s winner Jada Alberts. Cinderella completely re-framed their stories and Downstairs Theatre productions. 2014 It was fantastic to have Wesley and for a contemporary audience to explore was a fantastic year for the development Rachael, both Artistic Directors of other the lives of women in Australia today, while of new works, with Angela Betzien, companies, supporting the award and the The Government Inspector was a comic Nakkiah Lui and Matt Whittet all having playwrights who applied. Leah Purcell won examination of how theatre can be made. plays programmed for the first time in the award this year for a work that takes Our live theatrical ‘chat show’ hosted the Upstairs Theatre as part of our 2015 Henry Lawson’s The Drover’s Wife as its by Wesley Enoch, 20 Questions, saw an Season (Mortido, Kill the Messenger and inspiration. Leah is writing this new work unprecedented number of Aboriginal and Seventeen respectively). Each of these with the intention that she will play the lead Torres Strait Islander artists welcomed onto writers was developed by the company in a radical Indigenous and feminist retelling the Belvoir stage to discuss their lives, what and received Downstairs productions as of the story. This award has been such a made them artists, and living in Australia, part of this development: The Dark Room in success that The Balnaves Foundation and among many other topics. 2011 (Angela Betzien); This Heaven in 2013 Belvoir have decided to run it for a further Classics (Nakkiah Lui); and Old Man in 2012 and three years. Eamon Flack created a beautiful production Cinderella in 2014 (Matt Whittet). Jada Alberts of The Glass Menagerie with live video Timothy Spencer was brought into the One of the great highlights of 2014 on stage, highlighting Tom’s agency company as a writer-in-residence with was Jada Alberts’ debut play Brothers as the writer in this memory play. The a commission supported by Playwriting Wreck. The work was a beautiful piece of work received outstanding reviews and Australia. Beatrix Christian’s play The contemporary Indigenous naturalism that feedback. For her first work as our Resident Coleridge Papers was supported with a told the story of a group of young people in Director, Adena Jacobs produced a radical two-day workshop at the University of reimagining of Hedda Gabler with male Wollongong. Angela Betzien’s Mortido 36 was given two public readings as part of Susan Prior in Is This Thing On? Photo: Brett Boardman. 37 Marketing

Marketing Belvoir’s 2014 Season presented our most successful communication of this us with challenges and rewarded us with type to date and audiences can expect achievements across the year. We had more direct communication from our artists well over 8,000 subscribers to our 2014 in the future. Season, and over 100,000 people attended September through October saw a performances at Belvoir St Theatre. highlight of our 2014 Season grace the On the touring front, our increased national boards Upstairs. Eamon Flack’s luminous and international touring allowed us to reach production of Tennessee Williams’ classic, more audiences than ever before. Across The Glass Menagerie was a huge hit with Australia and around the world we reached critics and audiences alike, garnering five- over 50,000 more people. star reviews and selling out. Combined global attendances, both home A Christmas Carol gave us the opportunity and abroad (sold and complimentary to appeal to families at a very special time tickets), totalled over 155,000 for Belvoir of year and we were pleased to be able productions in 2014. to offer affordable packages to families. A Christmas Carol coincided with the Philosophy and initiatives installation of several new digital screens At Belvoir we believe that our imagery in our foyer; part of a broader foyer should reflect who we are as a company refurbishment that aims to improve our The Glass Menagerie digital advertising at Sydney Airport. Photo: oOh! Media. and how we approach our work. For us that patrons’ experience. These multi-purpose means clarity, playfulness, boldness and screens provide an alternative to foyer great storytelling. Portraits of our actors Social media platforms are a powerful and throughout the year and across Ralph signage and allow us to communicate a have become synonymous with Belvoir and integral part of Belvoir’s communications, Myers’ tenure as Artistic Director since large amount of information to patrons in instantly recognisable; in 2014 we extended and we utilise our networks to share many 2011. We look forward to more challenges, a seamless manner. They are able to be the look and feel of our season campaigns aspects of the company with our loyal highlights and successes in the coming updated quickly and regularly and offer from previous years. followers. Supporting Belvoir’s core values years. readily available information about running and principles, our posts encourage a The way that people consume media is Gemma Frayne times, food and beverage offerings as well sense of community within the theatrical constantly changing and Belvoir seeks Marketing Manager as the generosity of our supporters. environment and a responsiveness to to adapt to those changes. In 2014 we Website and social media current social and political issues. As a continued our successful employment of Our website is the digital gateway into result our Facebook, Twitter and Instagram digital signage. Working with partner oOh! all Belvoir activities on stage and behind accounts have shown a steady and Media, we captured the attention of new the scenes. Apart from what happens on consistent increase in followers for Belvoir audiences with multiple sites at Sydney the Belvoir stage, the website is our most over 2014, consistent with the growth of Airport and at major shopping centres. powerful voice and as a result we are these platforms globally. We gained 5,000 We also continued to experiment with constantly looking at ways to improve the more active Facebook followers in the year, new marketing platforms, for example, we site and increase engagement. In 2014 our taking us to 17,000. Over 3,000 more people ventured onto Sydney trains for the first website received almost half a million visits followed us on Twitter, taking our number time – on lines most geographically aligned from approximately 250,000 patrons with to 14,000. In line with global increases, we with our audience demographic. half of those visitors being new to us. While enjoyed a rise of 1,000 new followers on We know that our audiences are interested the majority of site visits are from Australia Instagram over the year; now over 2,500 in additional insights into our work and our (specifically Sydney) we also experience fans engage with us on that platform. artists. As one way of satisfying this desire, healthy levels of visits from the US, the UK, We are constantly looking for ways to during Once in Royal David’s City, we New Zealand, Canada, India, Germany, increase Belvoir’s profile and following. invited lead actor Brendan Cowell to write a France and The Netherlands due to our We have enjoyed robust and satisfying feature introduction article for our monthly increased international touring. engagement with our audiences via many electronic news bulletin/letter. It became and varied campaigns and platforms

38 39 Development

Revenue from trusts and foundations, reliance on private sector revenue, and we corporate sponsorship and philanthropy are determined to replace Optus with an programs generated over $2 million in 2014 equally engaged and supportive corporation compared to $1.9 million in 2013. This is as soon as possible. the most successful result in the company’s 2014 was also the last year of our history and represents cash and in-kind partnerships with Goldman Sachs and support that is equal to government funding Henry Davis York. We are grateful to both for the first time. organisations for their support and look Belvoir’s private sector supporters provided forward to reigniting these relationships in the critical financial stability within a difficult future as their sponsorship strategies evolve. Board member Anne Britton, host Michael Hogan & actor Lynette Curran at commercial operating environment. our Creative Development Fundraiser. Photo: Patrick Boland. While corporate support waned, private Despite low consumer confidence, our philanthropy thrived with a 30% increase in development performance exceeded donations on our 2013 result. Our donors budgeted expectations for the year, which With international touring remaining a key individual donations, we received renewed remain Belvoir’s backbone. To thank them helped to reduce the impact of lower-than- area of focus, our International Touring support from The Teen Spirit Foundation, for their support and bring them closer forecast results in other areas. Fund received significant contributions The Gandevia Foundation, the Greatorex to the company and our work, we held from The Andrew Cameron Family Foundation and the Coca-Cola Australia Our increase in development income is more behind-the-scenes events than ever Foundation, Mark Carnegie, Jessica Block Foundation. In 2014 we also welcomed new especially impressive considering the in 2014. The more we get to know this and the Keir Foundation. This critical partners: MAN Investments Australia came ongoing challenges of corporate sponsorship enthusiastic group the more inspired we are program supported tours to Amsterdam, on board to become a Youth and Education we, and other arts companies, continue to by their deep commitment to Belvoir, as well Glasgow, London, Mannheim, Mexico supporter, and we received a two-year grant face. Most significantly, our longstanding as their understanding of the important role City, Pilsen and Prague. Sharing our work from the Crown Resorts Foundation through relationship with Optus came to an end we play in enriching the lives of so many with the world not only benefits Belvoir their Western Sydney Arts Initiative. in March. Fourteen years is a long time in people at home and around the world. and our artists, it also helps to promote sponsorship terms, and it is appropriate Belvoir is lucky to have a strong team of We brought a small group of highly-engaged Australia as an adventurous producer of to single out the enormous contribution of Board members and staff to manage a donors together in 2014 to augment our world-class theatre. Because international Jann Kohlman, who passed away in July, diverse mix of donor, sponsor and other existing Board Development Committee. touring sits outside Belvoir’s normal for ensuring Belvoir sustained this important stakeholder relationships; it’s thanks Affectionately called the Co-Conspirators, operating budget, we simply could not corporate support for so long. Jann to them that we can depend on private this generous group – including Anita take Belvoir to the world without the worked at Optus for many years and was sector support to underwrite our work Jacoby, Victoria Taylor, Mark Warburton, International Touring Fund. instrumental in securing and managing the more than ever before. Belvoir’s success Peter Wilson and Cathy Yuncken – has been Belvoir partnership, as well as partnerships Closer to home, members of our supporter in this area is in large part possible thanks tasked with providing high-level feedback with many other arts organisations. We group The Hive joined the cast and creative to the exemplary leadership shown by our on our development program, helping us are deeply grateful to Jann for the care team of Cinderella as they developed the Chair, Andrew Cameron AM. Andrew is a execute parts of our strategy and identifying and passion with which she managed this show for our Downstairs Theatre. This dedicated leader and philanthropist. His people within their own networks who may relationship on Optus’ behalf, and to the very vibrant group of young donors swelled passion for the arts is contagious and we benefit from becoming more engaged with many great people at Optus we worked with in the second year of the program, with are grateful to him for the time, energy and Belvoir. We’re very pleased with what the over the course of our partnership. a 100% retention rate and a number of commitment he provides at a Board level, Co-Conspirators have achieved in the first new donors signing up. The Hive is often and when working with our Development We are yet to replace Optus as Corporate year of the initiative and grateful to them cited as one of Australia’s benchmark Committee, Co-Conspirators and staff. Our Partner, despite continued efforts by both for the time, energy and insight they have donor programs for ‘new generation’ small and dedicated team achieves a great Board members and staff throughout already provided. philanthropy. We are incredibly pleased deal with limited resources, and we know the year. A partnership of this kind We are also very grateful to The Balnaves to have established such meaningful our success in generating private sector provides a wonderful alignment for the Foundation, whose commitment to Belvoir relationships with its members that we support will continue in their safe hands. right organisation and we will continue and our Indigenous program strengthens know will continue for many years to come. to seek out business leaders, like Jann Nathan Bennett year-on-year. Our Chair’s Report covers Kohlman, who understand the value of arts Support specifically for Belvoir’s education Deputy Executive Director & their support during 2014 in more detail; it partnerships. Securing a Corporate Partner activities increased in 2014, allowing us Head of Development represented our fourth year of working with remains a top priority given our increasing to reinforce our commitment to young The Balnaves Foundation. people across NSW. As well as growth in 40 41 Donors

We give our heartfelt thanks to all our donors for their loyal and generous support.

Creative Development Fund Ann Sherry AO Peter & Jan Shuttleworth Susan Harte Susan Casali Irena Nebenzahl Penny Ward Merilyn Sleigh & Raoul de Ferranti Dorothy Hoddinott AO Penny Chapman Patricia Novikoff Neil Armfield AO David & Jennifer Watson Jennifer Smith Sue Hyde David Chesterman AM Alan Olsen Jill & Richard Berry Kim Williams AM Chris & Bea Sochan Peter & Rosemary Ingle Michael & Colleen Chesterman Janette Parkinson & Roy Fernandez AO Anne Britton Jeremy Storer & Annabel Crabb Richard Jones Lucy Chipkin Judy & Geoff Patterson Justin Butterworth & Stephen Asher Judy Thomson Christina Johnson John Clayton Natalie Pelham Andrew Cameron AM & 2014 B Keepers Sue Thomson Stewart & Jillian Kellie Bryony & Timothy Cox Christina Pender Cathy Cameron Anonymous (5) Lynne Watkins & Nicholas Harding Susie & Nick Kelly Jane Diamond Angela Raymond Janet & Trefor Clayton Robert & Libby Albert Paul & Jennifer Winch Matthew Kidman Diane Dunlop Catherine Rothery Michael Coleman Claire Armstrong & John Sharpe Ian & Judy Wyatt Xanthi Kouvatas Jane Elder Pamela Ryan Hartley Cook Berg Family Foundation Veronica & Matthew Latham Anton Enus & Roger Henning Craig Sahlin Gail Hambly Bev & Phil Birnbaum Corporate B Keepers Ruth Layton Carole Ferrier Leigh Sanderson Louise Herron & Clark Butler Max Bonnell Constructability Recruitment Ian Learmonth & Julia Pincus Frances Garrick Elfriede Sangkuhl Victoria Holthouse Ellen Borda Macquarie Group Foundation Walter & Elizabeth Lewin Ronald Gaudreau Agnes Sinclair Peter & Rosemary Ingle Anne Britton Jennifer Ledgar & Bob Lim Paul Gibson Eileen Slarke & Family Helen Lynch AM & Helen Bauer Dr Catherine Brown-Watt 2014 The Hive Nicole Philps Cary & Rob Gillespie Sandra & Barry Smorgon OAM Frank Macindoe Jan Burnswoods Ateka & Ted Ringrose Jill Gordon Andrew Smyth-Kirk David Marr Mary Jo & Lloyd Capps Anthony Baxter & Elly Michelle Clough Doc Ross Family Foundation The Gorr Burchmore Group Dr Titia Sprague Sherry-Hogan Foundation Dr Brian T. Carey Nathan Bennett & Yael Perry Peter & Janet Shuttleworth Pamela Grant Paul Stein Kim Williams AM & Catherine Dovey Jane Christensen Justin Butterworth & Stephen Asher Jennifer Sindel Anthony Gregg Harvey Stockwell Louise Christie Dan & Emma Chesterman Chris & Bea Sochan Priscilla Guest Catherine Sullivan Supporters of Creative Suzanne & Michael Daniel Este Darin-Cooper & Chris Burgess The Spence Family Sophie Guest Anthony Tarleton Development over $250 Tracey Driver & Simon Robinson Joanna Davidson & Julian Leeser Jeremy Storer & Annabel Crabb Julie Hannaford Carmel Taylor Anthony Benscher Dr Linda English Julie & Jamie Garis Kerry Stubbs Kim Harding & Irene Miller Axel & Diane Tennie Helen Bowden Chris & Bob Ernst Ruth Higgins & Liliana Munoz Anthony Tarleton Jan Harland Janet Tepper Richard Evans Jeanne Eve Emma Hogan & Kim Hogan Sarah Walters Dr Juliet Harper John Thacker & Gloria Jones Chris Green & Rachel Simons Cary & Rob Gillespie Bruce Meagher & Greg Waters Lorelle Yee Professor Margaret Harris Mike Thompson Lisa Hamilton & Rob White Peter Graves Gerard Outram & Fiona Holyoake Jason Yetton & Joanne Lam Harrison & Kate Higgs Suzanne & Ross Tzannes AM Ian McDonald David & Kathryn Groves Jennifer Parsonage Brenna Hobson Jane Uebergang Emma McDonald David Haertsch Olivia Pascoe General Donors over $250 Dorothy Hoddinott AO Louise & Steve Verrier Penelope Seidler Wendy & Andrew Hamlin Andrew & Louise Sharpe Anita Jacoby Chris Vik & Chelsea Albert Cathy Yuncken John Head Simpsons Solicitors Anonymous (12) David Jonas & Desmon Du Plessis Ariadne Vromen Marion Heathcote & Brian Burfitt Michael Sirmai Charles & Hannah Alexander Iphygenia Kallinikos Elizabeth Webby AM Libby Higgin The Sky Foundation Judy Alford 2014 Co-Conspirators Su Kennedy Bronwen Whyatt Michael Hobbs Peter Wilson & James Emmett Annabelle Andrews & Peter Murray Anita Jacoby Robert Kidd Peter Wilson & James Emmett Anita Jacoby R. & B. Armfield Victoria Taylor Sarah Lawrence Brian & Trish Wright Shirley Jarzabek Education Donors over $250 Ian Barnett Mark Warburton Margaret Lederman Lance Wright Avril Jeans Suzanne Baker Peter Wilson Anonymous (7) Joseph Lipski Jane Wynter Kevin & Rosemarie Jeffers-Palmer Anne & David Bennett AO Cathy Yuncken Len & Nita Armfield Ross Littlewood & Alexandra Curtin Corinne & Rob Johnston Baiba Berzins Ian Barnett Dr Carolyn Lowry Belvoir is very grateful to accept Margaret Johnston Martha Boskovitz Anthony Baxter & Elly Michelle Clough Amanda Love all donations. Donations over $2 2014 Chair’s Group Colleen Kane Jennifer Bott Anne & David Bennett AO Wendy McCarthy are tax deductible. If you would Anonymous (1) Jann Kohlman Ian Breden & Josephine Key like to make a donation or would Paul Bide Dr Helen McCathie Antoinette Albert A. le Marchant Jillian Broadbent AO like further information about any A.B. R. S. McColl Jill & Richard Berry Jennifer Ledgar & Bob Lim A.B. of our donor programs please call Andrew Cameron AM & Christopher Matthies Jillian Broadbent AO Stephanie Lee Rob Brookman & Verity Laughton our Development Team on Cathy Cameron Dr David & Barbara Millons 02 9698 3344 or email Chris Brown Atul Lele Dr & Mrs Gil Burton Karen Cooper & Simon Tuxen Carol Mills [email protected] Jan Chapman & Stephen O’Rourke Hilary Linstead Andrew Cameron AM & Peter Demou John Morgan Louise Christie A. Maxwell & R. Godlee Cathy Cameron List correct at 31 December 2014. Jane Diamond Ralph Myers Wesley Enoch Professor Elizabeth More AM Veronica Espaliat & Ross Youngman Kathleen & Danny Gilbert Jane Munro John B. Fairfax AO Sophie Guest Dr David Nguyen JoAnna Fisher Special Thanks Judge Joe Harman Don & Leslie Parsonage Nancy Fox We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. They will always Michael Hobbs Timothy & Eva Pascoe Hamish Fraser be remembered for their generosity to Belvoir. The following people and foundations supported the Marion Heathcote & Brian Burfitt Greeba Pritchard Susan Gabriel redevelopment of Belvoir St Theatre and purchase of our warehouse: Emma Hogan David & Jill Pumphrey Geoffrey & Patricia Gemmell Andrew Cameron AM & Cathy Cameron (refurbishment of theatre & warehouse) Ross McLean & Fiona Beith Richard & Heather Rasker Kiera Grant Russell Crowe (Downstairs Theatre & purchase of warehouse) Cajetan Mula (Honorary Member) Colleen Roche Chris Green & Rachel Simons The Gonski Foundation & The Nelson Meers Foundation (Gonski Meers Foyer) Steve & Belinda Rankine Chantal & Greg Roger Matthew Hall Andrew & Wendy Hamlin (Neil’s, now Ralph’s, office) Alex Oonagh Redmond Lesley & Andrew Rosenberg Julie Hannaford Hal Herron (The Hal Bar) Michael Rose & Jo D’Antonio Andrew & Louise Sharpe Jan Harland Geoffrey Rush (redevelopment of theatre) Vivienne Sharpe Judge Joe Harman 42 Fred Street AM (Upstairs Dressing Room) 43 Board and Staff In the Rehearsal Room

Belvoir Board of Finance & Operations Front of House Directors Head of Finance & Operations Front of House Manager Anne Britton Francisca Peña from 27.01.2014 Ohmeed Ahi Mitchell Butel Financial Administrator Assistant Front of House Andrew Cameron AM (Chair) Ann Brown until 28.02.2014 Manager Tracey Driver Company Accountant Scott Pirlo Richard Evans Komal Rabidaya from 30.06.2014 Front of House Assistants Gail Hambly (Deputy Chair) Accounts Administrator Olga Assagby, Shiloh Blondel, Brenna Hobson Susan Jack Alex Bryant-Smith, Luke Ian Learmonth IT & Operations Dambsy-Scott, Kate Dillon, Luke Ralph Myers Jan S. Goldfeder Dipple, Dale March, Luke Martin, Olivia Pascoe Aime Neeme, Lara Pigott, Marketing Whitney Richards, Matt Ringuet, Ryder Stevens, Kieran Summers, Artistic & Marketing Manager Venetia Taylor Programming Gemma Frayne Artistic Director Digital Content Producer Ralph Myers Marty Jamieson Box Office Executive Director Publications Manager Box Office Manager Brenna Hobson Gabrielle Bonney Erin Algeo until 21.02.2014 Associate Director – Publicity & Public Affairs Tanya Ginori-Cairns from New Projects Manager 24.02.2014 Eamon Flack Elly Michelle Clough Assistant Box Office Managers Associate Producer Jessica Cassar until 27.07.2014 Tahni Froudist until 18.04.2014 Development Andrew Dillon from 21.07.2014 Creators Kate Davis & Emma Valente – Cain and Abel. Photo: Brett Boardman. Luke Cowling from 28.04.2014 Tanya Ginori-Cairns until Head of Development Associate Director – Literary 21.02.2014 Nathan Bennett Anthea Williams Laura Henderson from Corporate & Resident Directors 28.07.2014 Sponsorship Officer Adena Jacobs Alana Hicks Paul Hooper until 26.09.2014 Anne-Louise Sarks Box Office Staff Philanthropy Officer Associate Artist Annabel Blake, Laura Frangelli, Liz Tomkinson Jada Alberts from 14.07.2014 Emma Furno, Quinn Gibbes, Rebecca Hitch, Jason Lee, Production Education Patrick Magee, Dana Trijbetz, Head of Production Aimee Timmins Education Manager Daniel Potter Subscriptions Manager Jane May Downstairs Theatre & Touring Jason Lee from 23.06.2014 Education Coordinator Production Manager Subscriptions Staff Cathy Hunt until 07.03.2014 Todd Wilson Matt Bartlett, Emily Burke, Tom Simone Evans from 09.04.2014 Staging & Construction Conroy, Fiona Dunne, Jennifer Managers Gardner, Jorijia Gillis, Georgia Administration Joel Goodall from 20.01.2014 Goode, Julia Gove, Laura Artistic Administrator Penny Le Fort from 20.01.2014 Hanna, Brenda Hartley, Sian John Woodland Technical Manager Luxford, Penelope Parsons–Lord Administration Coordinator Warren Sutton Maeve O’Donnell Resident Stage Manager Luke McGettigan Production Coordinator Eliza Maunsell Production Administrator (casual) Jack H. Audas Preston Costume Coordinator Judy Tanner Actors Kate Box & Peter Carroll – Actor Ash Flanders & director Adena Jacobs – 44 A Christmas Carol. Photo: Brett Boardman. Hedda Gabler. Photo: Brett Boardman. 45 In the Rehearsal Room

Actors Pamela Rabe & Luke Mullins – The Glass Menagerie. Photo: Brett Boardman.

Creator & performer Zoë Coombs Marr – Actors Greg Stone & Mitchell Butel with writer/director Oedipus Schmoedipus. Simon Stone – The Government Inspector. Photo: Brett Boardman. Photo: Brett Boardman.

Actor Fiona Press – Is This Thing On? Playwright Michael Gow & actor Brendan Actor Linda Cropper, writer/director Anne-Louise Sarks & actor Blazey Best – Nora. Photo: Brett Boardman. Photo:46 Brett Boardman. Cowell – Once in Royal David’s City. 47 Photo: Heidrun Löhr. Financial Statements

48 49 Key Performance Indicators

ARTISTIC VIBRANCY Subscription Season Readings FINANCIAL VIABILITY 2014 2013 2012 Upstairs Downstairs STRENGTH OF RESERVES 2014 2013 2012 2014 2013 2012 2014 2013 2012 Net assets / $1,305,227 / $1,301,741 / $1,869,613 / PROFILE OF WORKS Annual Turnover $10,654,692 (12%) $11,132,558 (11.69%) $11,659,250 (16.04%) New 6 3 6 4 4 5 11 8 4 Net assets / $1,305,227 / $1,301,741 / $1,869,916 / Existing 3 6 3 0 1 0 0 0 2 Total Assets $4,652,663 (28%) $5,186,377 (25.10%) $6,118,575 (30.56%)

ORIGIN OF WORK PROFITABILITY Australian – New 6 3 6 4 4 5 11 8 4 Total income minus expenditure $3,486 -$567,872 $81,977 Australian – Existing 0 1 1 0 1 0 0 0 1 EARNED INCOME GENERATING ABILITY Overseas – Existing 3 5 2 0 0 0 0 0 1 TOTAL PROFILE OF PRODUCTIONS Total earned income / $8,577,104 / $9,027,503 / $9,753,901 / New 9 8 8 4 5 5 n/a n/a n/a Total income $10,654,692 (80.5%) $11,132,558 (81.09%) $11,659,250 (83.66%)

Existing 0 1 1 0 0 0 n/a n/a n/a BOX OFFICE Total box office / $4,916,966 / $5,723,516 / $6,482,160 / Total income: $10,654,692 (46.15%) $11,132,558 (51.41%) $11,659,250 (55.6%)

PRIVATE SECTOR Total private sector / $2,186,354 / $1,922,031 / $1,818,631 / Total income: $10,654,692 (20.52%) $11,132,558 (17.26%) $11,659,250 (15.6%)

ACCESS Attendances Number of Performances OTHER INCOME 2014 2013 2012 2014 2013 2012 Total other income / $1,473,784 / $1,381,956 / $1,453,110 / Total income: $10,654,692 (13.83%) $11,132,558 (12.41%) $11,659,250 (12.46%) SELF-PRESENTED Belvoir Upstairs 93,284 108,846 108,455 364 369 390 GOVERNMENT FUNDING CONTRIBUTION Belvoir Downstairs 9,326 14,235 14,346 131 208 181 Govt. funding / $2,077,588 / $2,105,055 / $1,905,349 / Total income $10,654,692 (19.50%) $11,132,558 (18.91%) $11,659,250 (16.34%) Other Sydney Venues 0 7,800 11,005 0 12 13

SOLD TO EXTERNAL PRESENTERS Regional 10,006 2,657 7,116 58 17 18 Interstate 34,442 16,749 55,644 101 109 108 International 8,160 3,226 5,680 22 22 17

OTHER Free Concert Attendances 2,221 2,366 2,220 8 9 8 Educational Performances 5,569 5,340 4,814 25 25 24 Educational Workshops 2,550 3,343 5,423 176 132 172 Education – Other 1033 854 742 106 81 90

50 51 Directors’ Report

The directors of Company B Limited (trading Mitchell has also been a Special Projects Officer Gail Hambly Ralph Myers – Artistic Director as, and hereafter referred to as, “Belvoir” or for the NSW Office of the Board of Studies and Deputy Chair, Member: Finance sub-committee Executive Director “the Company”) submit herewith the annual has taught at ATYP, NIDA and the Australian Gail is Group General Counsel and Company Member: Artistic sub-committee financial report for the financial year ended 31 Institute of Music (AIM). He has been a proud Secretary of Fairfax Media and is responsible for Graduating from NIDA in 2000, Ralph is a set December 2014. member of Actors Equity since 1988, a member of the provision of legal, corporate governance designer whose work has toured internationally the National Performers Committee since 2007 Directors communications and internal audit services to and won many awards. For Belvoir he has and was Federal Vice President of the Media, The names and details of the Company’s directors the Fairfax Group. Gail is Chairman of Copyco directed Peter Pan, directed and designed Entertainment and Arts Alliance from 2010–2013. in office during the financial year and until the Pty Limited, a Director of Trade Me Group Limited, Private Lives, and designed Elektra / Orestes, He is also on the Advisory Panel for the Australia date of this report are as follows. Directors were in a member of the Advisory Board of the Centre of Kill the Messenger, Is This Thing On?, The Council-funded New Musicals Australia. office for this entire period. Media and Communications Law at Melbourne Government Inspector, Coranderrk, Hamlet, University, a member of the Media and Stories I Want to Tell You in Person, Death of a Anne Britton Andrew Cameron AM Communications and Privacy Law Committees Salesman, Summer of the Seventeenth Doll, The Mitchell Butel Chair, Member: Finance, Development & of the Law Council of Australia and a director Seagull, The Wild Duck, Measure for Measure, Andrew Cameron AM Planning sub-committees of the Sydney Story Factory – a not-for-profit Toy Symphony, Parramatta Girls, Ray’s Tempest, Tracey Driver A director of Belvoir St Theatre Board since 9 organisation which provides education services The Spook, The Fever, Conversations with the Richard Evans August 2001, Andrew joined the Belvoir Board in with a special focus on disadvantaged children Dead and The Cosmonaut’s Last Message Gail Hambly October 2007. He was elected Chair of Belvoir in Sydney. to the Woman He Once Loved in the Former Brenna Hobson in June 2011. Andrew is currently the Chair of Soviet Union. Ralph’s other credits include The Ian Learmonth the Board of Art Gallery of NSW Foundation, Brenna Hobson – Executive Director City, A Streetcar Named Desire, Blackbird, A Ralph Myers and a Board member of the Sherman Foundation Executive Director & Company Secretary Midsummer Night’s Dream, A Kind of Alaska/ Olivia Pascoe and the Andrew Cameron Family Foundation. Member: Finance, HR, Development, Artistic & Reunion, The Lost Echo, Mother Courage and Peter Wilson (Appointed: 10 February 2015) He is also the Chairman and Managing Director Planning sub-committees Her Children, Boy Gets Girl, This Little Piggy, of a number of privately owned companies with Brenna joined Belvoir as General Manager in Far Away, Morph, Endgame, The 7 Stages of Information on Directors interests in wholesaling, distribution and property February 2008 and is now Executive Director. Grieving and Frankenstein, which he also directed Anne Britton development. He was made a member of the Order She has a Masters of Management (Arts) from (Sydney Theatre Company); Enlightenment, Member: HR sub-committee of Australia in the 2014 Honours List for significant University of Technology and sits on the Seymour Cruel and Tender, Dinner, Frozen (Melbourne services to the visual and performing arts. Anne re-joined the Belvoir Board in 2010 after Centre Artistic Advisory Committee. Previous Theatre Company); Othello (Bell Shakespeare); having serving on the Board for close to decade. Tracey Driver to this she was the General Manager of Jigsaw Wonderlands (Griffin Theatre Company/HotHouse Currently a Principal Member of the NSW Civil Member: Finance sub-committee Theatre Company in Canberra where she was also Theatre Company); Borderlines, Sweet Phoebe a Board Member of the ACT Council of Cultural and Administrative Tribunal, Anne has held senior Tracey joined the Board at Belvoir in December (Griffin Theatre Company); Frame of Mind (Sydney and Community Organisations, part of the steering roles in commonwealth and state tribunals for the 2011 and is a member of the Finance sub- Dance Company); Eora Crossing (Legs on the committee of Canberra Living Artists Week and the past 16 years. Previously Anne was the national committee. Tracey has 20 years’ experience as Wall/Sydney Festival); Black Box (Ballet de l’Opera ACT representative of Critical Stages. Her credits secretary of Actors Equity of Australia and, on its a chartered accountant. She is an audit partner de Lyon); Caligula (English National Opera); The as an independent producer include Now that merger with the Australian Journalist Association with KPMG. Tracey has spent time working in the Marriage of Figaro, Peter Grimes, Così fan tutte Communism is Dead My Life Feels Empty in the 1990s, the joint national secretary of the UK and US and has experience dealing with a (Opera Australia); La Bohème (New Zealand (Melbourne International Arts Festival/B Sharp), Media Entertainment and Arts Alliance. wide range of global businesses. Opera); and Two Faced Bastard (Chunky Move). The Suitors (Old Fitzroy Theatre) and Vital Organs Ralph is on the Board of NIDA. Mitchell Butel Richard Evans (B Sharp). She has also been Production Manager Member: Artistic sub-committee Member: Development sub-committee of Bangarra Dance Theatre and spent 11 years Olivia Pascoe Member: Development sub-committee Mitchell joined the Belvoir Board in May 2013. Richard is an experienced practitioner in in Belvoir’s production department. Brenna was As an actor, singer and writer, Mitchell has arts, culture, events and place making and appointed Opera House Trustee in January 2014. Olivia joined the Board in September 2012 and worked for most state theatre and commercial is also a member of the Development sub- is Principal of the firm REAˇ Consulting. An Ian Learmonth theatre companies and most Australian television committee. This has included the launch of experienced producer, chief executive, and Member: Development sub-committee networks for the last 20 years. He holds three public servant, Richard has previously held roles Belvoir’s next frontier of patronage, The Hive, Ian joined the Belvoir Board in late 2011 and is Helpmann Awards for leading actor for The as Executive Director of the Bell Shakespeare targeted at 30–45 year old theatre lovers nurturing also member of the Development sub-committee. Venetian Twins, Avenue Q and The Mikado, Green Company, The Australian Ballet and CEO of new Australian talent. Olivia is an independent Ian was formerly an Executive Director of Room Awards for Hair and Piaf and multiple Sydney Opera House. In his role at the Opera Strategy Consultant & Executive Coach who Macquarie Bank for over 12 years and has other nominations for Helpmann, Green Room, House Richard oversaw 2,500 events annually, works with Exec Teams and Boards on integrated worked in London, Sydney and Hong Kong in AFI and Sydney Theatre awards. His work at established a number of new festivals and strategy/change/leadership, across industries. various fields of investment banking. After leaving Belvoir includes Dead Heart, A View from the activations, significantly developing the public For the 15 years prior to this, she worked Macquarie in 2011 Ian is now the Executive Bridge, The Laramie Project, Snugglepot and domain and overseeing a period of unprecedented for multinational corporates and consulting Director of Impact Investing at Social Ventures Cuddlepie, Strange Interlude, Angels in America economic and visitation growth. Richard is firms in Asia, Europe and theAmericas. She Australia, a not-for-profit organisation established and The Government Inspector. Writing credits currently Chair of the Confederations of Australian was previously a Member of the Contempo in 2002 that addresses social disadvantage in include And Now For the Weather, Killing Time International Arts Festivals and is working on Committee of the Art Gallery of New South Wales Australia. Ian is also chairman of South Australia and Meow Meow’s Little Match Girl (co-writer). cultural infrastructure planning and development and also contributes to the health, education and wind company Waterloo Wind and e-waste 52 projects around the region. international development not–for profit sectors. 53 recycler PGM Refiners. Peter Wilson Artists: Support and extend our current Artists Operating and Financial Review Member: Development sub-committee and future artists and play a leading role in The operations of the Company during the • Provide opportunities for artists to develop supporting the wider theatrical community financial year were the operations of a live theatre, Peter joined the Company B Board on 10 February their skills, enjoy increased employment production of live theatrical performances and hire 2015. He is a Managing Director of Greenhill & Audience: Consolidate and expand our opportunities with Belvoir and enjoy improved of the theatre to external hirers. Co, Inc., an independent corporate advisory firm audiences, target markets and brand career prospects focused on mergers and acquisitions, and was The net operating profit before interest and Development: Increase commercial and • Continue to seek new ways to increase creative previously a lawyer. He is Chair of Playwriting depreciation of the Company for the year ended philanthropic income while retaining the development opportunities Australia. He has previously served as Chair of the 31 December 2014 was $15,673 (2013: net character and values of Belvoir Inner City Legal Centre, as a director of Belvoir • Fully produce work in the Downstairs Theatre operating loss before interest and depreciation of Street Theatre Limited, as a member of the Finance Management: Consolidate Belvoir’s position $650,901). • Pay artists a fair and living wage Council of the Sisters of the Good Samaritan and as a world renowned, financially stable arts The Company has a target of achieving and as a Trustee of The English Association. organisation via the establishment of sound Audience maintaining reserves of 20% of annual turnover. management and governance practices that Mission Statement • Retain Belvoir’s annual season and single ticket maximise the return on available resources Significant Changes in the State of Affairs To produce theatrical works from a shared vision that audiences levels There have been no significant changes in the question and affirm our culture, extend and develop Dividends • Maintain a high quality education program with state of affairs of the Company during the year. our artists and provide audiences with experiences The provisions of the Memorandum and Articles a commitment to access of imaginative daring and emotional depth. of Association of the Company prohibit the Significant Events after Reporting Date • Maintain increased level of touring activity Core values and principles: payment of a dividend. Accordingly, no dividend Peter Wilson was appointed as a member of the has been paid or declared during or since the • Seek ways to engage with new audiences Company B Board with effect from 10 February • Belief in the primacy of the artistic process end of the financial year or since the Company’s 2015. • Emphasise quality and innovation in all areas of • Clarity and playfulness in storytelling incorporation. customer service and patron amenity There has not been any other matter or • A sense of community within the theatrical Members circumstance, other than that referred to in the Development environment There were 43 members of the Company as at 31 financial statements ornotes thereto, that has December 2014 (2013: 43). • Build a strong and diverse philanthropic base arisen since the end of the financial year, that • A responsiveness to current social and political has significantly affected, or may significantly Principal Activities led by the Creative Development Fund donors issues affect, the operations of the Company, the results The principal activity of the Company during and Chair Andrew Cameron AM • Equality, ethical standards and shared of those operations, or the state of affairs of the the financial year was the operation of a live • Develop new revenue streams and take ownership of artistic process and company Company in future financial years. theatre and the production of live theatrical advantage of commercial opportunities achievements performances within the home venue, Belvoir Likely Developments and Expected Results • Develop strong and mutually beneficial • Development of our performers, artists and staff St Theatre, and on tour both nationally and In the opinion of the directors there were no internationally. These activities have assisted relationships between Belvoir with its corporate significant changes in the state of affairs of the Short-term and Long-term Objectives the Company to achieve its objectives which are partners and individual supporters Company that occurred during the financial Belvoir’s overarching goal for the coming three measured against the specific key performance Management year under review not otherwise disclosed in year period is to build on the success achieved indicators as below: this report or the financialstatements. during tenure of Ralph Myers, the Company’s • Build to and subsequently maintain reserves at Artistic work second Artistic Director while establishing the new 20% of annual turnover Indemnification and Insurance of Directors leadership of incoming Artistic Director Eamon Produce and present six to eight critically and Officers • Maintain a professional management culture Flack. The company will continue to pursue acclaimed new productions per year in the During the financial year, the Company paid supported by efficient management procedures international opportunities and expand its Upstairs Theatre and a suite of work in the a premium in respect of a contract insuring and infrastructure audience base in its home city. Downstairs Theatre based on four strands of work: the directors of the Company against a liability • Maintain a strong board governance policy incurred as such a director, secretary or executive Specific goals for the Company to reach these a) New Australian work in a variety of forms (text officer to the extent permitted by the Corporations objectives are: based, musical and physical theatre) • Work proactively to anticipate and respond to Act 2001. The contract of insurance prohibits external change Artistic work: To produce thought provoking, b) Indigenous work disclosure of the nature of the liability and the inspiring, outstanding theatrical works from a • Establish Belvoir as a world renowned theatre amount of the premium. c) Innovative interpretations of the classics shared vision that question and affirm our culture, company Indemnification of Auditors and provide audiences with experiences of d) Support for new artists and an expansion of our There was no significant change in the nature To the extent permitted by law, the Company has imaginative daring and emotional depth notion of what constitutes theatrical form of these activities during or since the end of the agreed to indemnify its auditors, Ernst & Young, financial year. as part of the terms of its audit engagement agreement against claims by third parties arising from the audit (for an unspecified amount). No payment has been made to indemnify Ernst & Young during or since the financialyear. 54 55 Directors’ Meetings Statement of Profit or Loss and Other Comprehensive Income

(1) Board of Directors Meetings Nathan Bennett For the year ended 31 December 2014 Notes 2014 ($) 2013 ($) During 2014, six meetings of Directors were held. Deputy Executive Director Attendance was as follows: Nathan Bennett was appointed Deputy Executive REVENUE FROM OPERATIONS Number eligible Number Director in 2014. He has held the position of Head Production Income Directors to attend attended of Development at Belvoir with oversight of the Home venue income Anne Britton 6 6 company’s marketing, audience management, 3,908,882 4,343,787 corporate partnerships and private philanthropy Mitchell Butel 6 5 Commercial production income - 670,987 strategies. Having worked for arts companies in Touring and sell off income 1,008,084 708,742 Andrew Cameron AM 6 6 Australia and overseas for over 15 years, Nathan Tracey Driver 6 5 recently returned from the US where he was Director Total production income 4,916,966 5,723,516 Richard Evans 6 6 of Development at Philadelphia’s Pig Iron Theatre Grants income 4(a) 2,077,588 2,105,055 Company. Prior to moving to the US, Nathan held Gail Hambly 6 6 Bar income 320,546 381,496 roles as General Manager at Griffin Theatre Company Brenna Hobson 6 6 and Company Manager at Bell Shakespeare. Box office income 428,396 548,908 Ian Learmonth 6 6 2,826,530 3,035,459 Auditor Independence Ralph Myers 6 6 The directors received an independence declaration OTHER REVENUE Olivia Pascoe 6 6 from the auditor of Company B Limited. A copy has Sponsorship income 964,112 926,787 (2) Finance Committee Meetings been included below. Fundraising and donations 995,244 The Finance Committee is a sub-committee of the Signed in accordance with a resolution of the directors. 1,222,242 Board. During the financial year, six meetings of Other income 4(b) 579,497 276,687 directors were held. Attendances were as follows: Total other revenue 2,765,851 2,198,718 Number eligible Number Members to attend attended Andrew Cameron AM, TOTAL REVENUE FROM OPERATIONS 10,509,347 10,957,693 Andrew Cameron AM 6 6 Chair Sydney, 27 March 2015 Tracey Driver 6 5 EXPENSES Gail Hambly 6 6 Auditor’s Independence Declaration to the Production (5,725,669) (7,348,744) Brenna Hobson 6 6 Directors of Company B Limited Marketing and promotions (898,160) (892,717) In relation the audit of the financial statements of Occupancy (352,271) (346,295) Company B Limited for the financial year ended Fundraising (325,386) (262,917) Other Information 31 December 2014, and in accordance with the requirements of Subdivision 60-C of the Australian Administration (3,192,188) (2,757,921) Gemma Frayne Charities and Not-for profits Commission Act 2012, to Employee-elected representative – ex officio Operating (loss)/income for the year 15,673 (650,901) the best of my knowledge and belief, there have been Gemma Frayne has been Marketing Manager at no contraventions of: Belvoir for two years after relocating from the UK Interest income i. the auditor independence requirement as set 145,345 174,865 to Sydney in 2011. Prior to this appointment, she out in the Australian Charities and Not-for profits Depreciation and amortisation expenses (101,359) (75,509) worked for the Sydney Fringe Festival. Gemma Commission Act 2012 in relation to the audit; and worked across Marketing, Audience Development Finance costs (56,173) (16,327) and membership with over 10 years experience ii. any applicable code of professional conduct in Profit/(loss) before tax 3,486 (567,872) in Marketing and Communication roles including relation to the audit. Income tax expense - - at London’s acclaimed Royal Court Theatre and Royal Academy of Dance. She holds a Bachelor Profit/(loss) for the year 3,486 (567,872) of Arts in Community Arts and Dance from Liverpool John Moores University and a Master of Ernst & Young Other comprehensive income - - Arts in Marketing Management from the University of Gloucestershire. Total comprehensive income/(loss) for the year 3,486 (567,872)

The above statement of profit or loss and other comprehensive income should be read in conjunction with the accompanying notes.

David Simmonds Partner 56 27 March 2015 57 Statement of Financial Position Statement of Changes in Equity

Retained Total As at 31 December 2014 Notes 2014 ($) 2013 ($) For the year ended 31 December 2014 earnings ($) equity ($)

ASSETS At 1 January 2014 1,301,741 1,301,741 Current assets Profit for the year 3,486 3,486 Cash 5 1,660,569 1,606,710 Other comprehensive income - - Trade and other receivables 6 283,114 1,037,178 Total comprehensive income 3,486 3,486 Inventories 41,828 25,768 At 31 December 2014 1,305,227 1,305,227 Prepayments 367,857 364,752 At 1 January 2013 1,869,613 1,869,613 Security deposits 58,906 55,326 Loss for the year (567,872) (567,872) Total current assets 2,412,274 3,089,734 Other comprehensive income - -

Non-current assets Total comprehensive loss (567,872) (567,872) At 31 December 2013 1,301,741 1,301,741 Held to maturity investments 7 1,909,895 1,965,882

Property, plant and equipment 8 318,463 95,571 The above statement of changes in equity should be read in conjunction with the accompanying notes. Intangible assets 9 12,031 35,190 Total non-current assets 2,240,389 2,096,643 Total assets 4,652,663 5,186,377 LIABILITIES AND EQUITY Statement of Cash Flows Current liabilities Trade and other payables 10 773,164 845,183 Provision 11 14,578 7,154 For the year ended 31 December 2014 Notes 2014 ($) 2013 ($) Employee benefits liabilities 12 241,163 196,076 OPERATING ACTIVITIES Deferred revenue 13 2,274,769 2,794,984 Receipts from patrons, customers and grant providers 11,787,963 10,612,590 Total current liabilities 3,303,674 3,843,397 Payments to suppliers and employees (11,518,604) (12,336,384) Non-current liabilities Net cash from/(used in) operating activities 213,186 (1,723,794) Employee benefits liabilities 12 43,762 41,239 INVESTING ACTIVITIES Total non-current liabilities 43,762 41,239 Purchase of property, plant and equipment (301,092) (50,498) TOTAL LIABILITIES 3,347,436 3,884,636 Interest received 145,345 174,865 EQUITY Increase in security deposits (3,580) - Retained earnings 1,305,227 1,301,741 Net cash flows (used in)/from investing activities (159,327) 124,367 Total equity 1,305,227 1,301,741 FINANCING ACTIVITIES Net cash flows from financing activities - - TOTAL EQUITY AND LIABILITIES 4,652,663 5,186,377 Net increase/(decrease) in cash and cash equivalents 53,859 (1,599,427) Cash and cash equivalents at 1 January 1,606,710 3,206,137 The above statement of financial position should be read in conjunction with the accompanying notes. Cash and cash equivalents at 31 December 5 1,660,569 1,606,710

The above statement of cash flows should be read in conjunction with the accompanying notes.

58 59 Notes to the Financial Statements For the year ended 31 December 2014

1. CORPORATE INFORMATION A liability is current when: In assessing value in use, the estimated future acquisition and fees or costs that are an integral The financial report of Belvoir for the year ended – It is expected to be settled in the Company’s cash flows are discounted to their present value part of the EIR. The EIR amortisation is included 31 December 2014 was authorised for issue in normal operating cycle using a pre-tax discount rate that reflects current as interest income in the statement of profit or loss accordance with a resolution of the directors on – It is held primarily for the purpose of trading market assessments of the time value of money and other comprehensive income. 27 March 2015. Belvoir is a public not-for-profit – It is due to be settled within twelve months after and the risks specific to the asset. In determining (j) Property, plant and equipment Company limited by guarantee, incorporated and the reporting period, or fair value less costs of disposal, recent market Construction in progress, plant and equipment are operating in Australia. The registered office and – There is no unconditional right to defer the transactions are taken into account. If no such stated at cost, net of accumulated depreciation principal place of business of the Company is 18 settlement of the liability for at least twelve transactions can be identified, an appropriate and accumulated impairment losses, if any. Such Belvoir Street, Surry Hills, NSW 2010, Australia. The months after the reporting period valuation model is used. These calculations are cost includes the cost of replacing part of the plant nature of the operations and principal activities of corroborated by valuation multiples, quoted The Company classifies all other liabilities as and equipment and borrowing costs for long-term the Company are described in the directors’ report. share prices for publicly traded companies or non-current. construction projects if the recognition criteria other available fair value indicators. are met. Such cost includes the cost of replacing 2. SUMMARY OF SIGNIFICANT (e) Cash The Company bases its impairment calculation on part of the property, plant and equipment. ACCOUNTING POLICIES Cash in the statement of financial position detailed budgets and forecast calculations, which When significant parts of property, plant and (a) Basis of preparation comprise cash at bank and on hand. The financial report is a general purpose financial are prepared separately for each of the Company’s equipment are required to be replaced at report, which has been prepared in accordance For the purposes of the statement of cash CGUs to which the individual assets are allocated. intervals, the Company depreciates them with the requirements of the Corporations flows, cash and cash equivalents consist of These budgets and forecast calculations generally separately based on their specific useful lives. Act 2001, Australian Accounting Standards - cash as defined above. cover a period of five years. For longer periods, a Likewise, when a major inspection is performed, long-term growth rate is calculated and applied to its cost is recognised in the carrying amount of Reduced Disclosure Requirements and other (f) Trade and other receivables project future cash flows after the fifth year. the plant and equipment as a replacement if the authoritative pronouncements of the Australian Trade receivables, which generally have 30-90 day recognition criteria are satisfied. All other repair Accounting Standards Board. terms, are recognised initially at fair value and Impairment losses, including impairment on and maintenance costs are recognised in profit or subsequently measured at cost using the effective inventories, are recognised in the statement of The financial report has been prepared on the loss as incurred. basis of the historical cost convention. Cost is interest method, less an allowance for impairment. profit or loss and other comprehensive income as an expense. Depreciation is calculated on a straight-line basis over based on the fair value of the consideration given Collectability of trade receivables is reviewed on the estimated useful lives of the assets as follows: in exchange for assets. an ongoing basis. Individual debts that are known For assets, an assessment is made at each Plant and equipment – 3 to 7 years to be uncollectible are written off when identified. reporting date to determine whether there is an The financial report is presented in Australian Motor vehicles – 5 to 7 years An impairment provision is recognised when there indication that previously recognised impairment dollars unless otherwise stated. Furniture and fittings – 5 to 10 years is objective evidence that the Company will not be losses no longer exist or have decreased. If (b) Statement of compliance able to collect the receivable. such indication exists, the Company estimates An item of property, plant and equipment and any The financial statements of the Company the asset’s or CGU’s recoverable amount. A significant part initially recognised is derecognised (g) Inventories comply with Australian Accounting Standards previously recognised impairment loss is reversed upon disposal or when no future economic Inventories consist of finished goods and are - Reduced Disclosure Requirements as issued only if there has been a change in the assumptions benefits are expected from its use or disposal. Any valued at the lower of cost and net realisable by the Australian Accounting Standards Board used to determine the asset’s recoverable amount gain or loss arising on derecognition of the asset value. Net realisable value is the estimated selling (AASB) and the Australian Charities and Not-for- since the last impairment loss was recognised. The (calculated as the difference between the net price in the ordinary course of business, less Profits Commission Act 2012. reversal is limited so that the carrying amount disposal proceeds and the carrying amount of the estimated costs of completion and the estimated of the asset does not exceed its recoverable asset) is included in the statement of profit or loss (c) Changes in accounting policy, disclosure, costs necessary to make the sale. standards and interpretations amount, nor exceed the carrying amount that and other comprehensive income when the asset The accounting policies adopted are consistent (h) Impairment of non-financial assets would have been determined, net of depreciation, is derecognised. The Company assesses, at each reporting date, had no impairment loss been recognised for the with those of the previous financial year. The residual values, useful lives and methods of whether there is an indication that an asset may be asset in prior years. Such reversal is recognised (d) Current versus non-current classification depreciation of property, plant and equipment are impaired. If any indication exists, or when annual in the statement of profit or loss and other The Company presents assets and liabilities in the reviewed at each financial year end and adjusted impairment testing for an asset is required, comprehensive income unless the asset is carried statement of financial position based on current/ prospectively, if appropriate. the Company estimates the asset’s recoverable at a revalued amount, in which case, the reversal is non-current classification. An asset is current amount. An asset’s recoverable amount is the treated as a revaluation increase. Assets acquired are recorded at the cost of when it is: higher of an asset’s or cash-generating unit’s acquisition, being the purchase consideration (i) Held to maturity investments – Expected to be realised or intended to be sold or (CGU) fair value less costs of disposal and its determined as at the date of acquisition plus costs Non-derivative financial assets with fixed or consumed in the Company’s normal operating cycle value in use. Recoverable amount is determined incidental to the acquisition. determinable payments and fixed maturities – Held primarily for the purpose of trading for an individual asset, unless the asset does not are classified as held-to-maturity when the In the event that settlement of all or part of the – Expected to be realised within twelve months generate cash inflows that are largely independent Company has the positive intention and ability to cash consideration given in the acquisition of an after the reporting period, or of those from other assets or groups of assets. hold them to maturity. After initial measurement, asset is deferred, the fair value of the purchase – Cash or a cash equivalent unless restricted from When the carrying amount of an asset or CGU held-to-maturity investments are measured at consideration is determined by discounting the being exchanged or used to settle a liability for at exceeds its recoverable amount, the asset is amortised cost using effective interest rate (EIR), amounts payable in the future to their present least twelve months after the reporting period considered impaired and is written down to its less impairment. Amortised cost is calculated by value as at the date of acquisition. The Company classifies all other assets as recoverable amount. taking into account any discount or premium on non–current. 61

60 (k) Leases with the methodology outlined for goodwill If the effect of the time value of money is material, to the net carrying amount of the financial asset. The determination of whether an arrangement is, above. Such intangibles are not amortised. The provisions are discounted using a current pre-tax Interest income is included in other revenue or contains, a lease is based on the substance of useful life of an intangible asset with an indefinite rate that reflects, when appropriate, the risks in the statement of profit or loss and other the arrangement at the inception of the lease. The life is reviewed each reporting period to determine specific to the liability. When discounting is used, comprehensive income. arrangement is, or contains, a lease if fulfilment whether indefinite life assessment continues to be the increase in the provision due to the passage Sponsorship and Donations revenue of the arrangement is dependent on the use of supportable. If not, the change in the useful life of time is recognised as a finance cost. Sponsorship a specific asset or assets or the arrangement assessment from indefinite to finite is accounted Wages and salaries Sponsorship commitments are brought to conveys a right to use the asset or assets, for as a change in an accounting estimate and is Liabilities for wages and salaries, including account as revenue in the year in which even if that right is not explicitly specified in an thus accounted for on a prospective basis. non-monetary benefits which are expected to be sponsorship benefits are bestowed. arrangement. Gains or losses arising from derecognition of an settled within 12 months of the reporting date are Donations A lease is classified at the inception date as intangible asset are measured as the difference recognised in respect of employees’ services up Income arising from the donation of an asset to the a finance lease or an operating lease. A lease between the net disposal proceeds and the to the reporting date. They are measured at the Company is recognised when, and only when, all that transfers substantially all the risks and carrying amount of the asset and are recognised in amounts expected to be paid when the liabilities the following conditions have been satisfied: rewards incidental to ownership to the Company is profit or loss when the asset is derecognised. are settled. a. the Company has obtained control of the classified as a finance lease. An operating lease is A summary of the policies applied to the Long service leave and annual leave donation or the right to receive the donation: a lease other than a finance lease. Company’s intangible asset is as follows: The Company does not expect its long service b. it is probable that economic benefits Operating lease payments are recognised as an leave or annual leave benefits to be settled compromising the donation will flow to the Ticketing system operating expense in the statement of profit or loss wholly within 12 months of each reporting date. Company; and Useful lives and other comprehensive income on a straight-line The Company recognises a liability for long service c. the amount of the donation can be measured Finite (4 years) basis over the lease term. leave and annual leave measured as the present reliably. Amortisation method used value of expected future payments to be made in (l) Intangibles (p) Taxes Amortised on a straight-line basis over the period respect of services provided by employees up Intangible assets acquired separately or in a The Company is exempt from income tax under of the ticketing system to the reporting date using the projected unit business combination are initially measured at Subdivision 50-B of the Income Tax Assessment credit method. Consideration is given to expected cost. The cost of an intangible asset acquired in Internally generated or acquired Act 1997, as granted by the Commissioner of future wage and salary levels, experience of a business combination is its fair value as at the Acquired Taxation on 8 June 2000. Consequently the employee departures, and periods of service. date of acquisition. Following initial recognition, Company has not provided for any liability for Impairment testing Expected future payments are discounted using intangible assets are carried at cost less any income tax in these financial statements. Annually as at 31 December and more frequently market yields at the reporting date on national accumulated amortisation and any accumulated when an indication of impairment exists government bonds with terms to maturity and Goods and services tax (GST) impairment losses. Internally generated intangible currencies that match, as closely as possible, the Revenues, expenses and assets are recognised assets, excluding capitalised development costs, (m) Trade and other payables estimated future cash outflows. net of the amount of GST except: are not capitalised and expenditure is recognised Trade and other payables are carried at amortised in profit or loss in the year in which the expenditure cost and due to their short term nature they are Refer to Note 3 for the policy and assumptions – When the GST incurred on a purchase of assets is incurred. not discounted. They represent liabilities for goods relating to the provision for loss making or services is not payable to or recoverable from and services provided to the Company prior to the productions. the taxation authority, in which case the GST is The useful lives of intangible assets are assessed end of the financial year that are unpaid and arise recognised as part of the revenue or the expense to be either finite or indefinite. Intangible assets (o) Revenue recognition when the Company becomes obliged to make item or as part of the cost of acquisition of the with finite lives are amortised over the useful Revenue is recognised to the extent that it is future payments in respect to the purchase of asset, as applicable life and tested for impairment whenever there probable that the economic benefits will flow these goods and services. is an indication that the intangible asset may to the Company and the revenue can be reliably – When receivables and payables are stated with be impaired. The amortisation period and the (n) Provisions and employee benefit liabilities measured, regardless of when the payment is the amount of GST included amortisation method for an intangible asset with Provisions are recognised when the Company received. Revenue is measured at the fair value The net amount of GST recoverable from, or a finite useful life is reviewed at least at each has a present obligation (legal or constructive) of the consideration received or receivable, payable to, the taxation authority is included as financial year end. Changes in the expected as a result of a past event, it is probable that taking into account contractually defined terms of part of receivables or payables in the statement useful life or the expected pattern of consumption an outflow of resources embodying economic payment and excluding taxes or duty. The specific of financial position. Commitments and of future economic benefits embodied inthe benefits will be required to settle the obligation recognition criteria described below must also be contingencies are disclosed net of the amount asset are accounted for prospectively by and a reliable estimate can be made of the amount met before revenue is recognised. of GST recoverable from, or payable to, the changing the amortisation period or method, of the obligation. When the Company expects Production income taxation authority. as appropriate, which is a change in accounting some or all of a provision to be reimbursed, Revenue is recognised upon the performance of estimate. The amortisation expense on intangible for example, under an insurance contract, the Cash flows are included in the statement of cash productions to which the ticket revenue relates. assets with finite lives is recognised in profit or reimbursement is recognised as a separate flows on a gross basis and the GST component loss in the expense category consistent with the asset, but only when the reimbursement Interest of cash flows arising from investing and financing function of the intangible asset. is virtually certain. The expense relating to a Interest income is recorded using the effective activities, which is recoverable from, or payable provision is presented in the statement of profit or interest rate (EIR). The EIR is the rate that exactly to, the taxation authority is classified as part of Intangible assets with indefinite useful lives are loss and other comprehensive income net of any discounts the estimated future cash payments operating cash flows. tested for impairment annually either individually reimbursement. or receipts over the expected life of the financial or at the cash-generating unit level consistent instrument or a shorter period, where appropriate, 63 4. REVENUE AND OTHER INCOME (q) Government grants The Company based its assumptions and (a) Government grants received Unexpended Grant Unexpended Government grants are recognised at their fair estimates on parameters available when the Grants Grants Expenditure Grants value where there is reasonable assurance financial statements were prepared. Existing brought Income 2014 (Net carried that the grant will be received and all attaching circumstances and assumptions about future forward from Received Grant Income) forward to conditions will be complied with. Funding revenue developments, however, may change due to 2013 ($) 2014 ($) ($) 2015 ($) is received from the government for specific market changes or circumstances arising Australia Council activities. The funding is received based on beyond the control of the Company. Such payment schedules contained in the funding changes are reflected in the assumptions when Base Grant Total - 983,158 983,158 - agreement between the funding bodies and they occur. Other Grant Total - 120,000 55,000 65,000 the Company. The funding is recognised in the Impairment of non-financial assets calendar year for which it is intended under the Communities NSW Impairment exists when the carrying value of an terms of the agreement due to the conditional asset or cash generating unit (CGU) exceeds its Base Grant Total - 952,985 952,985 - nature of the funding. recoverable amount, which is the higher of its Other Grant Total 5,000 29,818 29,818 - (r) Productions fair value less costs to sell and its value in use. The total cost of staging productions, including the The fair value less costs to sell calculation is Commonwealth Government manufacturing cost of costumes, scenery sets and based on available data from binding sales Other Grant Total - 35,127 35,127 - properties, is charged to income and expenditure transactions, conducted at arm’s length, for in the period each production is performed. This similar assets or observable market prices Local Government – City of Sydney procedure conforms to standard theatrical less incremental costs for disposing of the Other Grant Total - 20,000 17,500 2,500 accounting practice as adopted in Australia and asset. The value in use calculation is based on other parts of the world. Costs of production a discounted cash flow (DCF) model. The cash Other and other associated expenditure in respect of flows are derived from the budget for the next Other Grant Total - 4,000 4,000 - performances not yet performed but will be in the five years and do not include restructuring TOTAL GRANTS 5,000 2,145,088 2,077,588 67,500 next 12 months are included in the statement of activities that the Company is not yet committed financial position as part of prepaid expenditure. to or significant future investments that will All Government funding has been spent in accordance with funding agreements. enhance the asset’s performance of the CGU (s) Advance box office being tested. The recoverable amount is most Monies received from both subscribers and non- (b) Other income 2014 ($) 2013 ($) sensitive to the discount rate used for the DCF subscribers for advanced bookings are included Rental revenue – theatre and venue 138,339 147,880 model as well as the expected future cash- in income progressively during each production inflows and the growth rate used for extrapolation Rental revenue -set build & other 147,823 25,690 to which they relate, and not before. All monies purposes. Revenue - Vehicle Use 77,131 - received in advance for 2015 box office income is recorded as deferred revenue and transferred to Provision for loss making productions Development Workshop Income 75,312 - income when the respective show concludes. The Company makes an annual assessment as to Other 140,892 103,117 whether prepaid production costs have any future 3. SIGNIFICANT ACCOUNTING JUDGEMENTS, 579,497 276,687 economic value, based on whether the relevant ESTIMATES AND ASSUMPTIONS production is expected to generate sufficient Government grants have been received for the investment of infrastructure for Company B. There are no unfulfilled The preparation of the Company’s financial proceeds to cover such costs. conditions or contingencies attached to these grants. statements requires management to make The Company provides for its best estimate of judgements, estimates and assumptions that any losses which will arise under contractual affect the reported amounts of revenues, commitments at balance date which are expenses, assets and liabilities, and the unavoidable due to either legal or constructive accompanying disclosures, and the disclosure obligations. In order to assess both the of contingent liabilities. Uncertainty about these recoverability of prepaid production costs and assumptions and estimates could result in any onerous contract obligations, the Company outcomes that require a material adjustment to makes an assessment of all future planned the carrying amount of assets or liabilities affected productions and identifies thoseproductions in future periods. which are expected to generate losses. Estimates and assumptions Such losses are first applied to any prepaid The key assumptions concerning the future production costs prior to making a further and other key sources of estimation uncertainty provision for any additional estimated losses as at the reporting date, that have a significant an onerous contract provision. risk of causing a material adjustment to the Further details may be found in note 11. carrying amounts of assets and liabilities within the next financial year, are described below.

64 65 Ticketing 5. CASH 2014 ($) 2013 ($) 9. INTANGIBLE ASSETS system ($) Total ($) Cash at bank and on hand 1,660,569 1,606,710 Cost 1,660,569 1,606,710 At 1 January 2013 77,684 77,684 For the purposes of the statement of cash flows, cash and cash equivalents consists of cash on hand and cash in bank. At 31 December 2013 77,684 77,684

Cash held in Escrow - Reserves Incentives Funding Scheme At 31 December 2014 77,684 77,684 The funds received under the Reserves Incentives Funding Scheme of the Australia Council and Arts Amortisation NSW, together with any interest earned on those funds, are held in escrow and cannot be accessed without the express agreement of the Funding bodies under prescribed circumstances. These funds have At 1 January 2013 21,148 21,148 not been used to secure any liabilities of the Company. As at 31 December 2014, the Company held Amortisation 21,346 21,346 $172,946 (2013: $172,931) under this scheme. At 31 December 2013 42,494 42,494 Amortisation 23,159 23,159 6. TRADE AND OTHER RECEIVABLES (CURRENT) 2014 ($) 2013 ($) At 31 December 2014 65,653 65,653 Trade receivables 237,301 1,010,841 Net book value Goods and services tax 37,029 - At 31 December 2014 12,031 12,031 Other receivables 8,784 26,337 At 31 December 2013 35,190 35,190 283,114 1,037,178

10. TRADE AND OTHER PAYABLES (CURRENT) 2014 ($) 2013 ($) 7. HELD TO MATURITY INVESTMENTS 2014 ($) 2013 ($) Trade payables 114,768 408,105 At Amortised Cost Sundry payables 471,138 278,720 Convertible preference shares 1,909,895 1,965,882 Accrued expenses 187,258 136,766 1,909,895 1,965,882 Goods and services tax - 21,592 773,164 845,183 8. PROPERTY, PLANT Plant & Assets under AND EQUIPMENT equipment Motor Furniture & construction ($) vehicles ($) fittings ($) ($) Total ($) 11. PROVISIONS (CURRENT) 2014 ($) 2013 ($) Provision for loss making productions Cost 14,578 7,154 Total provisions 14,578 7,154 At 1 January 2013 252,055 18,280 63,806 - 334,141 Additions 36,001 - 14,497 - 50,498 At 31 December 2013 288,056 18,280 78,303 - 384,639 (a) Movements in provisions Provisions ($) Total ($)

Additions 90,850 95,082 10,664 104,496 301,092 At 1 January 2014 7,154 7,154 At 31 December 2014 378,906 113,362 88,967 104,496 685,731 Arising during year 14,578 14,578 Depreciation Utilised during year (7,154) (7,154) At 1 January 2013 192,293 541 42,071 - 234,905 At 31 December 2014 14,578 14,578 Depreciation charge for the year 43,374 3,656 7,133 - 54,163 Current - 2014 14,578 14,578 At 31 December 2013 235,667 4,197 49,204 - 289,068 Non-current - 2014 - - Depreciation charge for the year 78,200 56,240 11,953 10,007 - 14,578 14,578 At 31 December 2014 291,907 16,150 59,211 - 367,268

Net book value (b) Nature and timing of provisions At 31 December 2014 86,999 97,212 29,756 104,496 318,463 (i) Provision for Loss Making Productions At 31 December 2013 52,389 14,083 29,099 - 95,571 Provisions for productions in subsequent calendar year(s) which management determine as deficit making, for which the Company has a firm commitment to produce. Refer to Note 2 for the relevant accounting policy in relation to recognition and measurement principles.

66 67 12. EMPLOYEE BENEFIT LIABILITIES (CURRENT AND NON-CURRENT) 2014 ($) 2013 ($) 16. COMMITMENTS AND CONTIGENCIES 2014 ($) 2013 ($) Current (a) Leasing commitments Long service leave 2,729,270 2,454,712 Non-cancellable operating leases Annual leave 5,000 41,151 Within one year 64,827 62,939 Other employee benefits 43,917 26,917 After one year but not more than five years 204,528 269,355 241,163 196,076 269,355 332,294 Non Current Long service leave 43,762 41,239 An operating lease for a workshop and storage space in Marrickville was renegotiated in October 2013. The lease term is for five years with a termination date of 25th of October 2017. There is an option to (i) Annual Leave and other short term employee benefits renew for a further five years. Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and assumptions applied in the measurement of this provision. An operating lease for rent of the warehouse and theatre is currently in place with Belvoir St Theatre Limited (BSTL). The rental amount is a varying figure, being the equivalent of the annual outgoings (ii) Long service leave incurred by BSTL and therefore is not included in the table above. Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and assumptions applied in the measurement of this provision. (b) Sinking fund commitments In 2012, Company B became obliged to pay Belvoir Street Theatre Limited (BSTL) the first installment of a ten year commitment of the sinking fund as required under the lease rental agreement between BSTL and 13. DEFERRED REVENUE 2014 ($) 2013 ($) Company B for the Belvoir Street theatre and warehouse premises. The sinking fund is to enable Belvoir Street Theatre Limited to carry out works on the premises on a scheduled basis over 10 years in order to Advance ticket sales 2,102,430 2,729,270 maintain and repair the building in which the theatre is housed in and the property plant and equipment Government grants in advance 67,500 5,000 used on the premises. Sponsorship income in advance 1,850 43,917 As at 31 December 2014 the value of the commitment payable to Belvoir Street Theatre Limited was as Fundraising and donations income in advance 100,000 10,000 follows: Other deferred revenue 2,989 6,797 2,274,769 2,794,984 2014 ($) 2013 ($) (a) Leasing commitments

14. RELATED PARTY DISCLOSURES Not longer than 1 year 62,954 60,581 There were no transactions with related parties during the year other than those with Directors. Payments Longer than 1 year and not longer than 5 years 251,816 256,986 made to directors are not for their services as directors of the Company for which no fee is received. Greater than 5 years 157,385 224,392 Payments were made by the Company to some directors for their contributions as employees of, or contractors to the Company. Total short-term employment benefits paid to directors amounted to 472,155 541,959 $204,342 (2013: $195,913). 17. EVENTS AFTER REPORTING DATE 15. MEMBERS’ GUARANTEE Peter Wilson was appointed as a member of the Company B Board with effect from 10 February 2015. Belvoir is incorporated in New South Wales as a company limited by guarantee. In the event of the There has not been any other matter or circumstance, other than that referred to in the financial Company being wound up, each member undertakes to contribute a maximum of $20 respectively for statements or notes thereto, that has arisen since the end of the financial year, that has significantly payment of the Company’s liabilities. As at 31 December 2014, there were 43 members of Belvoir and affected, or may significantly affect, the operations of the Company, the results of those operations, or the amount of capital that could be called up in the event of Belvoir being wound up is $860. the state of affairs of the Company in future financial years.

68 69 Directors’ Declaration

In accordance with a resolution of the directors of Belvoir, I state that: In the opinion of the directors: (a) the fi nancial statements and notes of the Company are in accordance with the Corporations Act 2001 and the Australian Charities and Not-for-Profi ts Commission Act 2012 including: (i) giving a true and fair view of the Company’s fi nancial positions as at 31 December 2014 and of its performance for the year ended on that date; and (ii) complying with Australian Accounting Standards - Reduced Disclosure Requirements and the Corporations Regulations 2001 and the Australian Charities and Not-for-Profi ts Commission Regulation 2013; and (b) there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. On behalf of the Board

Andrew Cameron AM Chair Sydney, 27 March 2015

70 71 Partners, Sponsors and Supporters Annual Report Production Coordination Belvoir Marketing Department Design Alphabet Studio

For any Annual Report IT Partner Media Partners enquiries please contact: Belvoir Marketing Department 18 Belvoir St, Surry Hills NSW 2010 tel +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 [email protected] Major Sponsors belvoir.com.au

Associate Sponsors Key Supporter

Indigenous Theatre Belvoir is proud to be a member at Belvoir supported of the Australian Major Performing BOUTIQUE ACCOMMODATION by The Balnaves Arts Group (AMPAG) Foundation

Touring Fund

Mark Carnegie and Jessica Block

Event Sponsors

Government Partners Youth & Education Supporter

Supporters Trusts & Foundations Goldman Sachs Copyright Agency Ltd The Greatorex Picket Studio Coca-Cola Australia Foundation Foundation Street Promotions Australia Gandevia Foundation Teen Spirit Charitable Thomas Creative Foundation Time Out Australia

For more information on partnership opportunities please contact our Development team on 02 9698 3344 or [email protected]

72 C Robert Menzies & Kate Box in A Christmas Carol. Photo: Brett Boardman. 18 & 25 Belvoir St, Surry Hills NSW 2010 admin +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 box office +61 (0)2 9699 3444 [email protected] belvoir.com.au

Front cover: Rose Riley in The Glass Menagerie. Photo: Brett Boardman. D